Talk: 31 Oct, 6-7.30pm
Think Tank: 1 Nov 6pm-8pm
This is the exhibition lecture/ museum, and an exhibition/ a lecture/ museum is many things
Active Archive – Slow Institution continues with a series of seminars and events led by international artists, curators and critics.
My lecture and the following think tank session are immersed in the writings of Jerzy Ludwiński (1930–2000), a Polish art theoretician and critic who, in the early 1970s, observed that the transformation of art was linked to its assumption of entirely new forms; an observation which the critical language of his time was unable to do justice. Ludwiński compared the development of art to glue (“embracing everything and pouring itself into everything”), serving as a link between different fields of intellectual, scientific and social activities.
Should museums of the future come to resemble a greenhouse (an art environment which will provide a protected space for the growth of new (post)artistic practices), it is possible that such a museum would be activated and negotiated by the people, its programme formed through a process of constant negotiation. Such a museum would not undergo a material disintegration, but would rather become an interface in the ongoing mediation between the people who practice, utilise, play with, consider, and discuss art.
Please RSVP to firstname.lastname@example.org to receive programme information.
Consortium for Postartistic Practices, Justice is the stronghold of power and persistence of the Republic of Poland, reenactment, 2017
Making Use. Life in Postartistic Times, exhibition view, 2016
Courtesy of the Museum of Modern Art in Warsaw
Reenactment of Arctic Circle by Rasheed Araeen (1988), Bródno Sculpture Park, 2017
Courtesy Museum of Modern Art in Warsaw
The Orangery – Bródno Scuplture Park / The Bródno Biennale, 2018 Courtesy of the Museum of Modern Art in Warsaw
‘Reenactment (Situationist drift)’ held as part of Use it again, Bródno Sculpture Park, 2017
Photo: Michał Rumas
Courtesy Museum of Modern Art in Warsaw
Sebastian Cichocki is a curator, writer, and art critic. He is Chief Curator of the Museum of Modern Art in Warsaw and curator of the Sculpture Park in the Warsaw district of Bródno. In the years 2005 to 2008, he was the Program Director of the Centre for Contemporary Art Kronika in Bytom (PL).
Select exhibitions curated by Sebastian Cichocki include the Polish pavilions at the 52nd and 54th Venice Biennales with Monika Sosnowska (1:1) and Yael Bartana (…and Europe will Be Stunned) respectively, the latter project co-¬curated with Galit Eilat, Making Use: Life in Post-artistic Times, Museum of Modern Art in Warsaw (2016); Rainbow in the Dark: On the Joy and Torment of Faith, Malmö Konstmuseum (2015); Rainbow in the Dark, SALT, Galata, Istanbul (2014); Zofia Rydet, Record 1978‐1990, Museum of Modern Art in Warsaw (2015); Procedures for the Head, Kunsthalle Bratislava, Slovakia (2015); New National Art, Museum of Modern Art in Warsaw (2012); Early Years, KW Institute for Contemporary Art, Berlin (2010); Raqs Media Collective, The Capital of Accumulation, Museum of Modern Art in Warsaw (2010); and Oskar Hansen. Process and Art 1966-¬2005, Museum of Modern Art in Skopje, Macedonia. Sebastian Cichocki has managed the Sculpture Park in Bródno, along-term public art programme initiated in 2009 with the artist Pawel Althamer (featuring projects by Olafur Eliasson, Jens Haaning, Monika Sosnowska, Rirkrit Tiravanija, Ai Weiwei and others).
Cichocki has produced a number of experimental exhibitions in the form of books, as well as residency programs and staged lectures. Cichocki is an author and co-author of several books on art e.g. A Cookbook for Political Imagination (2011), The Future of Art Criticism as Pure Fiction (2011), Earth Works! (2013), and a popular children’s book on contemporary art S.Z.T.U.K.A (A.R.T.).
Project Arts Centre is proud to be supported by the Arts Council Ireland and Dublin City Council.