Maria Bartuszová: Research Symposium
Maria Bartuszová, Untitled, 1985-7, gypsum, non preserved, the courtesy of Bartusz Family
The exhibition is accompanied by a symposium planned for Saturday, September 27th, between 11am and 4pm. The symposium will seek to animate the research on Maria Bartuszová’s art in a broader international context of the history of art.
The history (of art) knows lots of examples of narratives that have been omitted, forgotten or pushed out of the mainstream for various reasons. The one-day symposium devoted to the work of Maria Bartuszová, organized as part of the exhibition “Maria Bartuszová. Provisional Forms” is an attempt to bring one of such narratives to light again. At the same time, its aim is to look at the history (with a capital H) from the point of view of its own margin.
On the one hand, the invited guests will be returning to the past and explaining it, while on the other hand, they will be trying to revive the history: to situate it in a broader (often merely potential) perspective and to imagine possible (albeit non-existent) dialogues. By disturbing linearity they will be trying to look for contemporary meanings.
Participants: Briony Fer (UCL, London), Anke Kempkes (Broadway 1602, NY), Martina Pachmanová (Prague), Christine Macel (Centre Pompidou, Paris), Boris Ondreička (Bratislava) and Gabriela Garlatyová (Municipal Gallery, Rimavská Sobota).
The symposium will be held in English.
11h00: Marta Dziewańska: Opening and introduction
11h20: Gabriela Garlatyová: Touch. Impressed Thoughts of Maria Bartuszová
11h50: Martina Pachmanová: Silence about Feminism and “Femininity“ as an Aesthetic Value: Czech and Slovak Women Artists in post-1968 Art Theory
12h20: Anke Kempkes: Maria Bartuszová - Pioneer of Form. The Futurism of Women Avant-Gardists
13h15-14h15: Lunch Break
14h15: Briony Fer: Working Process, Thinking Process: Eva Hesse and Studiowork
14h45: Boris Ondreička: On Corporeality and Rediscovery.
15h15: Christine Macel: Untitled, 1986: Some Thoughts Around the Artwork
Gabriela Garlatyová is an art historian, curator of the Collection of Maria Bartuszová in Košice and curator and director of the Town Gallery in Rimavská Sobota (Mestská galéria). She also lectures on contemporary art of the second half of the 20th Century at the Faculty of Arts of the Technical University in Košice.
Since 2004 she has devoted most of her time to researching and presenting the work of Maria Bartuszová. She is also edited and wrote the first monograph about this artist.
She has curated more than 100 monographic exhibitions of Slovak artist accompanied by catalogues (selection): Štefan Balázs, Maria Bartuszová, Juraj Bartusz, Erik Binder, ViktorFrešo, Květa Fulierová, Ivica Krošláková, Juraj Meliš, Vladimír Popovič, Rudolf Sikora,Gyula Szabó, Biennial of painting?, Zero Years, Slovak visual art 1999 – 2011 from four curatorial perspective.
Martina Pachmanová - Ph.D., is an art historian, independent curator, and writer. She specializes in gender, sexual politics and feminism in modern and contemporary art and art theory. She is Assistant Professor at the Academy of Arts, Architecture and Design in Prague, Czech Republic. Pachmanová is author of several books: Mobile Fidelities: Conversations on Feminism, History, and Visuality (Prague 2001; English version: www.ktpress.co.uk); Unknown Territories of Czech Modern Art: Through the Looking Glass of Gender (Prague 2004); Artemis and Dr. Faustus: Women in Czech and Slovak Art History (edited together with Milena Bartlová; Prague 2008); The Birth of the Woman Artist from a Lemonade Foam: Gender Contexts of Modern Czech Art Theory and Criticism (Prague 2013). She also published three monographs of forgotten Czech female modernists related to their retrospective exhibitions: Milada Marešová: Painter of New Objectivity (Prague – Brno 2008); Madame Gali: Expressionist Work of Marie Galimberti-Provázková. 1880–1951 (Prague 2011); Vlasta Vostřebalová-Fischerová: Between Social Art and Magical Realism (Prague – Brno 2013). As a curator, Pachmanová organized more than twenty exhibitions of modern and contemporary art. She also collaborated on the exhibition GENDER CHECK: Femininity and Masculinity in Eastern European Art (Vienna – Warsaw, 2009 –2010).
Anke Kempkes worked as an independent scholar, critic and curator since 1992 in London and Berlin. In 2004 she held the position of Curator at Kunsthalle Basel where she realized the exhibition Flesh at War with Enigma centered on the work of Polish sculptor Alina Szapocznikow. In 2005 she founded BROADWAY 1602 in New York. The gallery’s curatorial and research based program is focused on the re-introduction of women artists from the 1960s and 70s. Anke Kempkes has in this context exhibited and represented the work of Babette Mangolte, Alina Szapocznikow, Evelyne Axell, Nicola L, Zofia Rydet, Penny Slinger, Sylvia Palacios Whitman, Rosemarie Castoro, Lenora De Barros, Gina Pane, among others. In 2014 Anke Kempkes curated the two-part exhibition ULTRAPASSADO exploring gender related questions in the milieu of geometric, minimal and systematic abstraction in the work of women artists from three generations and five countries: Lenora de Barros, Lygia Pape, Lydia Okumura, Martha Araújo, Paloma Bosquê /Brazil and Unite States; Rosemarie Castoro and Samia Halaby (former Palastine) / United States; Gina Pane /France; Barbro Östlihn /Sweden; Dora Maurer /Hungary.)
Briony Fer is an art historian who has written extensively on modern and contemporary art. Her research interests have consistently moved between the history of the avant-gardes and the work of contemporary artists, including Gabriel Orozco, Roni Horn, David Batchelor and Tacita Dean. Her books include On Abstract Art (1997)and The Infinite Line (2004)and Eva Hesse: Studiowork (2009). She has also organized exhibitions of Eva Hesse’s studiowork as well as, most recently, an exhibition of the work of Gabriel Orozco, accompanied by a monograph Gabriel Orozco: thinking in circles (Fruitmarket Gallery, Edinburgh, 2013). She is Professor of History of Art at University College London
Boris Ondreička - born 1969 (Zlaté Moravce, SK) is an artist, curator and singer based in Bratislava, SK, and Vienna, AT. He has been working as project coordinator at Soros centre for contemporary arts, Bratislava, SK, director of art-initiative tranzit.sk <http://tranzit.sk>, Bratislava, SK, and curator at Thyssen-Bornemisza Art Contemporary, Vienna, AT (since 2012). He has (co-)curated many exhibition projects. In 2010 he has co-founded the Július Koller Society. His artistic projects were exhibited in many international exhibitions. His HI! lo. was published at jrp Ringier, Zurich, CH. Since 1987 he is a lead-singer and lyrics-writer of the band “Kosa z nosa”, Bratislava, SK.
Christine Macel is the Chief Curator at the Pompidou Centre, Musée National d’Art Moderne and an art critic. She oversees the Création Contemporaine et Prospective department. Since 2000, she has curated numerous shows at the Pompidou in addition to developing the most recent collection, Espace 315, which is dedicated to contemporary art. Her recent curatorial projects at the Pompidou were Philippe Parreno, Promises of the Past,Gabriel Orozco and Danser sa vie/Dance your life. She has served as Advisor for the exhibit based in Berlin (2011), Berlin and curator of Ziad Antar's Portrait of a Territory (2012) at the Sharjah Art Foundation. As an art critic, she contributes regularly to several magazines, including: Artforum, Flashart, Kunstforum and has written in catalogues and books. Her most recent essay, Time taken (Le Temps pris), was published by Monografik and Centre Pompidou in 2009.