Alina Szapocznikow Documents. Works. Interpretations
Françoise Collin

For centuries women's artistic creativity has been paralysed by socio-historic conditions, marginalising them or taking away their ability of distribution or recognition.

Some artists managed to break through, but it was usually to a less prominent place. However their work was visible when it remained anonymous. In pieces considered to be crafts. The evolutionary or even revolutionary change in the status of women in the twentieth century led to their creativity flourish. It may be noted that in the beginning, without an agreement, many women artists chose for the subject, or theme of their work their own body. These were artists such as Ginie Pane, Carolee Schneemann, Cindy Sherman, Orlan, Janie Sterbak, Kiki Smith, Anie Mendieta. Alina Szapocznikow had her place in this international trend. t a time when many Polish artists and befriended artists founded the socialist realist art imperative fleeing into abstraction or surrealism (Tchorzewski, Stern, Fangor), Szapocznikow presents a different relationship with reality, in a different approach to the original cogito: I - I am my body.

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