A one-day symposium devoted to the work of Wanda Czełkowska, organised as part of her retrospective, aims to enhance the international reception of the artist s oeuvre and present it within a broader context.
The one-day symposium devoted to the work of Feliza Bursztyn, organised as part of the exhibition, is an attempt to offer a much-needed history of the artist’s vibrant body of work.
If the Polish art world continues down this slippery slope, it may find itself yet again on the cultural periphery, with many of those in the country who do not conform to the right-wing orthodoxy suffering ostracism or worse.
Photographer Agnieszka Sosnowska lives on more than one square mile of feral Icelandic terrain, a landscape flecked with a thousand folktales, passed down from one generation to the next. According to legend, little houses lie unseen within the fissures of the native rocks, inside which the elves or Huldufólk meaning “hidden people” go about their secret, invisible lives. Sosnowska, who moved to the farm in eastern Iceland a decade ago, is herself a skeptic, but she can’t help but hear the whispers of some mysterious presence when she’s out there, alone with the wind and the gulls for company.
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