Zofia Kulik and Przemysław Kwiek cease to work as a duo, 1987
In 1987 Zofia Kulik concluded her artistic collaboration with Przemysław Kwiek and started her own, independent artistic project. She abandoned the open form and performative actions. Her work became, in a way, the exact reversal of notions and ideas that represented her activities as a duo. Instead, she began to create “closed forms”, such as photographic collages, which were static objects, “closed” to any interference by others, while visually mimicking the ordered, hierarchical, organised, and ornamental patterns of cathedrals, altars, oriental carpets, and paintings of kings. Her works were created using a technique of multiple film exposure. They were composed of hundreds of photographs of symbols of totalitarian and military violence, as well as male human bodies twisted in a peculiar alphabet of gestures (e.g. The Gorgeousness of the Self). These works gained substantial recognition in the 1990s and were interpreted i.a. from the perspective of feminist theories.
Hely
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Warsaw West County, Łomianki, Poland 05-092
Térképen
Hivatkozások
KwieKulik. Zofia Kulik & Przemysław Kwiek, Łukasz Ronduda, Georg Schöllhammer (eds.) Warsaw/Wrocław/Viena 2012.
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