fellows

Jolanta Nowaczyk is born in 1992 in Poznań, PL and is now based in Prague, CZ. She graduated from the Intermedia Faculty at the Academy of Fine Arts in Krakow (BA) and Szczecin (MA).  Her artistic practice focuses on exploring contemporary art mechanisms, private collections and dark matter of art. The mediums she uses are always determined by the character of the project. In the last years she worked with video, sound, mail-art, postcards, text, Instagram account. She collects the plastic bags from Central and Eastern Europe. She published a book for children Ala ma kota. A Ali? (Ala has a cat. What about Ali?) with Dwie Siostry Publishing House. She also caused the evacuation of Main Post Office in Krakow by accident while making a mail art project with Piotr Urbaniec.

Links to artist's webpage and Instagram.

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1. Blazing world, 2020, hand-made flag made out of found fabrics; 2. New normal, 2020, hand-made flag made out of found fabrics; 3. Call me..., 2020, poster; 4.-5. Rejected Proposals (with Olga Dziubak), view from the exhibition „Queen bee”, BWA Kronika, 2019; 6.-8. Case no. 29540/WUiAB/-XXV/17, 2018, Correspondence with the City Town Hall; 9. There is just something about the place that makes you go wild (with Alexandra Ivanciu), 2018, postcards 10.-11. Ala has a cat, what about Ali, 2016, book for children 
Artist statement

My artistic activities are currently focused on the contemporary art mechanisms and institutional critique which I started to explore after I began working in 2017 for a commercial art gallery.

Due to my everyday professional occupation I have been able not only to participate but also to inspect and learn a lot about how contemporary art world functions from within: what kind of relations are imposed and what the conditions for generating and distributing contemporary art discourses are. Since then I have focused mainly on the issues of added value and the accumulation of its symbolic meanings in the contemporary society.

A wide range of art institutions are often expressing anticapitalist affiliation or stand up for excluded groups, but at the same time their superior rules are fully subjected to the neoliberal logic; that is profitability, productivity, efficiency, commercialization etc. that have created new power dynamics and new regimes of value. The reconfiguration of pre-existing market logic (like the private collectors having a stronger and stronger grip on the careers of artists, the art fairs phenomena or presenting the art works as a fetish) became inspirational for my late projects and for my intention to keep investigating those issues in the near future.

In the past, the context of competitiveness and the interference of different, dispersed, centers of power inspired me to widen my field of research to the same schemes seen in the context of city design / urban planning. During my MA studies I was researching the complex relation between power and architecture: how and when the invisible hand of the free market changes to cruel fist in the context of urban planning; what particular groups (classes) of people are gradually excluded until eventually being completely invisible. I have worked with the topic of hostile architecture in Poland, understood as a set of spatial, infrastructural and symbolic interventions in the public space that carry an excluding character.

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