An introduction to PhD student Slawa Harasymowicz and details about her upcoming performance in Poland.
Image: Sława Harasymowicz – The trouble with value exhibition at Galeria Bunkier Sztuki in March 2018
Sława Harasymowicz is undergoing a Practice Based PhD at Central Saint Martins titled ‘Double Exposure: Memory, Postmemory and Autobiography as Practice‘.
This practice-based Fine Art PhD deals with history and postmemory in the beyond-the Holocaust contexts of the Second World War and aftermath in Poland.
Slawa’s research tracks traces of resistance in different guises –personal and collective –through fragmented biographies from her own family history.
Through this, and by interrogating the ways that contemporary art rearticulates and represents historical catastrophe, Slawa’s project aims to pose questions about the scope of autobiographic artistic practices dealing with postmemory (unconsciously inherited or consciously ‘borrowed’ memory of trauma experienced by earlier generations), and to formulate a critique of ‘postmemory’ as explanatory and aesthetic framework.
Upcoming performance:
16 March 2018 at 6pm Sława Harasymowicz will perform ‘Stage-point 1′ at Galeria Bunkier Sztuki
This event accompanies the group exhibition, The Trouble with Value.
Discussing an array of artworks, the curators of the exhibition came across some intriguing artist voices telling a tangled story about the symbolic and economic value a work of art holds, being a product of its creator’s labour; and there came hope that these would provide some insights into contemporary notions of value and value systems surrounding us.
Consequently, the exhibition is an attempt to capture certain aspects of artists’ relationships with their works—ones which establish such values as well as those forging the connection between art institutions and the art market.
Image: Sława Harasymowicz – The trouble with value exhibition at Galeria Bunkier Sztuki in March 2018
Slawa’s Stage-point 1 is a participatory performative event dedicated to a building at Łobzowska Street, Kraków, once the artist’s childhood home. Recently discovered scope of the building’s history in the immediate post-war years, as a repatriates’ shelter (including the artist’s own family), along with subsequent transformations of its space/functions, contribute to 12/6, an installation presented in the exhibition and part of the artist’s exploration of the concept of ‘home’.
Comments found in contemporary virtual reality, attest:
“it seemed that Not many people lived in the building”
“way better than the real thing”