*1976, Poland, lives and works in Krakow, Poland
DZYDZILELYA / 2016 / costume
MORENA / 2016 / costume
DYDEK / PERKUN / 2016 / costume
PEPPERUGA / 2016 / costume
LELUM / 2016 / costume
WOLAS / 2016 / costume
all works courtesy of the artist and Fundacja Galerii Foksal, Warsaw
DISCRETION / 2019 / installation
PATCHWORK SEAMSTRESS IN UNKNOW DWELLING / 2019 / installation
DISCO OFELIA AND ELEUTER HOUSE (AFTER JAROSŁAV IWASZKIEWICZ) / 2019 / installation
BAKERS HOUSE ROBE AND CHATKA MALOLATKA / 2019 / installation
all works courtesy of the artist and Simon Lee Gallery, London
For Biennale Gherdëina 7, Paulina Ołowska presents a site-specific version of her acclaimed performance-cum-tableau vivant “Slavic Goddesses and the Ushers”, staged in the magical landscape of Pilat’s breathtaking nature on the Biennale’s opening night on August 8th.
Having often addressed questions of feminism and cultural convention, Paola Orlowski revisits the work of Zofia Stryjeńska (1891-1976) exploring the visionary Polish artist’s notion of ballet as a “wreath of ceremonies,” and designing costumes after her 1918 painting series Bożki słowiańskie (Slavic deities). These surreal garments, with their enormous headdresses and their decorations of peacock feathers and wheat stalks, present fanciful figures from Slavic mythology and folklore: goddesses of mischief, prosperity, fate, spring, winter, and the skies, with “bodies of clay, hair of wheat or branches, thorns and thistle”. An original score by American artist Sergei Tcherepnin mixes cosmic sounds together with traditional Mazurkas, Polkas, and Oberkas, as well as “spiritual disco” and Val Gardena’s local musical tradition. Tcherepnin has decided to compose an electronic variation of the soundtrack: a new musical piece, an evolving sound of the Slavic Goddesses – an ethereal sites specific sonic landscape, played through loudspeakers from a distance, outdoors, so that it is heard as though from the atmosphere as the Slavic Goddess dance unfolds. Thus, a more visceral, physical and cosmic sensation is being generated.
In the exhibition at Sala Trenker, she takes up the theme of feminism again by exhibiting women’s dresses that were previously buried. In doing so, she proposes a visual and emotional landscape through which one can look at oneself and the other, provoking our engagement with themes such as femininity, ageing, the power of tradition and the gaze of the viewer.