No Longer Showing.
Having often addressed questions of feminism and cultural convention, Paulina Olowska here revisits the work of Zofia Stryjeńska—exploring the visionary Polish artist’s notion of ballet as a “wreath of ceremonies,” and designing costumes after her 1918 painting series Bożki słowiańskie (Slavic Deities) that was based on Slavic folklore and mythology. Katy Pyle, Artistic Director of the Ballez, will be working with Jules Skloot, Lindsay Reuter, Mei Yamanaka, Deborah Lohse, Madison Krekel, and Charles Gowin to personify Stryjeńska’s goddesses in solos that reactivate classic folk steps. An original score by Sergei Tcherepnin will mix cosmic sounds together with traditional Mazurkas, Polkas, and Oberkas, as well as spiritual disco. Lighting design by Madeline Best with inspirational quotes of Zofia Stryjeńska and Paulina Olowska.
Curated by Katy Dammers and Tim Griffin.
January 26–28, 8pm
Unique Multiple by Paulina Olowska for Slavic Goddesses—A Wreath of Ceremonies
On the occasion of Slavic Goddesses—A Wreath of Ceremonies, Paulina Olowska has created a series of unique painted goddess gloves based on original designs by Zofia Stryjeńska.
Proceeds from the sale of these paintings, made in a limited edition of 25, will support artists whose groundbreaking, genre-defying work appears at The Kitchen throughout the year.
These unique works are now available for pre-sale, to be delivered in spring 2017.
Slavic Goddesses Gloves (design after Zofia Stryjeńska), 2017
Unique suede gloves, hand-painted by the artist and presented in custom box
Gloves created by Czeslaw Jamroźiński Marszalłkowska Street, Warsaw
Limited-Edition of 25, Unique Multiple
Each glove ca. 5 x 8 inches, 12.7 x 20.3 cm
Edition of 25 with 2 APs
$2,500 + tax
Zofia Stryjeńska was one of the most acclaimed artists in Poland during the period between the two World Wars. A multifaceted artist, she was a painter, muralist, graphic artist, book illustrator, as well as designer of kilims, toys, posters, stage sets, and costumes. After World War II and the subsequent institution of the Communist regime in Poland, she was systematically relegated to insignificance, her contribution to Polish art ignored. In fact, she was discredited because she refused to join the government-run Union of Polish Artists. The government's efforts were so successful that even today her contribution is considered minor. Yet, despite this treatment, the Communist government, without her permission, appropriated her paintings and illustrations of Polish subjects and folklore for mass-produced postcards, calendars, plate decorations, and other objects, and used her graphic designs for various commercial purposes.
For more information, please contact Katy Dammers at firstname.lastname@example.org or by calling 212-255-5793 ext. 21 between the hours of 10am and 6pm, Monday through Friday.
Slavic Goddesses—A Wreath of Ceremonies is the continuation and evolution of Paulina Olowska’s The Mother An Unsavoury Play in Two Acts and an Epilogue (2015), that was commissioned and produced by Tate Modern (London) within the framework of Corpus, network for performance practice www.corpus-network.org. Corpus is co-funded by the Creative Europe Programme of the European Union.
Slavic Goddesses—A Wreath of Ceremonies is made possible with support from Rebecca and Martin Eisenberg, Thea Westreich Wagner and Ethan Wagner, Joanne Leonhardt Cassullo and The Dorothea Leonhardt Fund at the Communities Foundation of Texas, Inc., and Polish Cultural Institute New York; annual program grants from Lambent Foundation Fund of Tides Foundation, The Andy Warhol Foundation for the Visual Arts, Howard Gilman Foundation, Mertz Gilmore Foundation, and The Fan Fox and Leslie R. Samuels Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special thanks for the generous support of Metro Pictures, New York; Simon Lee Gallery, London; and Foksal Foundation Gallery, Warsaw.
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