Artur Zmijewski: THEM, 2007
geboren 1966 in Warschau, Polen, lebt und arbeitet ebenda. Er studierte an der Kunstakademie Warschau und an der Gerrit Rietveld Academie in Amsterdam Fotografie und Film. In seinen Arbeiten setzt er sich mit dem Machtpotenzial von Kunst und ihren Verknüpfungen zur Politik auseinander. Seine Arbeiten wurden u.a. im MOMA in New York, im Kalmar Kunstmuseum, dem Cornerhouse in Manchester, der Kunsthalle Helsinki und Basel oder der DAAD-Galerie in Berlin ausgestellt. Im KULTUM wurde Zmijewski in den Ausstellungen „SINGING LESSON“ (2006), „GESTURES OF INFINITY. Religion und Emotion in einer globalisierten Welt“ (2007) und “Last & Inspiration” (2018) gezeigt.
born in Warsaw, Poland, in 1966; lives and works in Warsaw, Poland. He studied Photography and Film at the Academy of Fine Arts, Warsaw, and at the Gerrit Rietveld Academie, Amsterdam. In his works he deals with art’s potential power and its links to politics. His works have been exhibited i.a. at the MOMA, New York, the Kalmar konstmuseum, Kalmar, Sweden, the Cornerhouse, Manchester, the Kunsthalle Helsinki, the Kunsthalle Basel and the DAAD Gallery, Berlin. Zmijewski’s works were shown in the KULTUM in the exhibitions “SINGING LESSON“ (2006) and “GESTURES OF INFINITY. Religion und Emotion in einer globalisierten Welt“ (2007).
Artur Zmijewski: THEM, 2007
In the end, the abstract politeness of the beginning turns into sheer vandalism: In his video installation “Them”, which he created for the documenta XII (2007), the Polish artist Artur Zmijewski documents a process of unstoppable destruction and violence: He invited different representatives of antagonistic segments of society in his home country Poland to participate in a workshop in his large studio. Among the participants there were patriotic Catholics, representatives of the Polish youth, democrats, conservatives and freedom fighters. In a creative atmosphere, each group was given the opportunity to present its position in the language of art. The performative actions were compared with ideological positions, discussed and corrected. First of all, the participants presented the values and slogans which were important for them on large canvases. The other participants were allowed to react to their presentations immediately. The debate was held indirectly via the objects. While the first comments on national consciousness, morals, abortion, homosexuality etc. were still given in the form of overpainting and written remarks, they soon became more violent: Canvases were cut up with knives; disagreeable elements were removed and replaced by other symbols. What started out as a game became dead-serious. Knives, bottles of paint and methylated spirits were used; the creative space not only lost its innocence but ended in disaster and destruction.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 539.