During the opening weekend of Up to and Including Limits: After Carolee Schneemann exhibition, there will be a live performance of Paulina Ołowska’s large-scale outdoor work, Slavic Goddesses (2017/2019), drawing inspiration from modernist utopias in America and Eastern Europe to prompt reflections on feminism and consumerism.
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Image: Paulina Olowska, Zaria The Warrior Goddess of Beauty, 2014
Paulina will perform "Abeceda", inspired by the book entitled “ABECEDA” by Karel Teige - a key figure of the Czech avant-garde who created the experimental “moving alphabet” in 1926 in cooperation with Milca Mayerova.
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Image: Paulina Olowska's Performance, Alphabet, Galerie Meerrettich, Berlin, Germany
On the afternoon of Saturday, October 12, 2019, a conversation between Paulina Olowska, Clément Dirié, Natalia Sielewicz, curator at the Museum of Modern Art in Warsaw where she recently organized the show Paint, Also Known as Blood: Women, Affect, and Desire in Contemporary Painting, and French critic and cultural writer Elisabeth Lebovici will propose a polyphonic interpretation of the exhibition stemming from their own experiences and research.
12pm, Simon Lee Gallery, London
Please note this event is free to the public, but booking is required: events@simonleegallery.com
Paulina Olowska's work for the Liverpool Biennial is titled Grace, Charles and the Sunflower, a mosaic that references the socialist belief that through the creation of a public work one can influence and present optimistic visions of a better world. The idea is based on a Polish mosaic from the 1960s situated on the side of a public school in the village of Raba Zdroj, where the artist lives.
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The exhibition presents the work of Polish artists, among them Paulina Ołowska, in the broader context of international women’s painting, which takes on the challenge of representing the intensity of the external and internal worlds. The invited artists propose an affirmative version of womanhood by endowing their bodies with agency, autonomy and power of self-determination. The eponymous paint becomes a visceral, sticky matter that leads us towards the point where all meanings collapse. It blurs the categories of power and objectification, thus provoking the question of when do we look, and when do we look away?
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Image: Paulina Ołowska, Her English Is Far From Perfect..., 2013
Puppets: Theater, Film, Politics, situates puppet theatre within the field of art history and within the broader context of the artistic, social, and political changes taking place in Poland in the 1950s and 1960s. The presentation of selected works, artists, and creative hubs, among them Paulina Olowska, has been woven around concepts such as anthropology of the body, pedagogy, or politics. The show’s authors broaden the reflection on the meanings and functions of puppets, asking about their political dimension. They exemplify diverse strategies of their use — from the exploitation of the propaganda repertoire to caricatural and derisive representations of ideological opponents – while highlighting their dangerous potential.
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Image: Paulina Olowska, The Doll House. After Michał Wasążnik, 2013
The Art Institute of Chicago proudly presents Iterations, a series of new performance commissions that underline the wide range of artistic practices and attitudes in performance today. Unfolding as an iterative exhibition over the course of three years, starting in 2019 and continuing in 2020 and 2021, and taking place in different durations and in various spaces across the museum, including exhibition and collection galleries, interstitial spaces, and theaters. New works from a broad variety of artists who explore how performance practice is situated in the context of the Art Institute of Chicago.
Dates for 2019 have been announced, however the exact dates for 2020 and 2021 are to be confirmed. We can confirm that Paulina Olowska will be amongst those featured in the programme.
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Installation View: Paulina Olowska, Pavilionesque, a performance at Silencio, Paris, 2015
Photography: Bene Karyotis
Paulina Olowska is the guest editor of the very first Art Issue of Vogue Polska, a section that you will find in the latest November issue.
Showcasing works from the collection of Patrizia Re Rebaudengo, Herstory features works by some of the leading female artists of the last forty years and explores how they have radically altered the face of contemporary art. The exhibition includes work from Paulina Olowska.
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Featuring the work of over 100 artists and designers from 21 countries, the NGV Triennial surveys the world of art and design across cultures, scales, geographies and perspectives. Representing Poland, Paulina Olowska will present a series of paintings that combine portraits of women from gardening magazines with elements from Slavic mythology and folklore, as well as techniques from Les Nabis, artists who left Paris in the 1980s in favour of the countryside.
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Paulina Olowska invites a selection of artists to exhibit alongside her for a group exhibition that explores artistic relationships and statements. This exhibition is a conceptual continuation of her 2013 show, The Method, at Studio Voltaire, London, UK.
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