Objects and costumes must be works of art, not decoration which is discarded once it has been used. This is what makes the Cricot 2 Theatre a unique and purely artistic phenomenon – Tadeusz Kantor
Ambalaże, Polish word coined from the French emballage meaning “packaging” was one of Kantor’s main creative strategies. The symbolic gesture of wrapping up an object or a figure is related to the need to guard, protect, fix, hide. Earlier, the artist…
‘My childhood has a profound influence on what I create now,’ says Katarzyna Szweda. Her photographs are an extension of the artist’s relationship with the presented landscapes. A relationship so close it is almost corporeal.
The exhibition evokes questions about the rank and status of objects. Goplana with Elves were not meant to be a decoration, but to “embody a stage character”. For Kantor, the object as a “form – a spatial sculpture with a…
The exhibition poses questions about the actuality of the process of multiplication. Is creativity unequivocal with the so-called work of art? Does multiplication compromise the artwork or does it provide an opportunity to go beyond its limits?
The “Thirty to Tommorow” exhibition is an effect of multithreaded relations between artists, curators, time and space. It is at the same time the culmination of Robert Kuśmirowski’s road to Cricoteka.
Exhibition by Przemek Branas – a new version of his installation “Model of the head of a man who has missed everything in life” – is another project within the Cloakroom exhibition programme.
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