“Paweł Althamer: The Neighbors,” 2014. Exhibition view: New Museum. Photo: Benoit Pailley
Join Ana Janevski on Friday April 11, at 3 p.m., for a gallery-based talk in conjunction with “Paweł Althamer: The Neighbors”. Drawing on her experiences collaborating with Althamer in Warsaw, Janevski will discuss the artist’s sculptures, with particular focus on Guma (2008). Guma, created in collaboration with a group of local children and caregivers from the North Praga Pedagogy and Social Animation Group from Warsaw, is one of a number of Althamer’s sculptures that celebrates individuals on the margins on society and was originally installed outside a neighborhood bar.
Launched in the fall of 2013, Outside the Box is a new series featuring gallery-based talks given by various guest speakers over the course of a season. In this program, lecturers with diverse backgrounds and affinities will address the New Museum’s current exhibition(s) in forty-five to sixty minute presentations taking place exclusively in the Museum’s galleries. As a way to emphasize the Museum’s strong commitment to new art and new ideas, Outside the Box talks provide the public with multidisciplinary perspectives on New Museum exhibitions. To this end, lecturers speak about the exhibitions or themes emergent in artists’ works from the various positions they occupy, be they academic, personal, political, etc., and engage in rich investigations that illuminate and probe the Museum’s current exhibition program.
For the spring season, Outside the Box talks include:
All Outside the Box talks are free with Museum admission, but attendance is limited. Please RSVP here for more information and to request tickets.
Paulina Antoniewicz was born in Warsaw in 1986, and studied Sculpture at the Academy of Fine Arts in Warsaw (2006–13). Antoniewicz received a scholarship from the Polish Ministry of Culture and National Heritage (2010/2011), and works in the field of sculpture, drawing, photography, and animation. She has been an assistant to Paweł Althamer on projects such as Mezalia, Almech, Pinki, and Dreamer; she also conducted Draftsmen’s Congress in Eisenhüttenstadt, Warsaw, and Kiev. Antoniewicz’s solo exhibitions include “Pulled Out of the Ass,” FSW In Situ Gallery, Warsaw (2012), and a sculptural installation at Communio Graphis Gallery, Góra Kalwaria (2005). Her group exhibitions include “Art at the Castle,” Kordegarda Gallery, Warsaw (2014), “Coming Out,” Simfonia Varsovia, Warsaw (2013), and “Premio Internazionale di Edgardo Manucci,” Arcevia, Italy (2010).
Maureen Connor’s work combines installation, video, interior design, ethnography, human resources, feminism, and social justice. Recent work includes collaborations with Winter Holiday Camp and Occupy Museums, with whom she continues the work begun with “Personnel,” her project about the workplace (initiated in 2000), and the collective she cofounded in 2008, the Institute for Wishful Thinking (IWT), producing interventions that explore the attitudes and needs of individuals and institutions. Her feminist work from the ’80s and ’90s has been included in numerous publications and exhibited in venues including Akbank Sanat, Istanbul, Mass MOCA, Museo Arte Moderno, Buenos Aires, Museum of Modern Art, New York, MAK, Vienna, Portikus, Frankfurt, ICA, Philadelphia, Hammer Museum, Los Angeles, and the Whitney Biennial, among many others. She has been Professor of Art at Queens College, CUNY, since 1990 and is now Codirector of Social Practice Queens (SPQ) in partnership with the Queens Museum.
Ana Janevski is currently Associate Curator in the Department of Media and Performance Art at the Museum of Modern Art. Most recently, she organized the performance project “Musee de la danse: Three Collective Gestures.” From 2007 to 2011, she held the position of Curator at the Museum of Modern Art in Warsaw, Poland, where she curated, among many other projects, the large-scale exhibition “As Soon As I Open My Eyes I See a Film,” on the topic of Yugoslav experimental film and art from the 1960s and 1970s. She also edited a book with the same title. In 2010, she co-curated the first extensive show about experimental film in Yugoslavia, “This Is All Film! Experimental Film in Yugoslavia 1951–1991,” at the Museum of Modern Art in Ljubljana. Janevski also co-curated, with Pierre Bal-Blanc, the performance exhibition “The Living Currency.”
Warren Niesłuchowski was born in a Polish refugee camp in Germany after the Second World War and raised in the United States. While a deserter from the Vietnam War in the late ’60s in Paris, he performed with the Bread and Puppet Theater throughout Europe and in Iran, then began working with a post-’68 theater collective following the research methods of Jerzy Grotowski’s Teatr Laboratorium. For the last many years, after studying Linguistics and Social Theory at Harvard, he has been working with and for artists and art people, ﬁrst at MoMA P.S.1 in New York, and then independently and errantly, as a writer, translator, editor, respondent, collaborator, and occasional performer.
Jacek Taszakowski, born in 1967, is a filmmaker, producer, and cinematographer. Taszakowski has made numerous music videos and programs for Polish TV. He was the cinematographer and coproducer of Portaitistan award-winning documentary about Wilhelm Brasse, a prisoner and photographer from Auschwitz. Since Documenta X (Astronaut 2), Taszakowski has cooperated with Paweł Althamer, and as a cameraman and editor, he took part in most of Althamer’s video works (Dancers, Kunsthalle Basel; Film, Pittsburg, Warsaw; Bródno 2000, Warsaw; “So-Called Waves,” Warsaw; Common Task, Brussels; Altar, Ghent). In 2010, he directed and produced the stop-motion animation Mezalia.
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