Filtering by: Political Art

THE UN-HEROIC ACT: REPRESENTATIONS OF RAPE IN CONTEMPORARY WOMEN'S ART IN THE U.S.
Sep
4
to Nov 3

THE UN-HEROIC ACT: REPRESENTATIONS OF RAPE IN CONTEMPORARY WOMEN'S ART IN THE U.S.

  • Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice CUNY (map)
  • Google Calendar ICS

curated by Monika Fabijanska

September 4 -November 2, 2018
gallery hours: Monday-Friday 10-6, Saturday 12-6

opening reception: September 12, 2018, 5:30-8:30 PM
artists talk & gallery tour: September 26, 2018, 6-8 PM
symposium & gallery tour: October 3, 2018, 5-9 PM
artists talk & gallery tour: October 24, 2018, 6-8 PM
SCROLL DOWN FOR PUBLIC PROGRAMMING DETAILS

This concentrated survey of works devoted to rape, by a diverse roster of women artists representing three generations, including Jenny Holzer, Suzanne Lacy, Ana Mendieta, Yoko Ono, and Kara Walker, aims to demonstrate that rape constitutes one of central themes in women’s art and will analyze its rich iconography in all mediums.

The exhibition aims to fill a gap in the history of art, where the subject of rape – as seen from women’s perspective – is a blank spot. What makes women's works radically different from those by men is the focus not on the action or drama, but on the lasting psychological devastation of the victim: her suffering, silence, shame, and loneliness. Often strikingly beautiful, they are rarely shown or their true meaning is obscured.

Image: Suzanne Lacy, Three Weeks in May, 1977, paper, ink ©1977. Suzanne Lacy. Courtesy of the artist.

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Monika Fabijanska in ATOA panel on Censorship and the Arts
Sep
26
6:00 PM18:00

Monika Fabijanska in ATOA panel on Censorship and the Arts

ATOA's Critical Dialogues in the Visual Arts at:
National Arts Club

15 Grammercy Park South
New York, NY 10003
tel. 212.475.3424

CENSORSHIP AND THE ARTS
Moderator: Bill Pangburn, ATOA board member, artist, curator, professor
Panelists:
Monika Fabijanska, art historian
Patricia Karetzky, Oskar Munsterberg Chair of Asian Art at Bard College
Svetlana Mintcheva, program director for the National Coalition Against Censorship
Richard Vine, managing editor of Art in America
 

Tuesday, September 26, 2017, 6-8 PM (panel starts at 6:30 PM)
$8 general admission; $5 students and seniors, Passholders & NAC Members FREE

Censorship as a possibility, as a reality, is always near at hand. We like to think of it as being the problem of others, but the US has had and continues to have its share of battles over freedom of expression. The panelists on this symposium bring different insights to this timely and all-too-relevant topic.

Monika Fabijanska specializes in international contemporary art and has special interest in women's art and feminist art. Based in New York City, she is an art historian with over 15 years’ experience in curating, producing, and managing arts. She was Poland's cultural attache in NYC, 2000-2010, and Director of the Polish Cultural Institute, 2005-2010.

Patricia Karetzky is the Oskar Munsterberg Chair of Asian Art at Bard College, New York since 1988 and Adjunct Professor at Lehman College, City College of New York since 1994. She is the curator of the exhibition I Have no Enemies I Have No Friends - Contemporary Chinese Dissident Art, currently on view at the Anya and Andrew Shiva Gallery, John Jay College.

Richard Vine is the managing editor of Art in America and holds a Ph.D. in literature from the University of Chicago. He has written hundreds of critical essays, two nonfiction books on contemporary art, and is the author of Soho Sins, a novel.

Svetlana Mintcheva is the program director for the National Coalition Against Censorship. She is the co-editor of Censoring Culture: Contemporary Threats to Free Expression. Active as a curator, she also teaches at NYU.

Bill Pangburn (moderator) is an ATOA board member, artist, curator, professor, and director of the Anya and Andrew Shiva Gallery, John Jay College, City University of New York.

The mission of Artists Talk on Art (ATOA) is to provide a forum for critical discussions in the visual arts. After over 40 years we are one of the longest running art discussions. We depend upon artists who are willing to talk about their work, and volunteer their time. ATOA is a not-for-profit corporation run by artists.

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Monika Fabijanska presents Maciej Toporowicz at the New York's SPRING/BREAK Art Show 2017
Feb
28
to Mar 6

Monika Fabijanska presents Maciej Toporowicz at the New York's SPRING/BREAK Art Show 2017

  • 4 Times Square, 23rd Fl New York, NY 10036 (map)
  • Google Calendar ICS

Monika Fabijanska at the
SPRING/BREAK Art Show 2017 (booth 23.49)

MACIEJ TOPOROWICZ:
SERIAL KILLERS AND OTHER FINGERPRINTS


Preview Day: Tuesday, February 28
Collectors Preview: 11 AM - 5 PM (by invitation only, RSVP required, register by Feb. 15)
Press Preview: 3-5 PM (register)
Vernissage: 5-9 PM (ticketed event, $20; SPRING/BREAK VIP cardholders, Free)

Public hours: March 1-6, 11 AM - 6 PM
Day Guest Passes will be available for purchase at the door or online

Artworks will be available for purchase online starting from Feb. 28 here

Lord Henry said to Dorian Gray: Crime belongs exclusively to the lower orders. ... I should fancy that crime was to them what art is to us, simply a method of procuring extraordinary sensations.

The series of 42 gouache portraits of Serial Killers was executed by Maciej Toporowicz in a single night session in 1993. The artist used his own fingerprints to create a study of world’s most infamous human monsters who remain subject of scientific analysis and achieved cult status in pop culture. Toporowicz, known for consistent adoption of risk as creative strategy, often exposed himself to legal problems: he interpreted the subject again, producing an edition of silkscreened postage stamps which were mailed.

...quick, smudged fingerprints show the figures as shadowy and indistinct […] At the same time, the fingerprints leave evidence, identification, and accountability with the artist, who becomes a stand-in for all of us - Boston Globe review of the show at the Fuller Museum of Art, Brockton, MA, 2000

All art that aims at transgressing limit situations is autobiographical, as it is through this transgression that the artist ‘is.’ Toporowicz has employed danger, provocation, illegal actions – strategies he had developed as an art student under Martial Law in Poland in 1980s, organizing underground performances influenced by the Viennese Actionism, and reacting to the systemic political oppression with provocative art.

Ian Buruma's text Art and Violence, where he writes that …fear is the greatest spur that drives humans to describe, depict, or act out forms of violence and cruelty […] People still need to see their fears, their lusts, and their darker impulses sublimated in fantasy, seems to hold the analytical key to the art of Maciej Toporowicz. Not only the need to overcome fear and a desire for catharsis are present in it, but also guilty pleasure, fascination with their seductive power. 

Leaving his fingerprints in Serial Killers, Toporowicz hid his likeness but not the identity, and returned to explore identity itself in the series Fingerprints, where he rendered papillary lines of himself and his friends with human hair of different colors that belonged to other people.

Toporowicz continues to create political works based on images imprinted in mass culture and doesn’t conceal his own fascination with objects of his critique: American gun culture, fetishization of violence and cult of celebrity. Created at the time of a heated debate over access to weapons in the US and the role of NRA in national politics, two new series Targets (collages, 2015) and Disney Targets (acrylic on canvas, 2015) refer to his 1993 gouaches: Serial Killers and Disney – 6 drawings made with body prints, which sexualized famous cartoon characters.

Read the full curatorial statement

VICE Creators review

Gothamist recommendation

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The Watermill Center Summer Benefit & Auction features Monika Weiss' Nirbhaya VIII-1
Jul
30
6:00 PM18:00

The Watermill Center Summer Benefit & Auction features Monika Weiss' Nirbhaya VIII-1

The Watermill Center
39 Water Mill Towd Road
Water Mill, NY 11976
purchase tickets
online bidding opens on July 18 at 12 PM EST on ARTSY


The Watermill Center’s annual gala is one of the most spectacular evenings on the New York social calendar… – artnet news

Robert Wilson’s artistic base and incubator for his work, The Watermill Center, opened in 2006. Wilson envisioned it as a laboratory for experimentation – a space accommodating artists-in-residence, students, and collaborators, housing an extensive collection of art and artifacts and providing a “think tank” in which artists could conceive, develop, and rehearse new work.

The Watermill Center once again will bring together the worlds of theater, art, fashion, design, and society for The 23rd Annual Watermill Center Summer Benefit & Auction. Watermill’s International Summer Program participants come from over 25 countries to create installations and performances throughout eight-and-a-half acre grounds for the event. The funds raised support the Center’s year-round Artist Residency and Education Programs, providing a unique environment for young and emerging artists to explore and develop new work. The evening will begin with cocktails, a silent auction and guests touring installations and performances throughout The Center’s grounds. It continues with a seated dinner, live auction and performances, and concludes with a post-event party and dancing.

Monika Weiss is a Polish-born artist based in New York who creates public projects, film projections, drawings, and performances that evoke ancient rituals of lamentation and investigate relationships between body and history. Her current work focuses on memory and amnesia as reflected in the physical and political space of the City. The drawing Nirbhaya VIII-1 belongs to Two Laments (19 Cantos) (2015-ongoing) a series of 19 films projections inspired by events in India, juxtaposing two forms of global violence: the rape of women and the colonial subjugation of cities. Weiss' exquisite drawings are featured in the Albertina Museum in Vienna, Austria, one of the world's largest and most important print and drawing collections.

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Weiss in ƑƑ Conversation Circle: "Lamentations: on Matrixial Border Spaces" in Berlin, Germany
Jun
30
7:00 PM19:00

Weiss in ƑƑ Conversation Circle: "Lamentations: on Matrixial Border Spaces" in Berlin, Germany

KN (Raum für Kunst im Kontext)
68 Skalitzer Straße
Berlin, 10997
Germany
This is a closed conversation circle, RSVP to vanessa.k.gravenor AT gmail DOT com

ƒƒ welcomes artist Monika Weiss to open up a discussion on lamentations and response-ability in the face of atrocity. Griselda Pollock’s Virtual Feminist Museum will be a subject of discussion as well as Bracha Ettinger’s Matrixial Border Space. Can images resonate traces of past events that they themselves defy speech thought and structural word patters? How can the breakdown of language manifest itself into a feminine space or border space where community can be facilitated and actualized?

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Monika Weiss’ "Wrath" as part of The Stavros Niarchos Foundation Cultural Center opening in Athens, Greece
Jun
23
to Jun 26

Monika Weiss’ "Wrath" as part of The Stavros Niarchos Foundation Cultural Center opening in Athens, Greece

  • Stavros Niarchos Foundation Cultural Center (map)
  • Google Calendar ICS

Monika Weiss’ Wrath (Canto 1, Canto 2, Canto 3)
in Fireflies in the Night Take Wing,
an international video art survey
organized by curators Barbara London, Kalliopi Minioudaki, Francesca Pietropaolo,
and artistic director Robert Storr

Wrath (Canto 1, Canto 2, Canto 3) […] the video foregrounds a signature performative device in Monika Weiss’ recent work—lamentation—as a powerfully political, yet fundamentally ethical means to deal with personal, gendered and collective trauma by “dignifying and veiling it with anonymity,” in the artist’s words".        – Kalliopi Minioudaki, Fireflies co-curator

Designed by architect Renzo PianoThe Stavros Niarchos Foundation Cultural Center (SNFCC) consists of new facilities for the National Library of Greece, the Greek National Opera, and the 210,000 m² Stavros Niarchos Park. 

For its opening, the SNFCC will host Metamorphosis: The SNFCC to the World – a cultural event presenting 400 artists from Greece and around the world. Part of this festival, Fireflies in the Night Take Wing is a special four-night program surveying some of the most important works realized in the quintessential medium of the late 20th and early 21st centuries: video. Post-midnight screenings will consist of eleven separate looped video programs screened at eleven sites scattered throughout the SNFCC buildings and grounds. These hour-long loops screened non-stop will be composed of works by more than 50 artists from 29 countries, many of them showing in Greece for the first time, and including Pauline Boudry, Yang Fudong, Alfredo Jaar, Basim Magdy, Oscar Muñoz, Shirin Neshat, Adrian Paci, Liliana Porter, Yvonne Rainer, and Monika Weiss.

Kalliopi Minioudaki, Ph.D. is an art historian who works as independent scholar, critic and curator in New York and Athens. She specializes in American and European postwar art from a feminist perspective and was co-editor and co-author of Seductive Subversion: Women Pop Artists, 1958-1968 (University of the Arts, 2010), among her many publications.

Kalliopi Minioudaki about Monika Weiss’ Wrath
Download the program brochure
Download the press release


Admission is free. The entrance is located at the junction of Evripidou & Dimosthenous streets (Kallithea). SNFCC will remain open from Friday, June 24 at 6 PM till Sunday, June 26 at 4 AM continuously. 

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Maciej Toporowicz in "All Mounds Can Be Seen from My Window" – Bunkier Sztuki 50th anniversary exhibition
Mar
5
to May 8

Maciej Toporowicz in "All Mounds Can Be Seen from My Window" – Bunkier Sztuki 50th anniversary exhibition

Bunkier Sztuki
3A Plac Szczepański
Kraków, 33-332
Poland

A group show commemorating 50 years of the venerable non-profit art space Bunkier Sztuki in Krakow, Poland, features documentation of the most successful performance by AWACS, a performance duo founded by Maciej Toporowicz and Piotr Grzybowski, and active 1981-1983. In this iconic performance, which took place in Krakow in 1981, they toyed with a real danger of 220 V electrocution, terrorist attack, and the issue of trust and solidarity between brothers in arms. In the end there was a gas bomb exploding on a stage. This performance reflected the darkest years of living in communist Poland, and it was published in 1982 by a radical California magazine High Performance. Selected by curator Krzysztof Siatka.

Curated by: Anna Bargiel, Paulina Hyła, Magdalena Kownacka, Lidia Krawczyk, Anna Lebensztejn, Kinga Olesiejuk, Aneta Rostkowska, Krzysztof Siatka, Karolina Vyšata, Magdalena Ziółkowska 

Artists participating: AWACS (Peter Grzybowski, Maciej Toporowicz), Azorro (Oskar Dawicki, Igor Krenz, Wojciech Niedzielko, Łukasz Skąpski), Agata Biskup & Przemysław Czepurko, Janusz Byszewski, Yane Calovski, Marek Chlanda, Wincenty Dunikowski-Duniko, Roman Dziadkiewicz, Andris Eglītis, Peter Grzybowski, Maciej Jerzmanowski, Janusz Kaczorowski, Konger (Marian Figiel, Władysław Kaźmierczak, Marcin Krzyżanowski, Artur Tajber), Katarzyna Krakowiak, Mateusz Kula, Monika Niwelińska, Stefan Papp, Maria Pinińska-Bereś, Michael Portnoy, Laure Prouvost, Artur Tajber, Raša Todosijević, Krystyna Tołłoczko-Różyska, Zbigniew Warpechowski, Mieczysław Wejman, andAnna Zaradny.

 

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n.paradoxa reviews Monika Weiss' "Two Laments"
Jan
1
to Jun 1

n.paradoxa reviews Monika Weiss' "Two Laments"

Excerpts from an in-depth review of Monika Weiss’ work-in-progress, Two Laments by Vanessa Gravenor in n.paradoxa – international feminist art journal:

Monika Weiss’ "Two Laments", a series of video cantos that address the event of rape in India […], questions both how one can be emancipated from the residual pain of victimhood, but also how victimhood, especially transformed by the phantom language of memory, can be a site for co-shared resistance. […] Weiss asks questions that many feminists or artists would often deem taboo. Her piece thus forms a thorough meditation upon trauma and pain [...] 

Her work is what Griselda Pollock terms “post-traumatic” in that it contends with events that remain within collective psychic consciousness but are unable to be fully or properly mourned because the extremity of the trauma defies speech.[...]

Weiss addresses the colonial past of the city of Delhi. […] The city acts as a second body, and second victim to a different type of violence. This city is also representative of a female body or perceived oriental or exotic zone that the West often fetishizes and thus, abjects. [...] In Weiss’ video, these two critiques go hand in hand. The demolition of the female form is akin with the destruction and framing of the east [….] By interweaving these two critical narratives, that of feminism and that of colonialism, Weiss is claiming that the violence perpetrated to women in sex crimes carries the same gravitas as the public violence in the city, and thus, should have the same visibility, the same critical language, and the same public reminders.

Vanessa Gravenor, Monika Weiss’ Two Laments, in: n.paradoxa – international feminist art journal, KT press, London, UK, vol. 37, 2016, pp. 83-88. The full text is available through n.paradoxa

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