English folder

Anna Zaradny RONDO DENOTING CIRCLE The Second Polish Exhibition of Graphic Symbols SNAKES, DAGGERS AND ROSE PETALS 17.09–11.12.2016

the shape, the contour, the line

shape: rounded, spiral, oval, bulgy… contour: expressive, delicate, uneven… line: flexible, thick, vibrant, subtle, straight, simple, fine…

In the beginning was the line, let us perversely say. A math­ ematician, asked for a sound statement on the matter, would describe it as either straight or curved, comprising an infinite set of specifically coordinated points arranged on the plane or in space, and state further that neither Eu­ clidean nor Cartesian geometry provided a versatile defin­ ition. Artists see these things differently. If it is the line that occupies their minds, they do not intend to find or formu­ late clear definitions. A lone line; a million clustered lines blurring on the walls (as in Sol LeWitt’s spatial drawings); also, a line designating tensions, directions and areas in a picture; a line investigating the boundaries of abstrac­ tion (see the Constructivists) or effortlessly thrown onto the canvas—in any case, with precision. What the artist and the scientist share, after all, is meticulosity.

The following three projects shown in the “Bunkier Sztuki” Gallery of Contemporary Art deal with work methods employed by illustrators, graphic designers and musicians, for all of whom accurateness of the line is paramount. Therewith they create logos and graphic symbols conveying values and operating on our visual associations, call into being their protagon­ ists and the worlds these inhabit, or comment on everyday life with irony. At their hands the line—em­ bellished with a variety of collocations—is a tool with which to study reality.

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Snakes, daggers and rose petals

Artists: Jan Bajtlik, Dominika Bobulska, Katarzyna Bogucka, Tymek Borowski, Bohdan Butenko, Bolesław Chromry, Agata Dudek, Grupa Maszin (Daniel Gutowski, Michał Rzecznik, Jacek Świdziński, Mikołaj Tkacz), Marta Ignerska, Tymek Jezierski, Edward Krasiński, Aleksandra Lampart, Adam Macedoński, Aleksandra Niepsuj, Stefan Papp, Alicja Pismenko, Bianka Rolando, Magdalena Sawicka, Franciszka and Stefan Themerson, Xavery Deskur Wolski, Bartosz Zaskórski Visual narrative: Damian Nowak, Agnieszka Piksa

There is one thing I like about the Poles—their language. […] The sound [of Polish] evokes strange images in which there is always a greensward of fine spiked grass in which hornets and snakes play a great part. […]

These furious sorties with adders and rose petals made an intoxicating sort of music, a steel-stringed zithery slipper-gibber which could also register anomalous sounds like sobs and falling jets of water.

Henry Miller, Sexus, in The Rosy Crucifixion (New York: Grove Press, 1965) The Snakes, daggers and rose petals exhibition features young illustrator’s output engaged into a dialogue with the ever-inspiring tradition of the Polish school of illustration. At the same time it points in the opposite direction so as to reopen the once closed chapter of this visual domain’s history and make it face today’s lively circulation of illustrative works. Correspondence of pieces made specifically for this exposition with such classics of Polish illustration as those by Bohdan Butenko, Edward Krasiński, Adam Macedoński, Stefan Papp or Franciszka and Stefan Themerson reveals common features—for example similarities in text handling strategies. From methods involving illustration’s influence on—or even penetration of—a book’s textual layer, practised by Bohdan Butenko with his peculiar sense of humour, to activities combining visual arts and literature, embarked upon by the likes of the Themersons, then perpetuated by Papp and Adam Macedoński, whose pursuits lie between figurative poetry proposed by Guillame Apollinaire and conceptual art; it was precisely that concept-wise aspect of illustration as well as presence of abstraction (doings at the borders of different arts are particularly distinctive in this context)—in character among illustrators aiming at artistically aware, adult readers—that guided curatorial research.

In an age when the internet expands dynamically and reality is experienced in a mediated and media-based shape, which is accompanied by formal openness of present-day communication models, illustration redefines its place amongst visual arts. Characteristic of contemporary illustration is not only artists’ innovativeness and the resulting diversity of forms and techniques, or a change of function in building the represented world, but also unusual mediums—found in 3-D realisations of intradisciplinary author Tymek Jezierski, Jan Bajtlik’s interactive illustrations (e.g. Typogryzmol/ Typodoodler) or the well-known game Prawda czy fałsz (True or False) revamped by Aleksandra Lampart. Another important trait of contemporary illustration is intermediality, observable for instance in audio-video installations of Bartosz Zaskórski—heir to Italian futurists who blends literature and visual arts with music. Trends in illustration include multivalence too: images can be part of a greater project, one of several elements constituting the work (as in collective piece of Grupa Maszin—a comic book in 1970s’ style disguised as the never-issued

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“Maszin 78. Magazyn Literatury Obrazkowej”/“Maszin 78. Pictorial Literature Magazine”). Illustrators are not afraid to turn their process upside down, beginning with drawings or other visual representations in order to match words thereto later and “illustrate illustrations”, so to speak.

That is how Stefan Papp’s original poetry book Autoportret ze słów (Selfportrait of words) and Spacer (Stroll) by Dominika Bobulska originated; the latter consists of, inter alia, illustrations (made using a special, authorial photographic technique), objects, quotes from various texts and a book.

Contemporary illustration enjoys multiplicity of distribution channels. Apart from releasing their works online as willingly as through books, artists create animations (Marta Ignerska, Muzeum utracone/The Lost Museum series) and fashion (Dominika Bobulska, Wyglądasz jak chłopak/You look like a boy), identified on a par with printed productions. Anything can become text, even the human body perceived as subject of cultural interpretations, or—on a higher level—an individual understood as carrier of codes and symbols (so is the case with designs by illustrator and tattoo artist Magdalena Sawicka, aka Sick Rose, who considers her illustrational output and custom tattoos completely equivalent). Illustrators adopt varied text handling strategies, focused either on substance or on different qualities of wording—sound or melody, for example. Piecing together words and pictures with fugal precision, they often build startling relations. Interactions emerge, usually taking the form of a dialogue or—quite the contrary—a duel of word and image (as in Bianka Rolando’s anti-illustrative pieces). Many call into being their own, self-contained worlds. Such is the realm generated by Alicja Pismenko—in Podróże (Travelling), a series of drawings and objects, aside from flora and fauna of a secret garden she invented a system for intercommunication taking place therein, and included a story-made guide. As far as treatment of language is concerned, a lot can be learned from pictorial books of Bolesław Chromry—Ha!art-published Pokrzywy (Nettle) for instance, called graphic soap opera by the author himself. The illustrator creatively draws on lines heard in television serials or originating in internet memes, incorporating them into his realisations. Chromry’s publications are situated between picture books and comics. Similar classification applies to works of such authors as Tymek Borowski, Xavery Deskur Wolski, the already mentioned Bohdan Butenko and creators associated with the Maszin comic group. Popular yet underrated in critic circles, comic art embodies—as Scott McCloud argues—a deeper consciousness in the play of word against picture.

Despite impressive achievements of Polish illustrators—those comprising the so-called Polish school of illustration as well as the generation of artists active over the last decade (like Katarzyna Bogucka, Agata Dudek or Aleksandra Niepsuj), who have no complex about making an extensive yet individually tailored use of the former’s treasury—the sphere of illustration is still waiting for adequate recognition among the country’s art historians and critics. For all that creators keep employing the medium, treating it with

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scientist-like curiosity and extending the definition of book illustration— after all, the result of an illustrator’s work does not necessarily have to be a book. Could that prove narrative art not dead yet?

In How Art Works?, Tymek Borowski used the term “exhibition book” to draw an analogy between expositions—having their own narratives, with curators appearing as editors—and narrated publications. Let us then treat Snakes, daggers and rose petals like a book. The exhibition’s nested structure reflects the collective, process-oriented course of publishing. The exposition is framed by works of Agnieszka Piksa, Damian Nowak and Mateusz Okoński manifesting themselves as a unique visual narrative. All three differently tell the procedure of illustrating. Commenting on the display, Piksa built upon texts, statements and arguments concerning the act of illustration—that is to say, annotating, contradicting, developing and restricting a given text. Her metadrawing acts as accompaniment, an especial walk-through, or perhaps signs meant to direct the viewers towards different illustrative concepts. Rather than with fictional plots, the artist worked with back-end factors, individual aspects of an illustrator’s creative process, undertaking a subjective, quasi-scientific analysis thereof.

Unveiled along them is layout authored by Damian Nowak (artist who deems such design means as modernist check or typography fully fledged illustrational tools), conceived as a catalogue of patterns, a specific alphabet or a visual code with which to organise the exhibition’s topography. Last but not least, the exposition design, made by Mateusz Okoński and inspired with pages of a book: a system of mobile and portable modules and showcases as well as sliding walls that allows—besides rearrangement of the display feasible whenever it is rented—to compile further “editions” of the exhibition.

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Learn more at our website and Facebook page.

– exhibition walk-throughs meant to revise the exposition along with special guests such as Sebastian Frąckiewicz and Anita Wincencjusz-Patyna.

– a curatorial tour in the artists’ company;

– launch of exhibition-based publication entitled Węże, sztylety i płatki róży. Polska ilustracja książkowa (Snakes, daggers and rose petals. Polish book illustration) joined by involved illustrators and authors, among them Wojciech Albiński;

The contextual events programme for Snakes, daggers and rose petals will include:

Anna Zaradny RONDO DENOTING CIRCLE

Cyclicity, repetition, circulation. The audiovisual structure developed in the Gallery by Anna Zaradny takes the form of a looped composition spinning round between tumultuous emotion and cool intellect. As in Dante’s epic, it makes a disturbing journey within and at the same time upwards, from the absolute physical and mental bottom to the sweet heights of ecstasy. Comparable to initiation—progressive involvement in extraordinary mysteries—it eventually culminates in disintegration and physical fatigue producing a sense of harmony and relief.

The pilgrim’s path descends into successive domains of circumstance; those, raised and triggered with the artist’s gesture, lead step by step to an abstract, inner experience. First, figures inspirational to Zaradny are encountered, representing different times and realms: medieval mystic and composer Hildegard of Bingen, 19th-century pianist and piano music author Tekla Bądarzewska, contemporary composer and conductor Witold Lutosławski (1913–1994), modernist architect Krystyna Tołłoczko-Różyska (1909–2001) and musical avant-gardist Karlheinz Stockhausen (1928–2007). The domain of cognition that follows reveals work methods and means mediated thereby: experiment as the basis for an artist’s action, visions, controlled chance, repetition and development techniques, processual approach. The third domain of sensation is marked by the shape of circle and its derivations—mandala and spiral, building the exhibition in formal terms. Upon such simple geometrical shapes the next plane is founded: an abstract language, hermetical notation developing between sheet music and building plan. Then, experiences induced by the domain of matter: concrete, glass and steel, existing both in the building’s primary substance and within structures of the very works, which allude to Tołłoczko-Różyska’s metal furniture designs. The following layer unfolds destruction, artist’s brutal interruption in several decades’ conversions of the original architectonic tissue, marked by remaining rubble, dust and ash.

Disintegration of material forebodes the seventh domain, scarred by bodily exhaustion, weakness, insanity and obsession that take thee to the verge of abyss and desolation. As soon as one’s way across is made, a peculiar sacred ground arises, hosting the rite—an abstract yet austere mystery play devoid of mystic atmosphere. That brings us into the ninth domain: a meeting place for picture and sound, darkness and light, monochromatic spots and a feast of colour. These encounters make space for the climactic field of experience: absoluteness, the centre, the One; a realm of harmony, significance and relief born out of concluded peregrination; deliverance resulting from defiance of rule, traditional sex-based categorisations and

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cultural schemas. It is here where all the preceding experiences lead and where emotion accumulates. Chaos dissolves—only orderliness, radiance and song remain.

This end is at once a beginning, fulfilment of a unique biological and spiritual cycle which combines Zaradny’s individual objects, installations and performative acts in a circular labyrinth, composed of semantically complementary units joined together by signs of the artist’s physical existence.

Finding oneself back in the point of departure is when the “exalted vision [loses] its power. / But now my will and my desire, like wheels revolving / with an even motion, were turning with / the Love that moves the sun and all the other stars” (Dante Aligheri, Divine Comedy, Paradiso, Canto XXXIII, 142–145, translated

by John Dickson Sinclair, modernised and adjusted by Lauren Seem and Robert Hollander).

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[1, 2] high tones are like blinding light; their radiance, deafening “[…] although that sound does not come” — Hildegard of Bingen

CAN’T ILLUMINATION light installation, 2016 hand forged representation of mandala found in Sweetest Sound of Circulating Firmament | light, rubble, dust and ash | corporeality, destruction, incapability of cognition sketch: Anna Zaradny

SWEETEST SOUND OF CIRCULATING FIRMAMENT sound installation, 2011 instrument, prototype, mandala | representation of the angelic hierarchy authored by Hildegard of Bingen | nine choirs and an intelligent sphere, all sounds of the ether | number- and proportionbased order | medieval theologian’s concepts and contemporary artist’s language | diminution of picture, sound, idea | orderliness and harmony

collage: Anna Zaradny

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[0] PLAN musical score, 2016 manuscript, instruction, composition diagram | freehand drawing and gesture | point, line, plane | fusion of music notation and strokes specific to building plans | original features coded into a stand-alone score | inaccessibility of language

collage: Anna Zaradny

[3] SUNRISE/SUNSET audiovisual composition, 2014 pace of the day from sunrise till sunset | musical composition as carrier of dynamics and narration, a picture-scored piece | cyclicity, equilibrium, the passage of time

still: Anna Zaradny

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[4] LUTOSŁAWSKI CUT video installation, 2014/2016 Witold Lutosławski and his controlled aleatoric technique | conductor’s gesture deconstructed, slash, puncture in the air | chance, freeze, looping | exposing the structure, concrete and steel

photograph: Christoph Krane

photograph: Anna Zaradny

[5] RONDO DENOTING CIRCLE multimedia object, 2016 a spiral-shaped labyrinth, revolution, a circling body | a pitch-black point, mark, spot—excerpt from the Octopus video | spinning, looping, corporeality | raw metal juxtaposed with natural linen | characteristics of flax, hermaphroditical one-day flowers | textile-based artworks exhibited in BWA

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[6] FOR YOU KARLHEINZ object, 2016 photographs: Karlheinz Stockhausen monographic concert (Cosmic pulses, Warsaw Autumn 2008) | a luminous sphere, form arrested in time, score | motion, buildup, imposition | interconnections between an object, the material and architecture

[7] STUDIO installation, 2016 means employed in the Tongue of Venus installation dedicated to Tekla Bądarzewska | torn partitions—reprise of a theme from reconstructed Trigonometry 7 | erecting the physical through sound | autonomy of tools, substance becoming creator | process-oriented, experimental, welcoming chance

photograph: Anna Zaradny

photograph: Anna Zaradny

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[8] CORE site-specific installation, 2016 dialogue with the modernist work of architect Krystyna TołłoczkoRóżyska | spiral staircase as the building’s core | light and darkness, white next to black | unreality, illusion | a deafening radiance

[9] PUNCTUS CONTRA PUNCTUM audiovisual composition, 2013

photograph: Anna Lebensztejn

counterpoint, a compositional technique dating back to medieval times | fixed melody and notes which complement it | here: analogue picture combined with a sonic layer | a system, musica universalis | horizontality, setting into architecture

still: Anna Zaradny

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[10] GO GO THEURGY performance documentation, 2016 a reference to the Go Go Theurgy album, successive stage of the process | reconstructing action, the artist’s performance | an emotional rite, corporeality, exhaustion, destruction | evidenced by dust and ash

photograph: Magda Wunsche

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Anna Zaradny Sound and visual artist, composer, instrumentalist. The broad spectrum of her musical activity spans both improvised acoustic music within a modern minimalist idiom and entirely electronic, structurally and compositionally elaborate forms of experimental character. Those visually constructed works of hers are predominantly formed as installations, objects, photographs or videos.

Therein, the artist employs abstract means, architectonic and sound generating devices as well as light and space. The pieces are characterised by ambiguity in concepts and in relationships between intentions and form.

Solo displays authored by Zaradny include Pass/ed (No Local, Krakow, 2010), Tongue of Venus (Starter Gallery, Warsaw, 2012) and Reconstruction (Starter Gallery, Warsaw, 2015). Zaradny’s works have been featured in many collective exhibitions, including Early Years (KW Institute for Contemporary Art, Berlin, 2010), As You Can See: Polish Art Today (Museum of Modern Art, Warsaw, 2014), Mere Formality (Labirynt Gallery, Lublin, 2015) and The Silence of Sounds (Wrocław Contemporary Museum, 2016).

In 2011 she was included among the finalists of “VIEWS Deutsche Bank Foundation Award” and received the audience prize.

Zaradny frequently performed at Polish and international music festivals, such as In Between (Chicago, 2001), Hafarot Seder Festival (Tel Aviv, 2007), “What is Music?” (Sydney/Melbourne, 2009), Unsound (New York, 2011 and London/ Krakow, 2013), EMFP Festival (Tokyo, 2011) and El Nicho Aural Festival (Mexico City, 2014), as well as at the Polish Composers’ Union’s “7+7=70” Festival of Seven Trends (Warsaw, 2016). Having for many years curated the late Musica Genera Festival of experimental and improvised music, she continues to run the Musica Genera record label. Her discography covers both solo records and collaborations—with, among others, Burkhard Stangl, Robert Piotrowicz, Christian Fennesz and Kasper T. Toeplitz. Zaradny also created music for a considerable number of stage plays and sound-based performative acts. The artist’s websites: annazaradny.net, soundcloud.com/annazaradny

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Sacrum Profanum Alchemy, the philosopher’s stone: in the material world, symbolic of knowledge never to be possessed; in the realm of the mind, trope for deconstruction and synthesis, for innumerable combinations trending towards an ideal transfiguration, to balance and perfection. Luckily for art, imagination is—like alchemy—impossible to contain within the laws of chemistry and physics. It can relate, compound and process everything with anything, sometimes pursuing a predefined aim, and othertimes following the creator’s instinct—manifesting itself here and now, subject to smooth transformations. Each of those forms and procedures may be freely combined with another, complicated, taken to extremes, employed in order to reflect or distort reality. And although each also requires acquaintance, acquaintanceship is worthwhile, for every single one of them is an aesthetic and intellectual journey enabling us to open our eyes wider and better see the world’s complexity and beauty.

This inward experiment becomes actuality; these are the words that expound this year’s Sacrum Profanum, as multiplex yet concise as they get: acousmatics, Agata Zubel, Anna Zaradny, Arditti Quartet, avant-garde, Barbara Kinga Majewska, beauty, Bedroom Community, discussions, diversity, emotion, Ensemble InterContemporain, exhibitions, experiencing music, experiment, Eyvind Kang, festival commissions, Ictus Ensemble, improvisation, indie classical, interdisciplinarity, intuitiveness, John Zorn, Karlheinz Stockhausen, Luciano Berio, Maja Ratkje, Marcin Stańczyk, Mike Patton, Mira Calix, new music, Nico Muhly, opera, Pierre Boulez, Sonambient, Stephen Drury, tradition, Valgeir Sigurðsson, Witold Szalonek, Zbigniew Karkowski. Arranged alphabetically because singling out whichever one is beside the point, whereas incidental sequence fosters inventive interpretations. Such is the idea of a festival rooted in Krakow’s cultural community but even so transfigured: establishing new connections and qualities, previously imagined or effected by virtue of creative intuition.

Pure alchemy. Eight days, nine concerts including two operas, and an immeasurable diversity. Behold the reinvented Sacrum Profanum.

October 1st through 8th, Krakow // sacrumprofanum.com

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– occasions for experiencing the artist’s musical output—a Noetinger/Piotrowicz/ Zaradny trio concert on Friday, October 7th at 10 pm in ICE Kraków (as part of the Sacrum Profanum festival) and a solo concert given by Anna Zaradny on Thursday, October 20th at 10 pm in the former Forum hotel (as part of the Unsound festival);

– a curatorial tour in the artist’s company on Saturday, October 29th, beginning at noon;

– a performance by Anna Zaradny entitled Go Go Theurgy during the exhibition opening on Friday, September 16th, starting at 7 pm;

The contextual events programme for Anna Zaradny’s RONDO DENOTING CIRCLE exhibition will include: – exhibition walk-throughs and meetings with special guests such as independent curator Monika Szczukowska.

The Second Polish Exhibition of Graphic Symbols

Opening of the Second Polish Exhibition of Graphic Symbols at the Gdynia Design Centre, September 2015, photograph by Hanna Jakรณbczyk

Opening of the Second Polish Exhibition of Graphic Symbols at the Museum of Modern Art in Warsaw, November 2015, photograph by Bartek Stawiarski

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Graphic symbols make one of the basic elements of visual communication.

Abstract emblems, illustrative metaphors and depictive abbreviations are like syllables or letters constituting a graphic lingual system. Symbols convey various information and values, give meaning, and signal. Apart from being an aesthetical code purposed for carrying messages, symbols form a language with which to express feelings, identity or world view. Symbols are like a mirror in which the history of individuals, society or country is reflected.

The first attempt in Poland to demonstrate the phenomenon and role of a graphic symbol was made in 1969 by organising the First Polish Exhibition of Graphic Symbols. Covering the period since 1945, the iconic shapes on show mirrored contemporaneous modernistic inclinations and the limited technological possibilities of that time. Exhibited in many Polish towns—including Wrocław and Poznań—and abroad—in East Germany, for instance—the display aroused great interest. However, no further exhibition or publishing efforts have been made since the late 1960s to encompass and comprehend the history of Polish graphic symbols and visual identities.

The Second Polish Exhibition of Graphic Symbols reconstructs the legendary 1969’s display as well as features the most recent, 2000–2015 output of Polish designers. It is the first exposition of contemporary Polish marks and identities in almost fifty years. What has changed over the past five decades is that the present-day means of visual communication are not graphic symbols alone but complex designs: they result from typographical or format-, form- and colouroriented endeavours, and are often parts of branding systems or sophisticated marketing strategies.

Setting Polish graphic symbols and visual identities created in disparate historical circumstances against each other provides an unusual opportunity to compare two different visual cultures—to juxtapose diverse modes, definitions and functions of graphic design.

To date, the Second Polish Exhibition of Graphic Symbols has been shown in Gdynia Design Centre, Museum of Modern Art in Warsaw, BWA Wrocław Dizajn Gallery, Zamek Cieszyn and Institute of Design Kielce.

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1969’s Polish Exhibition of Graphic Symbols opening invitation, certificate and catalogue

Traditional tools of 1960s’ graphic designers, property of Karol Śliwka, photogaph by Hanna Jakóbczyk

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1969’s Polish Exhibition of Graphic Symbols catalogue cover

November 19th—a day for meetings and lectures involving the exhibition organisers, graphic designers and typographers. Learn more at bunkier.art.pl

5th international Digital Art Festival “Patchlab” October 11th through 16th, 2016 The international Digital Art Festival “Patchlab” is an event combining interdisciplinary pursuits of a digital nature, taken up at the borders of humanities, new technologies and creative programming. This year’s festival is focused on the human–machine relation, especially that existing in the new environment of virtual reality (VR), and on the issues of privacy and safety in the Web. The festival will give the opportunity to visit an exhibition of interactive installations and VR-based works, among them The Listener (a data aesthetics installation exploring how we can create new forms of sensemaking for the discrete, personal forms of data generated and broadcast by our smartphones, laptops, and tablets), to see the Hakanaï stage project of Théâtre de Châtillon (France) and to experience audiovisual performances and live acts by, among others, the celebrated Incite duo (Germany), the world-famous 1024 architecture collective (France) and Ali Phi (Iran). The programme also includes a show of selected and prizewinning pieces from Madrid’s review of experimental audiovisual forms MADATAC. One regular part of the festival is workshops—this year dealing with lawful use of the internet’s open resources and with the questions of safety and privacy in the Web. Scheduled, too, is an international conference co-organised by the Academy of Fine Arts in Cracow—covering environment design and creation of virtual reality as well as future uses of electronic and physical worlds’ unions for creative purposes.

The Patchlab festival is a member of AVnode (avnode.org)—an international platform for association of artists and for gathering information about events which feature contemporary audiovisual arts, supported by the European Union’s “Creative Europe” programme.

For a detailed schedule of the festival, visit patchlab.pl

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photograph: Studio FilmLOVE

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You can have the exhibition explained to you whenever it is open for viewing. For more information, email bucka@bunkier.art.pl or call +48 12 422 10 52.

Price: admission ticket + guided tour fee (PLN 35 for Polish, PLN 55 for other languages)

Keepers of exhibitions held in Bunkier Sztuki act as hosts and guides thereto. They prepare original narrative paths for each exposition. Events for mature visitors take the form of dialogue-based tours, whereas children are invited to participate in creative workshops inspired with individual stories.

“The exhibition explained”

In Bunkier Sztuki, every exhibition has its keeper—and every keeper has a story to tell.

The keepers explain, guide as well as answer any requests or needs of all visitors to the Gallery. Regardless of the time of day or week, when visiting Bunkier Sztuki you may take advantage of a brief introduction to the exhibitions on show, free of charge.

Just ask the keeper!

“Non-stop visitor support”

Be informed that we inform (at all times)

The Second Polish Exhibition of Graphic Symbols Bunkier Sztuki Gallery of Contemporary Art 3a Szczepański Square, Krakow bunkier.art.pl Director: Magdalena Ziółkowska Gallery Media Patronage: “Fragile. Pismo

kulturalne,” “Le Monde diplomatique,” Local Life, Off Radio Kraków, O.pl, Radio Kraków

Opening: Friday, September 16th, 6 pm Duration: September 17th through December 11th, 2016

Exhibition Organisers: Patryk Hardziej, Rene Wawrzkiewicz

Coordination: Jolanta Zawiślak Location: lower gallery

Publication accompanying the three following exhibitions Edited by: Anna Żołnik Translated by: Błażej Bauer

Agata Biskup ISBN: 978-83-62224-55-5 Publisher: Bunkier Sztuki Gallery of

Krakow 2016

Gawin, Viktoriya Grabowska, Michał Łojewski, Katarzyna Roj, Kuba Sowiński and Marcin Wolny Exhibition development collaboration: Tomasz

Design, typesetting, preparation for printing:

Contemporary Art

Board of Consultants: Ryszard Bojar, Marta

Chądzyński, Piotr Chuchla, Ewa Chudecka, Aleksander Drożdżewski, Artur Jewuła, Tomasz Jurecki, Ksawery Kirklewski, Marta Kowalska, Adam Nowiński, Marianna Paszkowska, Patrycja Podkościelny, Marta Sarnowska, Szymon Sawicki, Jagoda Sosińska, Kaja Stępkowska, Karol Śliwka (graphic symbol), Piotr Śliżewski, Nikola Trojnar, Julek Wierzchowski, Zuzanna Zamorska Co-organiser: The Second Polish Exhibition of Graphic Symbols

Co-organisers:

Partners:

Co-financed with funds of the Ministry of Culture and National Heritage as part of the task “Węże, sztylety i płatki róży. Polska powojenna ilustracja książkowa” (“Snakes, daggers and rose petals. Polish post-war book illustration”)

Snakes, daggers and rose petals

Anna Zaradny, Rondo Denoting Circle

Opening: Friday, September 16th, 6 pm

Opening: Friday, September 16th, 6 pm

Duration: September 17th through December

Duration: September 17th through December

Location: ground floor

Curator: Anna Lebensztejn

11th, 2016

Partner: Conrad Festival

Co-organisers: Krakow Festival Office, Krakow City of Literature UNESCO

Co-financed with funds of the Ministry of Culture and National Heritage as part of the task “Węże, sztylety i płatki róży. Polska powojenna ilustracja książkowa” (“Snakes, daggers and rose petals. Polish post-war book illustration”) Artists: Jan Bajtlik, Dominika Bobulska,

Katarzyna Bogucka, Tymek Borowski, Bohdan Butenko, Bolesław Chromry, Agata Dudek, Grupa Maszin (Daniel Gutowski, Michał Rzecznik, Jacek Świdziński, Mikołaj Tkacz), Marta Ignerska, Tymek Jezierski, Edward Krasiński, Aleksandra Lampart, Adam Macedoński, Aleksandra Niepsuj, Stefan Papp, Alicja Pismenko, Bianka Rolando, Magdalena Sawicka, Franciszka and Stefan Themerson, Xavery Deskur Wolski, Bartosz Zaskórski Curator: Anna Bargiel Curatorial collaboration: Jakub Woynarowski Visual narrative: Damian Nowak, Agnieszka Piksa

Exhibition design: Mateusz Okoński Coordination: Dorota Bucka

Gallery media patronage:

Exhibitions media patronage:

11th, 2016

Coordination: Renata Zawartka Location: first floor Co-organiser: Krakow Festival Office As part of the Sacrum Profanum festival

Bunkier Sztuki Gallery of Contemporary Art 3a Szczepański Square, Krakow, Poland bunkier.art.pl