{"id":15442,"date":"2024-12-16T12:34:12","date_gmt":"2024-12-16T12:34:12","guid":{"rendered":"https:\/\/bgsw.pl\/strona-archiwalna\/?p=15442"},"modified":"2025-01-13T15:27:21","modified_gmt":"2025-01-13T15:27:21","slug":"bialy-szum-plener-ang","status":"publish","type":"post","link":"https:\/\/bgsw.pl\/strona-archiwalna\/en\/bialy-szum-plener-ang\/","title":{"rendered":"bialy-szum-plener-ang"},"content":{"rendered":"\t\t
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\n\t\t\t\t\t\t\t\t\tARTISTS INVITED TO TAKE PART IN THE CROSS-GENERATIONAL OPEN-AIR WORKSHOPS:<\/strong>\nMarta Borkowska, Ewa D\u0105bkowska, Anjeline de Dios, Sylwia Gorak, Hubert Gromny, Agnieszka Kalinowska, Cheong Kin Man, Krzysztof Maniak, Jerzy Norkowski, Marta Sala, Ewa Zarzycka, Marta Zgierska\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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27 Nov \u2013 04 Dec 2024
<\/strong>Baltic Gallery of Contemporary Art: Centre for Creative Activities in Ustka, ul. Zaruskiego 1a
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FILMY\/DOKUMENTACJE WIDEO<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Marta Borkowska
W\u0119druj\u0105c ujrza\u0142am klif, powiedzia\u0142am mu wch\u0142o\u0144 mnie\u2026<\/em><\/strong><\/h3>

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\n\t\t\t\t\t\t\t\t\tMarta Borkowska<\/strong> – a visual artist, art educator, obtained her MA from the Academy of Fine Arts in Wroc\u0142aw. Active in a wide range of media, including painting, fibre, sculpture and performative practices. Her creative quest involves an in-depth analysis of the human being and society. Adhering to the belief that basic instincts form a major source of human behaviour, she probes into fear, desire, and physical sensations. She examines the effect the experience of pain and loss has on interpersonal relations. Drawing upon memories, she tries to establish a sense of security, and find points of contact along the lines of past and present events. Her work derives inspiration from the therapeutic aspects of creative expression, working with the subconscious, corporealness, and rites of passage. A significant role in her art is occupied by womanhood, its life-giving force and ability to transform. She has a passion for observing nature and finds its cycles and connection to humans highly stimulating. In 2021, she formed together with Marcelina Amelia an art collective called Grupa \u0141ono, which has since been engaging in social actions and feminist activism. She stages performative community events, exhibitions and workshops.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Ewa D\u0105bkowska
<\/strong>Relacja dziewiary z Ustki<\/em><\/strong><\/h3>

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Ewa D\u0105bkowska<\/strong>\u00a0(she\/her) \u2013 born in 1998 in Olsztyn. A knitter and painter. Co-founder of the art collective Grupa Splendor, member of the group Dolina Niesamowito\u015bci. In 2024, she graduated in Painting from the Academy of Fine Arts in Warsaw. She explores the meditative value of repetitive motions while knitting and painting in egg tempera. Her work revolves around the experiences of LGBTQ+ people, girlhood, and one\u2019s relation to faith. Combining the imagery of Christianity and queerness she develops an inclusive language of meanings. She has staged individual exhibitions and the collective\u2019s shows, taken part in competitions (e.g. Eleventh Young Art Biennale Fisheye), group exhibitions (e.g. Zabezpiecz rzeczy, kt\u00f3re mo\u017ce porwa\u0107 wiatr, Galeria Salon Akademii), and contributed to zins (e.g. Queer Erotica Zine: Chapter 3).<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Anjeline de Dios
<\/strong>Day\u00fahan<\/em><\/h3>

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\n\t\t\t\t\t\t\t\t\tAnjeline de Dios <\/strong>(she\/her) is a Filipina singer and scholar. She explores the singing voice and its transcultural geographies of labor, art, care, and healing through her multidisciplinary practice of vocal improvisation, critical writing, and workshop facilitation. Her work has been featured in platforms such as the University of Music and Performing Arts, Vienna (Austria), ArtsEverywhere Festival (Canada), SAVVY Contemporary (Germany), Lingnan University (Hong Kong), Studio Plesungan (Indonesia), Vogue Philippines, and the Philippine Pavilion at the 60th Venice Biennale. Anjeline holds bachelor\u2019s and master\u2019s degrees in philosophy from the Ateneo de Manila University (Philippines) and Link\u00f6ping University (Sweden), and a PhD in geography from the National University of Singapore. She is the co-editor of The Elgar Handbook on the Geographies of Creativity (Edward Elgar, 2020), and the author of Living Song, Living Labor, an ethnography of overseas Filipino musicians.<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Sylwia Gorak
G\u0142os jak morze<\/em><\/strong><\/h3>

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\n\t\t\t\t\t\t\t\t\tSylwia Gorak <\/strong>– educated at the Academy of Fine Arts in Pozna\u0144, obtained her diploma in Prof. Jerzy Ka\u0142ucki\u2019s Painting Studio and in Prof. Jaros\u0142aw Koz\u0142owski\u2019s Performance Studio. Among the grants she has received are those from Prohealvetia in Switzerland, CECArtsLink in New York and the Landeshauptstadt Kulturamt in D\u00fcsseldorf. Laureate of the Fifth Young Art Biennale Fisheye. A performer and singer. Exhibitions and concerts (including Carnegie Hall in New York City). In D\u00fcsseldorf, she has created the world\u2019s Largest Sundial (urban-art). Currently working in acoustic (she has a four-octave vocal range) and conceptual performance, actively involved in the international art scene. She has received a grant from the Muzeum Susch run by the Gra\u017cyna Kulczyk Foundation. Co-creator of the international Common Ground project carried out by the Centre of Contemporary Art in Toru\u0144 in collaboration with institutions in Reykjav\u00edk and Vilnius. She has trained under Prof. Olga Szwajgier \u2013 an opera singer of international renown.<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Hubert Gromny
<\/strong>Czas wyjecha\u0107 \/ Time to leave <\/em><\/h3>

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\n\t\t\t\t\t\t\t\t\tHubert Gromny <\/strong> (b. 1990) is an artist, cultural researcher and curator operating within the scope of artistic media, institutional structures and organisational endeavours. The choice of praxes is conditioned by the urgencies of place and time, as well as, by commitment to an agency of culture for broadening the horizon of the experience of the everyday—by opening for the unknown. In 2022-2024 member of SAVVY Contemporary Laboratory of Form-Ideas in Berlin. His works are part of the public collection of Bunkier Sztuki in Cracow and were presented, among others, in Nordic House, Reykjav\u00edk, La Qui\u00f1onera, Mexico City or Akademie der K\u00fcnste der Welt, Cologne. He graduated from MA programs at ArtEZ University of Arts (DAI-Dutch Art Institute), Academy of Fine Arts in Cracow (Graphic Arts) and BA program at Jagiellonian University (Philosophy). Currently, he has begun a PhD project aimed at comparing cultural transformations in Poland and Vietnam in the 1990s.<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tAgnieszka Kalinowska
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\n\t\t\t\t\t\t\t\t\tAgnieszka Kalinowska <\/strong>– her work can be described as a measure of the condition of contemporary society. Her pieces explore the mechanisms behind the functioning of the world and individual humans in it. Her main concern is the emotional human being suspended in current geopolitical situation. The determining and securing of territories as well as politics with its atavistic rites of power that give individuals an illusional sense of protection are the subject matters of her work. The artist directs attention to issues that tend to be marginalised, revealing subconscious fears, while her works often result from social experiments. She usually make sculptures of paper twine, hay, branches debarked by wild animals, adopting a weaving technique associated with folk art. Her works have been presented at many individual exhibitions, for instance, in the Centre for Contemporary Art \u0141a\u017ania in Gda\u0144sk, Museum Moderner Kunst in Vienna, Arizona State University Art Museum, Galeria BWA in Warsaw, and at group shows in the Muzeum Sztuki in \u0141\u00f3d\u017a, Tokyo Photographic Art Museum, 12th Gwangju Biennale and 19th Biennale of Sydney, amongst others.<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Marta Stanis\u0142awa Sala i Cheong Kin Man
<\/strong>Pomnik do noszenia<\/em><\/h3>

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Marta Stanis\u0142awa Sala i Cheong Kin Man
<\/strong>P\u0142ynno\u015b\u0107 j\u0119zyka<\/em><\/h3>

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\n\t\t\t\t\t\t\t\t\tMarta Stanis\u0142awa Sala <\/strong>is an artist working with painting, collage, installation, object, costumes, video, and group projects. She is involved in activities that promote diversity, intercultural exchange and sustained development. Educated at the Academy of Fine Arts in Krak\u00f3w (2000-2015) under the supervision of Prof. Leszek Misiak, she also completed a course in Garment Technology at the Secondary School of Fashion Design. She has co-founded the Grupa STRUPEK, cooperated with Cecylia Malik and various collectives, carrying out projects aiming to protect the environment and cultural heritage. Since 2015, she has been living in Berlin where she was able, having received a DAAD grant, to carry out a multimedia project called Besser nicht mitmachen, reflecting the precariat in art for the Art in Context course at the Berlin University of the Arts. Her most recent projects include \u00db\u221e-Berlin: A Creative Anarchist Urban Escape Chronicle (2020) with Kurdish-German writer Abdulkadir Musa, Arbeitspause im G\u00f6rli (2021) and Wierzba Estery (2020-ongoing), an initiative to commemorate the coexistence of Slavonic and Jewish cultures in Chrzan\u00f3w (the artist\u2019s hometown) in a green way. Since 2021, she has been part of an art duo with visual anthropologist Cheong Kin Man. <\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tCheong Kin Man <\/strong> is a visual anthropologist, artist and writer, born in 1987 as a \u201cforeign citizen\u201d in what used to be Portuguese Macau. Since 2013, he has been living in Western and Central Europe. He writes in Portuguese, Chinese, English, French and German. His works have been published in Macau, Germany, Portugal, Taiwan, Hong Kong and on the island of R\u00e9union. Since 2021, he has been active as an artist duo with Marta Stanis\u0142awa Sala, a Berlin-based artist, focusing on etymological deconstruction and creation of fictitious languages. Cheong\u2019s early films, including Macao Water Fountains (2007\/2008) and Ou Mun Ian, Macaenses (2009), interrogated Macau\u2019s colonial heritage and its postcolonial identity. His experience in translation, visual anthropology and the years he spent in Berlin have made it possible for him to carry out critical analyses of Eurocentric decolonial discourses. His awarded visual ethnography A Useless Fiction (2015, 2023) was shown in more than 40 countries. At the Pozna\u0144 Art Week, he presented an experimental video called L\u2019\u00c9tymologie d\u2019un r\u00eave. With Sala, they create auto-ethnographies in fibre, video and print.<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Krzysztof Maniak
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\n\t\t\t\t\t\t\t\t\tKrzysztof Maniak <\/strong>(b. 1990) \u2013 his creative practice involves activities in landscape. His works tend to consist in making discrete and simple gestures and interactions with nature such as stroking moss, tree bark or snow, climbing trees, or looking for a pair of trees with a distance between them equal to the length of his body, all performed while strolling through woods, meadows and hills in Tuch\u00f3w where he lives. Educated at the Faculty of Intermedia, Academy of Fine Arts in Krak\u00f3w, and connected with the Department of Intermedia Art Phenomena since 2018 when he obtained his doctoral degree. Laureate of numerous contests, including the 14th Artystyczna Podr\u00f3\u017c Hestii Competition and the 10th Spojrzenia Contest staged by Zach\u0119ta \u2013 National Gallery of Art. His works have been displayed by the Museum of Modern Art in Warsaw, SALT Ulus in Ankara, BWA in Katowice, Galeria Bielska BWA, BWA Warsaw, ABC Gallery, Galeria Bia\u0142a in Lublin, Pa\u0144stwowa Galeria Sztuki in Sopot, MOCAK Museum of Contemporary Art in Krak\u00f3w, and at the Postartistic Congress in Soko\u0142owsko.<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Jerzy Norkowski
Poteraz \/ After now<\/em><\/strong><\/p>\n


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\n\t\t\t\t\t\t\t\t\tJerzy Norkowski <\/strong>– an artist creating intermedia installations, also active as a performer and organiser of grassroots and non-institutional exhibitions. He obtained his MA in 2018, in Jan Gryka\u2019s Drawing and Intermedia Studio at the Maria Curie-Sk\u0142odowska University in Lublin. He is now working on his doctoral dissertation under Robert Ku\u015bmirowski\u2019s supervision. Combining audiovisual techniques and performance art, his pieces appear in specific spatial contexts, while his interdisciplinary displays and works explore the alogicality and absurd of the present. He is interested in new media and the changes brought about in art by the emergence of new technologies. As an independent artist, he is able to take a critical approach to interdependencies, inadequacies, the peculiar rotationality and repeatability observed in the world order. From 2016 to 2018, he was the president of the Towot Squat Foundation. Since 2024, he has been working in the Tenth Painting Studio, run by Prof. Zbigniew Taszycki and Prof. Piotr C. Kowalski at the University of the Arts in Pozna\u0144. He has cooperated, amongst others, with the Studio of Socially Engaged Art \u201cRewiry\u201d, Galeria Labirynt, Galeria Bia\u0142a in Lublin, and the Centre of Polish Art in Oro\u0144sko.\n<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Ewa Zarzycka
Praca tymczasowa \/ Temporary work<\/em><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tEwa Zarzycka <\/strong>is an artist creating intermedia installations, also active as a performer and organiser of grassroots and non-institutional exhibitions. He obtained his MA in 2018, in Jan Gryka\u2019s Drawing and Intermedia Studio at the Maria Curie-Sk\u0142odowska University in Lublin. He is now working on his doctoral dissertation under Robert Ku\u015bmirowski\u2019s supervision. Combining audiovisual techniques and performance art, his pieces appear in specific spatial contexts, while his interdisciplinary displays and works explore the alogicality and absurd of the present. He is interested in new media and the changes brought about in art by the emergence of new technologies. As an independent artist, he is able to take a critical approach to interdependencies, inadequacies, the peculiar rotationality and repeatability observed in the world order. From 2016 to 2018, he was the president of the Towot Squat Foundation. Since 2024, he has been working in the Tenth Painting Studio, run by Prof. Zbigniew Taszycki and Prof. Piotr C. Kowalski at the University of the Arts in Pozna\u0144. He has cooperated, amongst others, with the Studio of Socially Engaged Art \u201cRewiry\u201d, Galeria Labirynt, Galeria Bia\u0142a in Lublin, and the Centre of Polish Art in Oro\u0144sko.\n<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Marta Zgierska
Uj\u015bcie<\/em><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\tMarta Zgierska<\/strong> \u2013 a visual artist, photographer, and author. She has graduated in Photography from the \u0141\u00f3d\u017a Film School, also educated in Polish Philology, Journalism and Social Communication. Her artistic practice and research address the problem of trauma, liminal experiences and the tensions that accompany them. She works with her own body, objects and space, exploring the question of withdrawal and trying to find a way to express alternative sensibilities in the context of sensory overload and exhaustion growing in societies. Her debut cycle called Post won the prestigious Prix HSBC award in Paris. She was nominated for the Foam Paul Huf Award and DZ BANK Art Collection Fellowship. In 2019, she received the title Artist of the Year at the DongGang International Photo Festival in South Korea. She took part in IT:U and Ars Electronica Founding Lab in Linz. In 2023, her book Garden was nominated and awarded at the Prix Bob Calle and displayed at the Centre Pompidou in Paris, amongst others.\n<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Projekt Sfinansowany przez Uni\u0119 Europejsk\u0105 NextGenerationEU.
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Dofinansowanie z UE: 74 486,00 z\u0142<\/strong><\/span><\/p>

Organizator: Ba\u0142tycka Galeria Sztuki Wsp\u00f3\u0142czesnej w S\u0142upsku<\/p>

Matronat: NN6T
Patronat honorowy: Mieczys\u0142aw Struk Marsza\u0142ek Wojew\u00f3dztwa Pomorskiegoy<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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ARTISTS INVITED TO TAKE PART IN THE CROSS-GENERATIONAL OPEN-AIR WORKSHOPS: Marta Borkowska, Ewa D\u0105bkowska, Anjeline de Dios, Sylwia Gorak, Hubert Gromny, Agnieszka Kalinowska, Cheong Kin Man, Krzysztof Maniak, Jerzy Norkowski, […]<\/p>\n","protected":false},"author":5,"featured_media":14515,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[15],"tags":[],"class_list":["post-15442","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized-en","entry","has-media"],"_links":{"self":[{"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/posts\/15442","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/comments?post=15442"}],"version-history":[{"count":44,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/posts\/15442\/revisions"}],"predecessor-version":[{"id":16155,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/posts\/15442\/revisions\/16155"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/media\/14515"}],"wp:attachment":[{"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/media?parent=15442"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/categories?post=15442"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bgsw.pl\/strona-archiwalna\/wp-json\/wp\/v2\/tags?post=15442"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}