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competition film
Karuzela z Madonnami
Dir Weronika Krupa
Poland
2016
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LAZNIA 2 / Exhibition, Ania Witkowska- We have one heart

The starting point of the exhibition are letters written by Farouk, the father of Witkowska’s husband Adam, to Adam’s mother Halina, which were only found after the latter’s death. This correspondence enabled Adam and Anna to discover the love story between Adam’s parents and the reasons behind their break up. The very title of the exhibition was borrowed from one of Farouk’s letters. Adam’s parents used basic English, so their writing is full of funny mistakes and twisted phrases, yet what shines through are the tenderness, care and love they had for each other. In the letters, Halina is referred to as “My Lody,” while Farouk signs his name as “Faroukovsky” in an attempt at approaching Polish spelling. Also meaningful is the rose-printed letter paper he used – a rose is an important symbol in Eastern culture.

 

Adam’s parents met during a student trip to Budapest in 1976. At the time Halina studied at the Faculty of Graphic Arts of the State Art University. Farouk, an Iraqi Kurd, was older than her and studied History at the University of Baghdad. It was his first trip to Europe. For several months the pair lived in Poland and sought permission for a civil marriage. During that time, Farouk often travelled to Iraq.When he was away, they exchanged letters. In 1977 Halina became pregnant. Two months before she gave birth, in February 1978, Farouk had to fly to Baghdad again. Only this time he did not return. He was denied another visa to Europe and could not be there for the birth of his first son.

 

Farouk was conscripted and, as an inhabitant of Baghdad and citizen of Iraq, he took part in the first Iran–Iraq War and subsequent offensives led by Saddam Hussein. Towards the end of the war, Saddam decided to clamp down on Kurds – the nation of eternal guerrillas and rebels. Farouk again witnessed unimaginable violence, referred to by some as the Kurdish Holocaust. During ceasefires he made spontaneous drawings, some of which have survived and, transformed by Anna Witkowska, will be shown at the exhibition.

 
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The drawings were subjected to psychological analysis by Dr. Hab. Przemysław Piotrowski, head of the Forensic Psychology and Criminology Unit at the Institute of Applied Psychology of the Jagiellonian University. His expert opinion is ruthlessly clear: “In traumatic situations, when one experiences things that previously seemed unimaginable, words fail. The multitude of dramatic events that cannot be compared to anything else makes it very difficult to verbalise one’s observations, feelings and thoughts. This difficulty involves more than just the concentration of intense emotions: people who experience events such as natural disasters, brutal crimes or wartime activities find that trying to describe it in words, especially to people who never found themselves in similar situations, is futile in terms of communication, as it fails to convey the dramatic nature of events and what they had to endure. Some sensitive individuals attempt other means of expression, such as music, writing or drawing.”

Drawing is a means of projection; in other words, according to psychodynamic psychologists and psychiatrists, it is an unconscious manifestation of our traits. Farouk began to draw in a critical, extreme moment, to protect his sense of self. The story of Farouk and his Polish-Iraqi family will serve as a pretext for deliberations on the geopolitical and economic mechanisms that influence human fate and their effect on further generations. Farouk appears as an everyman whose story resonates with the combined experience of Kurds and Arabs who visited Poland in the 1970s. It is worth noting that Poland cultivated close ties with the Middle East up until the 1990s: many Poles left for Iraq and found employment in the construction of roads, bridges, power stations, residential and administrative buildings.

These good relations were interrupted by wars. The experience of long-standing armed conflict, permanent danger, no prospects for a change of fate and harassment on the basis of nationality places Farouk among other victims of wartime oppression. It is interesting to see how he tries to transform war trauma through drawings and poetry, which show clear references to ancient Persian, Kurdish and Arabic culture.

At the exhibition Anna Witkowska modifies original drawings, poems and letters of her father-in-law, adding the perspective of European culture and our way of thinking about the Middle East. Using objects, video, large-format prints, a black-and-white carpet and a wall painting titled All of Farouk’s Wars she brings us closer to Farouk the everyman: a war survivor who has loved and who wants to love again, reminding us that “We have one heart”. Consequently, the exhibition will attempt to face the experience of nomadism, of forming relationships between people of different nationalities as well as the consequences of war and its impact on the human mind, also in the philosophical dimension.

Anna Witkowska is a visual artist, graphic designer and occasionally a curator. She has been associated with Gdańsk ever since her studies at the Academy of Fine Arts. Anna and Adam Witkowski form a husband-and-wife art duo. Anna’s individual projects often have a synthetic, graphic character, with text playing a vital role. Witkowska explores the poetics of advertising with an existential dimension (pictograms, murals, lightboxes, video). She employs video, photography, installation and objects.

She is the holder of two scholarships awarded by the Ministry of Culture and National Heritage. In 2011, together with Adam Witkowski, she was nominated for the prestigious Deutsche Bank “Views” award for Young Artists at the Zachęta National Gallery of Art. In 2013 and 2017 she won the scholarship of the Marshal of the Pomeranian Voivodeship. In 2014, together with Adam Witkowski, she curated the Narrations Festival The Sage and the Ghost, for which she won the Splendor Gedanensis award. Recent years saw her revive a former student collective Friends from the Seaside, to which she invited further Friends. Witkowska also co-authored Friends from the Seaside, an extensive account of the cooperation between Tricity artists in 2002–16, which was published in 2017.

The exhibition We Have One Heart is associated with the artist’s doctoral degree.
 
Curator: Jolanta Woszczenko
Assistant of curator: Emilia Golnik
 
 
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People
  • Jury 1.st stage: Wojciech Zamiara
    Wojciech Zamiara (born 1960 in Toruń) - Polish contemporary artist, interdisciplinary artist (creator of multimedia installations, performance and video art), educator. He studied at the State Higher School of Visual Arts in Gdańsk (current name of the university: Academy of Fine Arts in Gdańsk), he obtained his diploma at the Graphics Studio of prof. Cyprian Kościelniak in 1986. He has been working at the Gdańsk University since 1986, currently holding the post of second degree adjunct. He leads the studio Introduction to Intermedia at the Department of Specialization and Specialization at the Faculty of Sculpture.
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  • Jury 1st stage: Krzysztof Kornacki
    Prof. Krzysztof Kornacki is a film expert specializing in the history of Polish cinematography and employee of the Culture and Art Department of the Polish Studies Institute at the University of Gdańsk. He is the author of Kino polskie wobec katolicyzmu 1945–1970 (Polish cinematography and Catholicism 1945–70 – book nominated for the Bolesław Michałek award) and “Popiół i diament” Andrzeja Wajdy (Andrzej Wajda’s Ashes and Diamonds –  2011“Pióro Fredry” Award for the Book of the Year). Kornacki also co-edited Poszukiwanie i degradowanie sacrum w kinie (Looking for and degrading the sacrum in cinematography) (2002) and Sacrum w kinie. Dekadę później (The sacrum in cinematography: a decade later) (2013). He co-founded the Loves of a Blonde Film Club at the University of Gdańsk and served as its first chairman; he also sits on the Editorial Board of the Panoptikum magazine on audio-visual culture.
     
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  • Jury 1st stage: Katarzyna Pastuszak
    Katarzyna Pastuszak (Ph.D/Poland) is a dancer, perfomer, academic, artistic director of Amareya Theatre (Gdansk, Poland); curator of Butoh Festival in Gdansk and Gdansk Dance Festival (2009-2014), honourable member of the Gdansk Culture Council (2009-2014), academic teacher at the Institute of Culture - Gdansk University. In 2015 received the prestigeous scholarship of the Polish Ministry of Culture “Młoda Polska” for the realisation of performance project “Kantor_Traces”; also in 2016-2015 she was nominated for prestigeous prize “Splendor Gedanensis”. In 2014 published her Ph.D dissertation entitled “Hijikata Tatsumi’s Ankoku butō – the theatre of the body-in-crisis”. Co-operated with such artists and groups as: Saburo Teshigawara, Waguri Yukio, Murobushi Ko, Kawamoto Yuko, Gekidan Kaitaisha, Peter Schumann – Bread & Puppet Theatre, Odin Teatret, Edivaldo Ernesto, Jozef Frucek and Linda Kapetanea and others. Presented her works at festivals in Poland and abroad: Tanzimpulse Festival (Salzburg), Redplexus Festival (Marseille), XV Alternative Theatre Meetings KLAMRA, SUKKOT Dance Festival in Adama Centre / Mitzpa Ramon (Israel), Festival of Asian Culture - MADE IN ASIA, Festival Streetwaves Gdańsk, Poland; International Festival “Sound Around Kaliningrad”, Russia; Redplexus Festival - Preavis de Desordre Urbain in Marseille, France; Shakespear Festival, Gdańsk, Poland; Villkvinneseminar Festival of Women Art, Mosjoen (Norway); TAGTAS Festival, Morishita Studio in Tokyo, Japan; Apart Festival, “Opening Doors III” festival organised by Workcenter of Jerzy Grotowski and Thomas Richards. Performance “Nomadic Woman” directed by Katarzyna Pastuszak together with Amareya Theatre & Guests was preformed at 11. International Dance and Theatre Festival in Theatre X Tokyo and also in Greenland National Theatre in Nuuk and Sisimiut Kulturhus. In 2016 "Kantor_Traces: COLLAGE" dir. by Pastuszak was chosen as "The Best OFF-OFF Performance" by Gazeta Świętojańska, in 2017 it won the II Audience Prize at Festiwal Klamra in Toruń. In 2017 "Nomadic Woman" dir. by Pastuszak was presented in Tokyo and Sapporo where 2 Ainu artists joined the presentations, broadening the cultural and political context of the piece - Tsugumi Matsudaira i Utae Ehara.
     
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  • Jury 2. st stage: Marta Ziolek
    MARTA ZIÓŁEK is a choreographer and performer. Before starting her studies in choreography at the School for New Dance Development (SNDO) in Amsterdam, she studied at the Inter-faculty Individual Studies in the Humanities at the University of Warsaw. In her work she focuses on expanding the field of practice in choreography and the study of new forms of expression and embodiment. She operates in the language of new technologies and pop culture, she is interested in new rituals and performance studies of identity.
    So far, she participated in workshops, projects, and co-worked with such choreographers and theoreticians as Bojana Cvejić, DD Dorvillier, Deborah Hay, Maria La Ribot, Trajal Harrell, Benoit Lachambre, Ann Liv Young, Xavier Le Roy..
    One of her first shows as a choreographer after graduation was "Black on Black" which was produced by Hetveem Theatre  in Amsterdam, co-produced by The Museum of Modern Art in Warsaw, STUK in Leuven, Studio Theatre in Warsaw and Komuna Warszawa in Warsaw. Komuna Warszawa has also produced her two latest works –“PIXO” and "Make Yourself".In the meantime she initiated project called “Pamela”  that had three editions to date: "Pamela at the Gallery" as part of the exhibition "Better Self" Zachęta – August 2017 and Is "It Pamela/Incarnations" (Łódź of Four Cultures Festival – September 2017), "A Seance with Pamela"( a part of: „PTV. Performans TV”, odcinek 3 Ujazdowski Castle Centre for Contemporary Art ).
    Ziółek thus far, among other places, showed her work in the Netherlands, Germany, Austria, Switzerland, Romania, Israel, The United States and Poland.
    In 2011, she received the Dance Web scholarships from the ImPulsTanz Festival in Vienna. In 2012 she participated in the Springdance SPRING performing arts festival - Europe in Motion in Utrecht dedicated to young emerging choreographers. In 2013 she received a scholarship from the Amsterdam Fund for the Arts.
    Ziółek's main focus is exploring the boundaries between visual arts, performance art, film and choreography.In 2018 She created choreographic installation for Netflix’s Pavillion - “Altered Carbon” at Ehtos Gallery. In 2017 she collaborated with Sharon Lochart and created choreography for her film presented in the Polish Pavillion at the Venice Biennale.
    Ziółęk also cooperated in theatrical projects such as "Ewelina’s crying," directed by Anna Karasińska  and “Girls” ,"The Football Players" directed by Gosia Wdowik both at the TR theater in Warsaw. In addition, she participated in art shows such as "Let's Dance" in The Art Station Foundation gallery, "Frame Of Reference" in the Museum of Art in Lodz and in Warsaw's Sculpture Park under the Museum of Modern Art in Warsaw.
     
     
     
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  • Jury 2nd stage: Dara Friedman
    Dara Friedman (b. 1968, Bad Kreuznach, Germany; lives in Miami) uses everyday sights and sounds as the raw material for film and video artworks that reverberate with emotional energy. A former student of the famously rigorous Austrian filmmaker Peter Kubelka, Friedman engages tendencies in 20th-century experimental cinema that call for a radical reduction of the medium to its most essential material properties. In place of linear storylines, her films typically portray straightforward gestures and situations that unfold according to predetermined rules and guidelines.
    Yet for all of Friedman’s strenuous logic and discipline, her approach remains unabashedly sensual and emotive. Bearing rich imagery and a strong emphasis on bodily experience, her films generate moments of high-pitched, cathartic intensity as well as serene, even euphoric interludes. In recent years, Friedman has increasingly explored the charged boundaries between the public and private spheres, working with musicians, dancers, actors, and other individuals selected through casting calls and auditions. These experimental collaborations dovetail with the artist’s longstanding endeavor to use her work as a means of engendering empathy while pounding on the walls that separate viewer from subject, artist from audience, self from other.
    Dara Friedman studied at the Städelschule in Frankfurt, as well as at the Slade School of Fine Art, University College, in London; University of Miami, School of Motion Pictures; and Vassar College in Poughkeepsie, New York. Most recently (2017-18) she mounted a mid-career survey exhibition Dara Friedman: Perfect Stranger at the Perez Art Museum Miami with a catalog raisonné distributed by Prestel. Solo exhibitions of her work have been presented at institutional venues including Hammer Museum, Los Angeles (2014); Museum of Contemporary Art Detroit (2014); Center for Contemporary Art Ujazdowski Castle, Warsaw (2013);  Miami Art Museum (2012); Contemporary Art Museum, Raleigh, North Carolina (2012); Museum of Modern Art, New York (2010); Public Art Fund, New York (2007); The Kitchen, New York (2005); Kunstmuseum Thun, Switzerland (2002); and SITE Santa Fe (2001). Her work has been included in group exhibitions at institutions including Hirshhorn Museum and Sculpture Garden, Washington, DC (2013);  MoMA PS 1, Long Island City, New York (2010); Whitney Museum of American Art, New York (2009 and 2002);  Schirn Kunsthalle Frankfurt (2009); Museum of Contemporary Art, Los Angeles (2002); and New Museum of Contemporary Art, New York (2002), among several others. Her work is included in institutional collections, including those of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Pérez Art Museum Miami; Migros Museum für Gegenwartskunst, Zurich; Institute for Contemporary Art, Miami; and Hammer Museum, Los Angeles. Friedman is the recipient of the Rome Prize (2000).
     
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  • Jury 2nd stage: Anna Królica
    Anna Królica is a curator, critic and historian of dance. Her books include Sztuka do odkrycia. Szkice o polskim tańcu (An art to discover. Essays on Polish dance) (Tarnów, 2011) and Pokolenie solo (The solo generation) (Krakow, 2013). She was the editor and curator of the album Nienasycone spojrzenie. Fotografia tańca (The insatiable gaze. Photographing dance) (Tarnów / Warsaw, 2017).
    Her most important curatorial projects include: Maszyna choreograficzna | Choreographic Machine (2013–16, Cricoteka), Z perspektywy żaby | A Frog’s Perspective (2015, Zamek Culture Centre) and Archiwum ciała | Archive of the Body (2013, Zamek Culture Centre). She sat on the Polish Dance Platform jury in 2008, 2012 and 2017 and chaired the Programme Council for Dance at the Institute of Music and Dance (2011–13). She lectured at the Institute of Contemporary Art and the Performative Arts Department of the Jagiellonian University. She currently lectures at the Dance and Media Art Institute of the Adam Mickiewicz University in Poznan. Her texts were published in Dwutygodnik, Teatr and Didaskalia journals.
     
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Festival IN OUT
OPEN CALL
 
This year we introduced online application system!
 
 
12th IN OUT FESTIVAL 2018 dance/image
Experiments / Video / Documentaries / Animations
 
Since 2005, the In Out Festival has been regularly organized by the Łaźnia Centre for Contemporary Art. This edition will include lectures, film screenings, concerts and an open international competition for the best video works, experiments, documentaries and animations.
This year, the competition will be centred on the subject of dance/image.
 
The competition comprises two stages: until 9 April 2018, jury of the 1st stage will pick 20 artists, whose works will be qualified to the 2nd stage of the competition and screened at Łaźnia CCA. The artists will be invited to take part in the Festival in Gdańsk.
 
Awards:
1st award: PLN 5,000 funded by the Marshal of the Pomeranian Voivodeship, Mieczysław Struk
2nd award: PLN 4,000 funded by the ŁAŹNIA CCA
The jury will also award special mentions. 
 
 
 
The competition is aimed at visual and film artists aged 18 and over.
Film duration: over 1 minute, under 20 minutes
Production year: the work should not be older than 3 years
 
The deadline for applying online is 25 March 2018. Do not hesitate to take part!
 
Link to the online registration form:
 
Rules and regulations:
 
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