ANGELINA MASS 27.11-11.12.2021
ANGELINA MASS
A – Angel, Anarchy, Angelina
27.11-11.12.2021
otwarcie 27.11.2021 godz. 18:00
DOMIE, Poznań
curator: 𝚃𝚘𝚖𝚎𝚔 𝙿𝚊𝚠ł𝚘𝚠𝚜𝚔𝚒-𝙹𝚊𝚛𝚖𝚘ł𝚊𝚓𝚎𝚠
współpraca kuratorska / curatorial support: 𝚅𝚎𝚛𝚊 𝚉𝚊𝚕𝚞𝚝𝚜𝚔𝚊𝚢𝚊
coordination: 𝙺𝚊𝚝𝚊𝚛𝚣𝚢𝚗𝚊 𝚆𝚘𝚓𝚝𝚌𝚣𝚊𝚔
graphic design: 𝙾𝚕𝚎𝚔𝚜𝚊𝚗𝚍𝚛 𝙷𝚘𝚕𝚒𝚞𝚔
photo documentation: 𝚃𝚘𝚖𝚊𝚜𝚣 𝙺𝚘𝚜𝚣𝚎𝚠𝚗𝚒𝚔
English proofreading/ english profreding: 𝙿𝚘𝚜𝚝 𝙱𝚛𝚘𝚝𝚑𝚎𝚛𝚜
The project is financed from the budget of the City of Poznań. #poznanwspiera
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We cordially invite you to the opening of 𝓐 – 𝓐𝓷𝓰𝓮𝓵, 𝓐𝓷𝓪𝓻𝓬𝓱𝔂, 𝓐𝓷𝓰𝓮𝓵𝓲𝓷𝓪 – the first solo exhibition of 𝐀𝐍𝐆𝐄𝐋𝐈𝐍𝐀 𝐌𝐀𝐒𝐒, a Belarusian-born, Berlin-based painter and performer. The show will feature a selection of paintings on paper created over the past two years and a new site-specific mural. In her works, 𝐌𝐀𝐒𝐒 creates a kind of diary documenting her emotional states, identity conflicts, and fantasies. By way of personal mythology, her own experiences, struggles, and desires are encoded in a fairy-tale world of images. The main character of the artist’s paintings is a queer person, depicted in scenes loaded with symbolic meaning. Their body — fancily posed, at times erotic, sometimes beastly, and often multiplied — appears in the paintings in various configurations together with constantly recurring objects and motifs. These include swords that are sometimes stuck in the body and sometimes held valiantly in the hands, angels and fairies, pets, flowers, hearts, high-heeled shoes, stars, or club cocktails, which build the visual universe of 𝐀𝐍𝐆𝐄𝐋𝐈𝐍𝐀 𝐌𝐀𝐒𝐒. A universe where angels drink poison, pleasure mixes with pain, and body and identity constantly transform into fluid, hybrid forms.
BIO
𝐀𝐍𝐆𝐄𝐋𝐈𝐍𝐀 𝐌𝐀𝐒𝐒 was born in Belarus, in the city of Minsk 26 years ago. When she was 6-years-old, the dog Yefim joined her family. 𝐀𝐍𝐆𝐄𝐋𝐈𝐍𝐀 established a special emotional connection with Yefim; she considered him her brother. She studied traditional sculpture at an art high school in Minsk, where she was the only anarchist in class. As a teenager, she also performed in a noise band and organised underground cultural events. After Yefim passed away at the age of 15 (76 dog years) – he died just like Passolini, under the wheels of a car – 𝐀𝐍𝐆𝐄𝐋𝐈𝐍𝐀 migrated to Poland, where she undertook studies at various art universities. Nevertheless, the only institution she really learned anything from was always her own experience. She has lived in Berlin for 3 years where she feels safe and free to express herself. 𝐀𝐍𝐆𝐄𝐋𝐈𝐍𝐀 is a survivor and a dreamer, whether as a visual artist that paints, a sex worker that dominates, an Instagrammer that shares, or as a person that loves.
The project is financed by the City Council of Poznan.
Pain comes when it knocks on my bones like on a door on Wednesday9.06
Art: Maryna Sakowska
Curator: Katarzyna Wojtczak
We invite you to the opening of Maryna Sakowska’s exhibition “Pain comes when it knocks on my bone like on a door” on Wednesday, June 9 at 7:00 p.m. ATTENTION! Please arrive on time, because the performance will start at 7 p.m.
https://www.facebook.com/events/4041174369295566
On a daily basis, Maryna deals primarily with artistic textiles, which she treats as both a medium for telling personal stories and constructing more universal messages. Her installations made of fabric, paintings and objects are at the intersection of painting and spatial activities – they are not completely flat, but they are also far from being fully three-dimensional. It’s more like 2.5 D.
During the exhibition “Pain Comes When It Knocks on My Bone Like a Door”, the Domie space will turn into a large painting installation containing references to eschatological scenes and representations: visual representations of death and apocalypse appearing in art in various historical periods.
The installation will become a set for a military and mourning performance by Maryna, Rafał Żarski and Jakub Kosecki.
Aleksander Wat
Nocturnes (1)
Pain comes when it knocks on my bones like on a door.
Like fate. With a bone finger until I give up.
Until I open it. And it beats between the eyebrows
and like a bookish deckhand he shouts at me g o d a m.
Furies of fallen leaves, dry storm foam
clouds, scuffle, crackle of disappearing wrecks —
the night when the alchemist cyanki brews bromine
verdigris is added to poppy seed decoctions.
Finally a clear morning. A morning without joy
the beginning of the day and the road of long agony.
When it slides away towards the past
without a sign, without a look, without a voice of farewell.
Saint-Mande, October 30, 1956
Maryna Sakowska (born 1992) deals with artistic textiles, painting, embroidery and text.
In her artistic practice, sensitivity to material qualities is particularly important. He creates large-format, parascenographic installations, which he treats as a medium for constructing visual messages based on personal, emotional experiences and analysis of texts, primarily poetry, myths and legends. He considers the ways in which people create belief systems, the sources of superstitious and religious thinking, perception and its disorders, and people’s relationships with “nature” and the broadly understood environment.
She graduated from the Academy of Art in Szczecin and the University of Arts in Poznań. Three-time finalist of the Hestia Artistic Journey competition (2017, 2018, 2019), finalist of the Best Diplomas of the Academy of Fine Arts 2019, finalist of the Geppert 2020 competition. Ambassador of the Sandra Gallery. Currently, she works as an assistant to Daniel Rycharski in the Sculpture and Spatial Activities Studio at the Academy of Art in Szczecin.
COSMIC FAX
DOMIE Timeline 17January 2021
While the Museum on the Vistula is closed, we invite you to the mini-exhibition of the DOMIE TIMELINE project on the website of the Museum on Pańska.
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HOME TIMELINE
DOMIE TIMELINE is an invitation to the world of DOMIE*.
We have created a timeline that presents the project, interacting with colorful images, fragments of texts and personal comments, as well as elements taken from the DOMIE space.
TIMELINE gives us the opportunity to look at the evolution of the project, which we do not have time to observe while working, and in this sense it is a moment of stopping. It is also an observation of obligations towards oneself, and finally an attempt to see what thoughts, processes and structures have appeared over the last two years. It is a combination of prints, text fragments, comments, interviews, collages, official letters and private messages.
TIMELINE is also a tool explaining our thinking, a collection of inspiring figures, and a manifesto about friendship, care, community, work and intimacy.
The project is part of the WARSAW UNDER CONSTRUCTION 12. “Something in Common” festival.
Design: Katarzyna Wojtczak, Martyna Miller
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WHEN:
until January 17, 2021
the website is available 24 hours a day, but we encourage you to view it in daylight (no additional lighting)
WHERE:
Museum on Pańska Street | street Pańska 3, 00-124 Warszawa
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*DOMIE (Święty Marcin 53A, Poznań) – a socio-artistic, architectural and economic experiment of collective care. It was created around a 10-year plan to recover a building in the center of Poznań, which had been falling into ruin since 1988 due to a series of neglect. The project was initiated by Martyna Miller and Katarzyna Wojtczak, and is developed by them together with the DOMIE community.
The project’s founders, without personal funds, undertook a breakneck renovation, diluting responsibility between various – formal and informal – entities. In this field, there is a constant discussion with the city, the users of the space and the community developing around the building. For personal use, DOMIE develops the category of renovation as a work of art, trying to expand the category of “capital”.
DOMIE also includes 400 square meters of space where artistic experiments take place. It includes, among others: exhibition and sound rooms, studios, recreational and living spaces. The building is freely and constantly transformed, becoming an artistic medium and provoking site-specific activities. DOMIE is open to anyone and everyone who is close to the idea of openness, regardless of cultural capital, origin, nationality, gender, age and others.
Domesticity and property have exhausted themselves. The time of post-inhabitation, zombie communities, and unstable homes has come. Therefore, DOMIE is also a place that requires care – difficult, monstrous, but responding to the feeling of rootlessness, chronic nomadism, housing crisis and artistic poverty.
Jan Domicz (1990, Opole)
Domie is a cultural institution located in a premises that had the features of its previous residential function and is awaiting renovation. Jan Domicz’s latest installation refers directly to the news that the Doma was not granted a subsidy for necessary repairs. In response, he intervenes with an intervention that is radical and grand, but its meaning is based on tenderness and care. In his characteristically laconic way, using simple means of expression, Domicz brings together, as if through a lens, a number of problems regarding the city’s politics, the situation of small initiatives and the power of grass-roots activism and mutual support.
Text: Jagna Domżalska
Jan Domicz (1990, Opole) – visual artist, creator of videos, objects and installations. In his works, he uses the narrative potential of space and its socio-political implications. Researches systems at the interface of private and common space. Instead of solving problems, these systems create them. Problems create a narrative. Narrative gives meaning to space.
Object Music VI
Pawel zukowski _micro residence
Paweł Żukowski resides at DOMA this week. The artist known for such campaigns as LGBT to ja, We can do it and List is working on two banners that will support Saturday’s Equality March.
BABY
from the collection of Lucyna Shefter
IT SHOULD NOT BE THAT YOU NEED TO HAVE COURAGE
hommage to Maria and Bogdan Kalinowski
If you would like to help carry banners, please contact DOMIE or Paweł today.
TIME OF DAY/ DOMIE_DISPENSARY
PORADNIA / DOMIE_DISPENSARY is a platform for exchanging experiences of people who lead or participate in the creation of independent art places.
We discuss problems related to the creation, maintenance, establishment and disintegration of independent creative workplaces, collectives and initiatives, as well as with people who report to DISPENSARY with a problem, idea, or to share their experience.
PORADNIA / DISPENSARY is part of the DOMIE project; in collaboration with the Museum of Modern Art in Warsaw.
Interviews, amongst others, with:
Marco Casagrande from Ruin Academy (Taiwan) – talk with Martyna Miller
Nozomu Ogawa from Art Center Ongoing (Japan) – talk with Martyna Miller
iLiana Fokianaki from State of Concept (Greece) – talk with Katarzyna Wojtczak
Felix from Toestand (Belgium) – talk with Katarzyna Wojtczak
PLANETARY TAROT HOME; time. 19:00
performance Planeta, Taras Gembik
HOME; time. 19:00
Curator: Katarzyna Wojtczak
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If a bunch of evil psychologists gathered in a secret underwater base to come up with a crisis to deal with that humanity would be appallingly ill-prepared for, they couldn’t come up with anything more accurate than the climate one.
Disasters tend to highlight what was previously hidden. As the climate crisis continues, a series of threats will emerge and our decisions will reveal who we are.
“Planetary Tarot” is a performative evening of alternative St. Andrew’s Day and Catherine’s Day fortune-telling, which reveals the past, comments on the present and predicts the future about our love for the planet. Performance becomes a form of ecological forecast revealing the effects of colonial activities that fueled the Industrial Revolution. The collection and colonization of human bodies, appropriated – just like land treated as property. Colonized peoples were considered “primitive” precisely because they did not want to recognize the principles of man-nature dualism.
Using the language of magical symbols, they will present a story of deep interpersonal and interspecies intimacy based on their animistic beliefs and experiences.
Once upon a time, animism gave objects a soul, now industrialism turns the soul into objects.
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𝓟𝓵𝓪𝓷𝓮𝓽𝓪
was born in Kiev into a family of magicians. Her father works with light and shadow, and her mother practices flower meditation. When moving to Warsaw, she met an artist – 𝗙𝗶𝗹𝗶𝗽𝗮 𝗞𝗶𝗷𝗼𝘄𝘀𝗸𝗶𝗲𝗴𝗼, who told her that during her ceremonial research based on nature worship, he worked as a magic teacher in London. Looking for a new form of communication with nature, an alternative fetish through performative practices, she met a tarot reader – 𝓣𝓪𝓻𝓪𝓼𝓪 𝓖𝓮𝓶𝓫𝓲𝓴𝓪, with whom they managed to deepen the research on the sexual expression of an individual in pre-Christian times, presented in the form of a Rizdvo ritual performance at MSN in Warsaw.
One evening, together with 𝓣𝓪𝓻𝓪𝓼𝓮𝓶, they visited Targów Castle 𝗠𝗶𝗸𝗼ł𝗮𝗷𝗮 𝗦𝗼𝗯𝗰𝘇𝗮𝗸𝗮, a famous vampire born in Poznań, who was the first to experience individual relaxation an engaging and performative ceremony organized by Planete.
For the artist, ceremonies are an intimate experience, emphasizing the importance of a given moment in life, based on folk traditions, not sanctioned church institutions.
The passion for creating erotic costumes from second-cycle materials is often manifested in the process of taking them off while performing choreography, which she performs alone or with performers. The inspiration to develop burlesque in her art was a night spent in the chambers of 𝗪𝗲𝗿𝗼𝗻𝗶𝗸𝗶 𝗪𝘆𝘀𝗼𝗰𝗸𝗶𝗲𝗷. By failing to watch a play together online, the play suddenly moved from a painting on the wall into the real world. Then 𝓟𝓵𝓪𝓷𝓮𝓽𝓪 performed her first burlesque.
In the breaks between dancing, sewing corsets, and creating scenography, she develops awareness of social intimacy by working with the shaman 𝗙𝗿𝗮𝗻𝗰𝗼𝗶𝘀𝗲.
Using an interdisciplinary approach to the experience of magical rituals, the artist works on the planes of invisible arts. The result of her experiments with the senses was the animistic and olfactory Performedia, shown during WGW this year. Together with the Queen of Fragrance – 𝗞𝗮𝘁𝗮𝗿𝘇𝘆𝗻𝗮 𝗞𝗼𝗿𝘆𝘁𝗼𝘄𝘀𝗸𝗮, they created the fragrance 𝓟𝓵𝓪𝓷𝓮𝓽𝔂, which was presented performed in a performative form.
𝓣𝓪𝓻𝓪𝓼 𝓖𝓮𝓶𝓫𝓲𝓴
born in 1996 in Kamien Kaszyrski, Ukraine. A cultural worker who cooperates with the Museum of Modern Art in Warsaw, gives tours of exhibitions, translating art into the language of personal empathy and beauty, in which boundaries disappear. Co-founder of the BLYZKIST collective.
As a performer, he seeks and explores the boundary between masculine and feminine,
looks for new forms, sounds and ways of communicating them with society.
Performance as part of the EtnoErotics series.
The project is financed from the budget of the city of Poznań.
DOMESTICATION
Udomawianie
https://www.facebook.com/events/361794071807396
“Domestication” is the result of a three-month creative process of Christina Everts and Joanna Pietrowicz in the DOMIE space. It involved transforming a place falling into ruin into a specific home space that, deprived of utilitarian functions, takes on the role of an extension of the imagination. Christina Everts focuses on creating a safe world, full of nooks and crannies where you can hide, sink and discover new hidden levels. In turn, for Joanna Pietrowicz, it was important to establish a relationship with DOMIE as a place that evokes caring and the need for closeness in her. By combining her paintings with the chipped walls of DOMIE, the artist enters into an intimate dialogue with the space, bringing to light its status as a work of art in itself. The threads touched upon by both artists accumulate, creating a free flow between the scale of objects and colors, content and external coating.
Joanna Pietrowicz
Theoretically, the process of domestication could last forever, so we invite you to visit the artists at work and find a piece of home for yourself in the HOME.
The Domestication presentation will be in the form of photographic and video documentation.
Unlearning
UNLEARNING
ODKSZTAŁCENIE / ДЭФАРМАЦЫЯ / UNLEARNING
/ ATTENTION!!! Due to numerous questions whether the event is taking place online, we have created a new offline event (THE EXHIBITION IS HAPPENING OFFLINE AT DOMIE) /
Artists:
Anna Baumgart, Patrycja Cichosz, Lia Dostlieva & Andrii Dostliev, Vika Grebennikova,
Uladzimir Hramovich, Kafe-Morozhenoe media activist collective, Annette Krauss, Marina Naprushkina, Agnieszka Polska, Ala Savashevich, Sergey Shabohin, Olia Sosnovskaya, Masha Svyatogor,
Raman Tratsiuk, Honza Zamojski
Curatorial Group: Aleksei Borisionok, Raman Tratsiuk, Vera Zalutskaya
Coordination: Pavel Preobrazhensky, Sergey Shabohin
Organisation: Rönne Stiftung (Berlin), The Research Platform of the Belаrusian Contemporary Art KALEKTAR.org (Minsk/Poznań)
Supported by German Federal Foreign Office, Civil Society Cooperation
Partners: Domie (social, artistic, architectural and economic experiment of collective care), Stowarzyszenie Komplet, Galeria Miejska Arsenał, The Arsenal Gallery in Białystok
07.10–03.11.2021
Domie
Poznań, ul. Św. Marcin 53A
Exhibition is opened:
Wednesday–Sunday
Opening hours:
WED, THU, SUN: 16:00 – 19:00, FRI, SAT: 15:00 – 20:00
THU 07.10
19:00 / Opening of the exhibition
19:30 / Lecture-performance “Incredibly relaxing meditation music” by Olia Sosnovskaya
FR 08.10
18:00 / Guiding tour throughout the exhibition by curators and artists
The uprisings in Belarus, Black protests in Poland remind us that there are intuitions, affects, intimacy that exist outside the field of knowledge. To know is also to capture, designate, hierarchize, order. Radical non-knowledge, unlearning, eluding the imposed form oppose discipline, control and order. The process of weaning and diversion can be painful, but it can also be fierce joy, willfulness, and cheerful obstinacy. Sarah Ahmed speaks of willfulness as a feminist
practice of killjoy – interrupting sexist conversation, avoiding a shared model of happiness, refusing to live the way we are forced to. Figures of radical non-knowledge – such as Dunno, Molla Nasredin, the ignorant teacher Joseph Jacotot,
or the feminist killjoy, question the structure of a world that does not suit them – and come up with possibilities for its transformation. Likewise, the artists whose works are part of the exhibition invent new forms of (un)learning, refusal and resistance. They question temporality and ideas based on a linear understanding of time – the lessons of history, denial of the past, fetishism of the future, and offer other models of affectation, participation and living.
