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Millennium School is the first book by Krzysztof Zielinski one of
the most interesting photographers of the young generation of
Polish photographers. The photographs focus on the primary school
which he attended as a child in the small Polish town of Wabrzezno.
The school itself, Primary School no 3, was built in 1962 as a part
of a major government development masterplan - - 'A thousand
schools for the thousand years of the Polish state'. This is why
these schools were called 'millennium memorial schools'.
Essentially a propaganda plan, the new schools were presented as a
gift from the Communist party to the nation, even though the
post-war demographic boom meant that they were a necessity. Built
around standard layouts, usually two or three storeys and
constructed from prefabricated concrete, they were designed to be
adaptable for military purposes with many having underground
shelters and capable of being converted into temporary hospitals.
Compared with the standards of the 60s, the schools were modern and
well-equipped, and being a student at one was regarded as a sort of
distinction. Today, the splendour of millennium schools is long
forgotten. Physically, little has changed over the past twenty
years, the furniture and equipment are the same, though as if to
hide the passage of time and their modest and now outdated
facilities, the classrooms have been painted in vivid colours.
A central pillar of Daniel Lie's artistic practice is time -
ranging from age-old memories to the beginning of the world, from
the life span of a human being to the geological time of the
elements. Lie's art explores concepts such as life, death, and
decay, as well as biographical relationships and heritage, with an
approach that centres around personal memories, family stories,
cultural objects, and natural products that survive for a long time
and are linked to memories of the past. Taking a lifetime as a
comparative measure, the works are inspired by developmental
processes and the transition from one state to another.
Installations, sculptures, and a combination of different media
reveal the performative qualities of the referential objects -
time, transience, and presence. Lie turns a spotlight on these
three aspects by creating complex installations and giving pride of
place to organic elements that grow and age and have life cycles of
their own, such as plants and fungi. Engaging in an
interdisciplinary exchange with mycologists, archaeologists, and
environmental specialists, Lie addresses the fault lines in binary
thought patterns such as science and religion, past origins and
present existence, life and death, while attempting to subvert
them.
Gladys Kalichini (born 1989 in Chingola, Zambia) is a contemporary
visual artist and academic who investigates how women have been
portrayed in relation to a dominant, colonial past. For example,
the artist sheds light on instances in which women have been
deleted from historical narratives and the collective memory of
society. As a result of her extensive research, Kalichini has
demonstrated that women were intentionally marginalised in the
official representations of Zambia's and Zimbabwe's struggles for
independence. In her elaborate multimedia installations and video
art, which she often develops on the basis of research material and
photos from archives, Kalichini highlights the omissions in the
dominant representations of the two countries' fight for freedom.
She thus expands the history of their liberation struggle by
drawing attention to the deletion and invisibility of female
freedom fighters. By reminding the public of several of these
women, Kalichini creates a diverse and complex alternative
narrative of national independence.
In her art, Gaëlle Choisne (*1985, lives and works in Paris and
Berlin) addresses the world’s complexity with its numerous
political and cultural crises – such as the overexploitation of
nature and natural resources or the consequences of colonialism and
the scars it has left. Her works are often designed as
collaborative projects that evolve over years and are continuously
redefined at changing locations and with varying participants.
Choisne’s long-term project Temple of love – To hide is based
on the idea of self-healing through sharing our experience with
others, through our connection with our ancestors, respect for our
historical heritage, and an inner physical balance. In a number of
interviews, she asked female and transfeminine people about their
situation as racialised women in contemporary society, including
several women who have developed the ability to “heal” through
various methods and techniques: for example, by creating
communities or through family care, music, or “alternative”
medicine. Her installation, composed of video projections and
objects, presents itself as a safe space which highlights self-care
and caring for others. Visitors are invited to participate in an
energetic healing process or to drink soothing concoctions.
Lubomir Typlt (*1975) is one of the well-known representatives of
contemporary Czech figurative painting. The pictures of the former
A.R. Penck student captivate with their expressive colours, heavy
brushstrokes and his relentless view of the human form. The
catalogue Somnambul assembles his latest images in which adolescent
girls and boys oscillate between fear and aggression, captivity and
freedom, as well as isolation and solidarity. Typlt’s visual
worlds are relentless, angular metaphors. They appear terrifying,
but admonish that nothing can be more terrible than ignorance and
numbness.
In his new catalogue Ballad for Space Lovers, the artist Sebastian
Hosu (*1988) traces his creative work of the past years since
completing his master class studies in Leipzig. The centre of
the creative work and life of the Romanian-born artist is the old
Leipziger Baumwollspinnerei (cotton-spinning mill), one of the most
important artist centres in Germany of our time. Hosu’s pictures
are distinguished by an expressive characteristic style, as if
created in just one single breath. His dynamic, often
flesh-coloured forms give rise to the suggestion of bodies and flow
into a living natural environment. Whether luminous oil painting or
charcoal drawings — Hosu’s pictorial works have a strong
physical presence and take viewers along with them on a journey
through space and time. Text in English and German.
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KOSCHIES - SURFACES (German, Hardcover)
Birgit Koschies, Axel Koschies; Contributions by Sigrid Weigel, Klaus Honnef, Christoph Tannert
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R1,195
Discovery Miles 11 950
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Ships in 12 - 17 working days
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There is something magical about these photographs; they show faces
as they have never before been seen. The 360-degree portraits by
the artist duo Koschies deconstruct familiar occidental views. They
are not structured around a vanishing point, but instead take place
entirely in the planar dimension. With their fascinating time-slit
camera recordings, the artists enter into new visual terrain - not
on the basis of digital manipulation, but through creatively making
use of the influence of time in the pictures themselves. Just as
Impressionist pictorial forms in their day came as a shock to the
perception of academically trained viewers of art, these portraits
act as a substantial challenge to the eyes of their late modern
addressees, whose eyes have been inundated with traditional
photography.
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R398
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Discovery Miles 3 300
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