Śląsk active (2) — in an active, beautiful and modern way
Śląsk Active 2 — Artists:
Michał Bałdyga, Wojtek Bednarski, Katarzyna Bochenek, Tomasz Cichowski, Dziwoląg & Wiedźma, Marek Glinkowski, Janusz Musiał, Michał Kopaniszyn i Matylda Sałajewska, Ksana (Aleksandra Naparło), Iza Ołdak, Justyna Ptak, Sławomir Rumiak, Stanisław Tarasek, Wojtek Wroński.
Originator of the cycle: Marek Kuś
Curators: Marek Kuś, Stach Ruksza
summary book of the actions cycle ‘Active Silesia’ The book ‘Active Silesia’ is a summary of the cycle of three exhibitions ‘Active Silesia’, which includes a wide range of...
Śląsk active (3) — is the spell taken off us? After the last edition of the cycle of exhibitions ‘Śląsk active’ the creation of two artists deserve special attention because of the coherence of expression....
Śląsk active (1) — has the qualities of energizing drink of same name It’s refreshing, regenerating and throwing off apathy. The project ‘Śląsk active’ results from the need of revaluation, breaking the stereotypes of two...
The exhibition ‘Śląsk active 2’ at the BWA Contemporary Art Gallery in Katowice is the second presentation of works of the younger generation of artists, who are biographically connected with the region of Silesia, although they are not necessarily working in it. Tracing the previous editions of the project, as well as the current show, we can read out the intention and conception of the curators, who are clearly going across the usual practices of the art of exhibition. Many a time the latter are accentuating the representation of the milieu rather than the very presentation of works. Even though the exhibition reveals some toposes and motives that are characteristic for the young generation, the essence of this aesthetical event and a specific discussion panel is the strategy of activity. The fact that usually the generational exhibitions are conditioned with a specifically understood category of presence, and not with the extent and advancement of artistic activity makes that ‘Śląsk active 2’ departs from standards. Moreover, it contests them and at the same time it is announcing the polarisation of art discourse both to the audience and critics. No doubt this presentation undermines the paradigm of the art of exhibition, which is in effect at galleries, academic institutions and even in the media. Naturally, this cannot prove the value or absolute rightness of the conception assumed by the curators, who in the text accompanying the exhibition wrote among other things that this image is non-linear, fragmentary, not strictly connected with institutions, and thanks to it not ideologized. We should remember, however, that each picture, and especially pictures pretending to be of complementary character (it would be difficult to suspect the authors of making accidental selection of artists or works) is oppressive from its nature, and that it contains a group of definite ‘senses’. Deconstructing the existing order, they are surely constructing new, even if alternative, ideology. However the fact that ‘Śląsk active’ was conceived as a cycle of complementary events and exhibitions,
in which don’t take part the artists that are associated expressis verbis with the functioning establishment within the framework of the Union of Polish Artists and Designers makes that it is a presentation which truly uncovers (and may be in a surprising way) new spaces. (…)
Roman Lewandowski
all text you can find in ‘Śląsk active’ book
