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Zofia Kulik’s rich artistic career has a dual nature. Between 1970 and 1987, she worked alongside Przemysław Kwiek as a member of the duo KwieKulik, after which she began to develop a successful individual career. While KwieKulik’s work has been well established as central to the East European neo-avant-garde art lexicon of the 1970’s and ’80s, Kulik’s solo work has yet to be examined in depth. The first publication devoted solely to her work, this monograph analyzes the themes of her rich and complex oeuvre, addressing the (post)communist condition, artistic labor, intermediality, and the conditions of working as a female artist. The book forms a portrait of Kulik as an artist whose work is both deeply focused and rich in variations that reflect the socio-political shifts in her native Poland. With contributions from leading art historians, including Edit András, Angela Dimitrakaki, Ewa Lajer-Burcharth, Suzana Milevska, and Tomasz Załuski.
322 pages | 36 color plates, 20 halftones | 5 1/2 x 7 1/2 | © 2019
Art: Art Criticism
History: General History
Reviews
Table of Contents
Introduction—Agata Jakubowska
I. Zofia Kulik: Selected Works
II. Essays
How to Live and Work with Two Artistic Biographies: Zofia Kulik’s Archival Drive—Tomasz Zaluski
“Yes: for General and Social Issues, “NO” for Anything Private: Matrix P (the Public, the Private, the Personal, and the Political) in Zofia Kulik’s Art—Edit András
Responsibility Is an Action, Never Simply a Feeling: Zofia Kulik’s Alice’s Adventures in Fucked Wonderland, or, Cleaning Instead of Talking in the Context of the Polish Neo-Avant-Garde of the 1970s—Wiktoria Szczupacka
The Struggle for Non-Alienation: Zofia Kulik’s Work in Terms of Labor—Angela Dimitrakaki
Old Histories: Zofia Kulik’s Ironic Recollections—Ewa Lajer-Burcharth
Zofia Kulik: From Warsaw to Cyberia—Sarah G. Wilson
Zofia Kulik’s Palace Complex: Revealing the Complexities of Closed Form (Filling It with Her Own Madness)—Michal Murawski
Call of Duty: On Infinite Warfare and Patriarchy in Zofia Kulik’s Work—Suzana Milevska
What Do Archives Forget? Memory and Histories, From the Archive of KwieKulik—Luiza Nader
Zofia Kulik’s Performed Archives—Katarzyna Ruchel-Stockmans
Sewing Image-Bodies Together: Photographic Collage as a Sculpting Strategy of Zofia Kulik—Dorota Luczak
Détournements of Aestheticization: Zofia Kulik’s Garden (Libera and Flowers)—Anna Kaluza
Patterns: “In a Way, I Betray Myself”—Agata Jakubowska
List of Works
I. Zofia Kulik: Selected Works
II. Essays
How to Live and Work with Two Artistic Biographies: Zofia Kulik’s Archival Drive—Tomasz Zaluski
“Yes: for General and Social Issues, “NO” for Anything Private: Matrix P (the Public, the Private, the Personal, and the Political) in Zofia Kulik’s Art—Edit András
Responsibility Is an Action, Never Simply a Feeling: Zofia Kulik’s Alice’s Adventures in Fucked Wonderland, or, Cleaning Instead of Talking in the Context of the Polish Neo-Avant-Garde of the 1970s—Wiktoria Szczupacka
The Struggle for Non-Alienation: Zofia Kulik’s Work in Terms of Labor—Angela Dimitrakaki
Old Histories: Zofia Kulik’s Ironic Recollections—Ewa Lajer-Burcharth
Zofia Kulik: From Warsaw to Cyberia—Sarah G. Wilson
Zofia Kulik’s Palace Complex: Revealing the Complexities of Closed Form (Filling It with Her Own Madness)—Michal Murawski
Call of Duty: On Infinite Warfare and Patriarchy in Zofia Kulik’s Work—Suzana Milevska
What Do Archives Forget? Memory and Histories, From the Archive of KwieKulik—Luiza Nader
Zofia Kulik’s Performed Archives—Katarzyna Ruchel-Stockmans
Sewing Image-Bodies Together: Photographic Collage as a Sculpting Strategy of Zofia Kulik—Dorota Luczak
Détournements of Aestheticization: Zofia Kulik’s Garden (Libera and Flowers)—Anna Kaluza
Patterns: “In a Way, I Betray Myself”—Agata Jakubowska
List of Works