3. Program

Orientation Trip 2013
Tallinn (Estonia), Vilnius (Lithuania), Warsaw, Lodz and Krakow (Poland), Bratislava (Slovakia) & Budapest (Hungary)

Day 1 / Tallinn
Kumu Art Museum (Part of The Art Museum of Estonia)
Weizenbergi 34 / Valge 1,10127 Tallinn, T +372 602 6000
Meeting with Eha Komissarov (Programma Manager / curator) and Kati Ilves (assistant curator of Contemporary art) at KUMU

The Kumu Art Museum is the headquarters and a branch of the Art Museum of Estonia (Museum of Estonia until 1928), which was built to be a multifunctional contemporary art museum and to also satisfy the need for conserving and exhibiting the world’s largest collection of Estonian art, which is comprised of 60,000 works. For the first time in its almost century-long history, the Art Museum of Estonia has a building that specifically conforms to the needs of a museum and is worthy of Estonian art. The international architectural competition, which was held in 1993–1994, was won by the Finnish architect Pekka Vapaavuori. The construction of the building was started in 2002. The opening ceremonies for the Kumu Art Museum were held on 17 February 2006 and attending by a large crowd of visitors. The doors were opened to the public on Saturday, 18 February at 11 am.
Kumu’s history, which is a part of the history of the Art Museum of Estonia, is currently, to a great extent, a construction story. Today, the local, as well as international, public have become accustomed to the museum. An in-house rhythm of activities has developed. Slowly, we are starting to forget what a great shift Kumu caused in the reality of the Estonian art landscape.

History of the Art Museum of Estonia
The Art Museum of Estonia was established on 17 November 1919. Before the completion of Kumu, the museum operated in many different spaces. For the longest period, the museum was located in the Kadriorg Palace – the palace was given to the museum in 1921, but expropriated in 1929, when it was redesigned to serve as an official government building. The museum’s temporary building burned down as a result of the bombing on 9 March 1944. Three thousand valuable exhibits, along with the library, archive and stock, were also destroyed. The 10,000 works of art that were evacuated to the countryside and to other buildings by the museum employees did not suffer any harm.
In the 1930s, the construction of a building for the art museum on a lot between Mere Blvd. and Aia Street was on the agenda. An international architectural competition was organised in 1936, which was won by the Estonian architects Edgar Johan Kuusik and Erich Jacoby; the famous Finnish architect Alvar Aalto came in second. However, World War II started and the building was not built.
In 1946, the museum’s collections were again concentrated in the Kadriorg Palace and the museum operated there until 1991. Then, due to the poor condition of the building, the doors had to be closed to the public and, in 1992, the museum had to move out again. More acutely than ever before, the need to construct a building for the museum became obvious. A search for possible locations was initiated. From among eleven possible locations in different areas of Tallinn, the Lasnamäe slope at the end of Weizenberg Street in Kadriorg was chosen. In the meanwhile, the museum was given the Rüütelkonna (Knighthood) Building on Toompea Hill in Tallinn as their temporary home, where exhibitions began on 1 April 1993. The Art Museum of Estonia discontinued its exhibition activities in that building in October 2005.
In the meanwhile, the museum’s activities had expanded in the form of branches: the Museum of Applied Arts was opened in 1980, the Adamson-Eric Museum in 1983, and the Kristjan Raud Museum and the Niguliste Museum in 1984. Since 1995, active educational programmes have also been undertaken in the museum’s former and current branches: children and teens can participate in interesting museum classes and art studies. In 1996, an exhibition hall was opened on the first floor of the Rotermann Salt Storage, which discontinued its activities in May 2005.
In the summer of 2000, the restored Kadriorg Palace was reopened, no longer as the museum’s headquarters, but as a branch – the Kadriorg Art Museum – where the Art Museum of Estonia’s collection of foreign art is displayed.
Today, the Art Museum of Estonia is an institution with several museums: the Kadriorg Art Museum, Mikkel Museum, Niguliste Museum, and Adamson-Eric Museum. Since February 2006, the Kumu Art Museum – the new headquarters of the Art Museum of Estonia – has been open to the public.

Construction of Kumu
On 12 November 1991, the Supreme Council of the Estonian Republic decided that the government should guarantee the construction of a new building for the Art Museum of Estonia.
In 1993-1994, an international architectural competition for the new building’s design was organised. The Union of Estonian Architects commissioned the Looveeri Architectural Office to prepare the competition. Since the architectural competitions for buildings for the Moderna Museet in Stockholm and the Helsinki Museum of Contemporary Art (Kiasma) were taking place at the same time, the technical conditions and space programmes for these projects were thoroughly examined, along with international architectural competition legislation and the standards for the construction of art museums recommended by the International Union of Architects (UIA) and the International Council on Museums (ICOM).
Architects from ten countries participated in the competition, and 233 designs were submitted. The largest number of participants (over a hundred) came from Finland, and all seven prizes were awarded to Finns. The decision of the international panel was unanimous, and the design by Finnish architect Pekka Vapaavuori, “Circulos”, was declared the winner.
Marika Valk, the former director of the Art Museum of Estonia has recalled, “I met Pekka Vapaavuori for the first time on 15 April 1994 at the awards ceremony for the winner of the architectural competition for the Art Museum of Estonia’s new building. The competition winner was a young Finn with a long braid who had recently graduated from university. I said at the time that I was very glad that Pekka was so young – considering the hundred-year tradition of building the Art Museum of Estonia, perhaps he would even see the building completed.”
Then, the battle to have the building constructed began. It took years to overcome all the obstacles and it was not until 2002 that an excavator started work at the foot of Lasnamäe Hill.
On 13 May 1994, a contract was signed between the Art Museum and the architect Pekka Vapaavuori to continue the design work. This was only possible because a cooperation agreement was signed at the same time between the Art Museum of Estonia and the Finnish Rakennushallinto (currently Engel OY), based on which their specialists provided free consultations on the plans for the new museum building.
From 1995 to 2001, the specialists from Engel OY advised both the museum employees and the designers, and carried out in-service training. Among other things, Engel OY specialises in the specifics of museum construction. It has reconstructed the Ateneum in Helsinki, the Museum of Applied Arts and the History Museum, as well as designing and being the project manager for the construction of Kiasma.
In 1999, the preliminary project for the building was completed without using any budgetary resources. Pekka Vapaavuori, Engel OY, the Estkonsult engineering firm from Estonia and the Olaf Granlund OY engineering firm from Finland, as well as the museum’s employees, participated.
From 1995 to 1998, the project received no government financing. The Art Museum continued to resolve problems related to the new museum. On 5 November 1996, the Riigikogu (parliament) of the Republic of Estonia passed a resolution regarding the construction of the Estonian Academy of Music, the Art Museum of Estonia, and the Estonian National Museum, which specified that the construction of the new building for the Art Museum of Estonia was to begin in 1999. This resolution placed an obligation on the Government of Estonia to find budgetary and non-budgetary resources. This resolution was also fulfilled to a certain extent because, in 1999 and 2000, the design work was financed from the national budget.
In 2001, the Ministries of Finance and Culture worked out a new scheme for financing the construction of the new museum building, which was based on an amendment to the Gambling Act, passed by the Riigikogu on 13 March 2002. In 2001, the Foundation for the Construction of the Art Museum was organised by the government, with the assignment to continue the design work on the new museum building at a professional level and to start the construction in 2002. The construction of the new Art Museum building was completed in September 2005.
In order to be sure of the correctness of the Art Museum’s new building’s parameters, the museum invited the international consultancy firm Lord Cultural Resources (headed by Barry Lord, an international museum expert from Canada) to review the project, and the work was given a positive assessment.
In 2004, the new museum also got its name. A competition was organised to name the museum and from the many different suggestions that were made, Kumu – kunsti muuseum (art museum in Estonian) – was chosen as most suitable.

Day 2 / Tallinn
City tour / Urban Landscapes of Northern Tallinn
The trip will show the development of Tallinn through urban environment, it follows four examples from Northern Tallinn: e.g. Kopli lines in Kopli Peninsula (a centry old industrial district and housing area), Telliskivi creative quarter (former Soviet electro-mechanic factory) in Pelgulinn, cultural kilometer in Kalamaja district and the trip will end in EKKM.
Guids are: urbanist Regina Viljasaar and Keiti Kljavin.

Museum of Contemporary Art of Estonia
Põhja pst 35, Tallinn, info@ekkm.ee,
Meeting with Anders Härm (director)

When, in the fall-winter of 2006, Marco Laimre and Neeme Külm started to clean the trash out of the former Tallinn Heating office building at the top of the loading dock of the old boiler house at Põhja pst. 35, the idea of the Culture Cauldron was already in the air and Kumu had already opened. The first exhibition in the squatted spaces took place in May of 2007 (Work Nourishes, curator Elin Kard). The first exhibition under the aegis of the Estonian Museum of Contemporary Art (EKKM) took place in June of the same year. (Dream Economy, curator Marco Laimre)
A total of 18 exhibitions have taken place during five years, as well as one visiting exhibition at the Pärnu City Gallery and another at the Tartu Art House, along with several auxiliary events. Since the museum can operate only during the summer months (it is somewhat paradoxical that there is no heat in a building that used to belong to Tallinn Heating Company), this is currently setting time limits on the exhibitions and other activities. To date, EKKM has reached a short term contract with Tallinn City Government a legally stopped being a squat. EKKM had In 2010 – 2011 and will have also in 2012 regular exhibition program from April to October, consisting of five exhibitions. The management board of the EKKM includes Marco Laimre, Neeme Külm, Elin Kard and Anders Härm.
The primary motivation for the development of the Estonian Museum of Contemporary Art was the closing of the Art Museum of Estonia’s exhibition hall for contemporary art in the Rotermann Salt Storage, and the opening of the Kumu in 2006; whereby contemporary art was consigned to the hermetic altitudes of the top floor – between heaven and earth – in the already confused mixture of national gallery and modern art museum. In the direct sense, an exhibition space hovering at such a height lost touch with the earth and reality. Therefore, the EKKM got its start as a protest against the inability of Estonia’s cultural policy to create two separate institutions for contemporary art and the national heritage – the paths of which cross ever less frequently. Since no one seemed to covet it, the Estonian Museum of Contemporary Art trademark was available and we just grabbed it.
Simon Sheikh writes that, in the art world, where the fetish for alternative space reigns, the structural composition of these alternative spaces very often does not differ from the institutions that they should be the alternatives to. Exactly the same rituals and routine rules are employed as in all other institutions. However, the EKKM conversely does not contrast itself with anything, but rather positions itself in an institutional gap, where no one has deigned to go, and identifies itself without any problem with the dominant structure. The EKKM occupies the position that the incomplete and underdeveloped governmental infrastructure for contemporary art has left empty and fills it with impertinent self-confidence without getting a cent of support for its activities. The EKKM employs the symbolic capital that has been lying about, and fills it with alternative content.
Maybe it is easiest to interpret the activities of the EKKM’s activities in the context of counter-publics. According to Michael Warner, many counter-public traits are similar to those of normative and dominant publics – existence with an imaginary addressee, as a specific discourse and/or place, and including circulation and reflexivity – which are always somewhat relational as well as oppositional. Self-organization is the distinctive feature of any kind of public formation – it is constructed and positions itself as public through specific means of reference, although not every self-organization is counter-public in nature.

Lugemik Bookshop
Põhja pst 35, Tallinn, Indrek Sirkel & Anu Vahtra, info@lugemik.ee

Photography Festival Fotokuu
Tallinna Kunstihoone (Tallinn Art Hall) , Vabaduse väljak 6, Tallinn 10146
Kristel Raesaar, organizer of the Tallin photography festival fotokuu

Tallinn Photomonth 2013
Tallinn Photomonth, an international festival of lens-based art and visual culture will take place this coming October, organised by the Union of Photography Artists, Estonia. 2013 sees the launch of the second Tallinn Photomonth – the first festival took place in 2011 as part of the European Capital of Culture programme.

Meeting with locale art scene at Center for Contemporary Arts EstoniaVabaduse väljak 6, 10146 Tallinn, Estonia
Maria Arusso, director CCA
Rebeka Põldsam , Project manager / Curator

Center For Contemporary Arts, Estonia (hereinafter: CCA, Estonia) main objectives include collecting and distributing information about contemporary art while promoting and mediating Estonia’s art scene in international art events.
To be a growing digital archive of contemporary visual art from Estonia, easily accessible to professionals, to assist in conceptualizing current appearances of visual culture, to organize international art exhibitions and conferences, to publish catalogues and other printed matters on mentioned issues – all these enterprises have remained and will remain crucial for us. CCA, Estonia has tied its plans with the freedom and independence of the arts within Estonian society as well as with the understanding that art is experiencing the same complex changes and is faced with the same difficult questions of identity as is the case with every national culture that is capable of making its contribution to the kaleidoscope of international art.
CCA, Estonia was founded in 1992 by the Open Estonia Foundation (as Soros Center of Contemporary Arts, Estonia) and officially opened its doors in March 1993 in rooms of Tallinn Art Hall.(http://www.kunstihoone.ee/). The opening became possible thanks to the Hungro-American philanthropist George Soros who created a system of open foundations (http://www.soros.org/) within countries of Central and Eastern Europe as well as the former Soviet Union. The programme of activities in CCA, Estonia was very similar to the art centres operating in other Central and Eastern European countries. The first step was to create the possibility for communication with the international artistic community, to aid openness and bilateral exchange of information. Secondly the aim was to support artists or projects that were primarily connected to new technologies and their use within the art world.
CCA, Estonia started its activities with following people among the staff: director Sirje Helme, vice director Piret Lindpere, programme coordinator Mare Pedanik, art historian Ants Juske (until 1995) and bookkeeper Juta Keskküla. In the 1990s the office also had Johannes Saar (1995-2001, as art historian) and Liina Siib (1995-1997, as programme coordinator) working in it.
Since 1999, following the restructuring of the Soros Foundations (all Soros Centers for Contemporary Arts started to transform into non-governmental organisations under the membership of the new association ICAN or International Contemporary Art Network, based in Amsterdam), CCA, Estonia started to operate as an independent non-governmental institution, continuing the ideology of open mentality within the arts scene and society of Estonia.
Since 2000 there is no more financial support from the Open Estonia Foundation (http://www.oef.org.ee/et/), so the office worked out quite complicated scheme of financing, which generally and briefly is based on two channels of financing: a) covering of the administration expenses has been hitherto guaranteed by the Cultural Ministry of Estonia (http://www.kul.ee/); b) all the programmes, events etc., organized by the office depend on the sponsorship and supplementary possibilities (Cultural Endowment of Estonia (http://www.kulka.ee/), embassies, various institutions of culture, foreign partners, etc.).
To guarantee the real financing, CCA, Estonia’s events and projects are planned at least one year before. Positive side of this system is that the office can cover its expenses in reality, while its negative side is that CCA, Estonia cannot be as flexible as it would like to be – the office can’t switch to the projects, which are not taken to its financial plans in time.

Kristina Norman, Marko Maetamm, Marge Monko, Dénes Farkas, Johnson and Johnson
Flo Kasearu, Margus Tamm, Karel Kopliments, Paul Kuimet, Jaanus Samma
Triin Tamm, Mark Raidpere, Taaniel Raudsepp

Diner at Köök
Invited guests:
Maria Arusoo and Rebeka Põldsam (CCAE)
Indrek Sirkel (Lugemik)
Anders Härm (EKKM)
Kristel Raesaar (Foku)
Eha Komissarov (Kumu curators)
Anu Liivak (Kumu director) etc.
Sirje Helme, director of Estonian Art Museum
Rael Artel, curator and director of Tartu Art Museum
Maria- Kristiina Soomre, art adviser from Ministry of Culture
Karin Laansoo, Estonian Contemporary Art Developement Center
Elin Kard- Artist Union gallerist, vice president of Artist Union
Olga Temnikova, private gallerist Temnikova&Kasela gallery
Andres Kurg, head of the art history department, Estonain Academy of Arts+ Kai Lobjakas, director of Design museum

Dénes Farkas
Merike Estna
Flo Kasearu
Tõnis Saadoja
Ene-Liis Semper

Art patrons:
Peeter Kutman and Priit Pahapill, Borenius lawyers and art supporters
Vahur Kraft, president of Nordea bank Estonia
Riivo Anton, art collector
Maarja Neivelt, art supporter
Armin Kõomägi, art collector

Day 3 / Tallinn & Vilnius
Individual appointments & Trip to Vilnius

Meeting with locale art scene at Contemporary Art Centre, Vilnius (CAC)
Vokieciu 2, LT- 01130 Vilnius, Lithuania
Meeting with Kęstutis Kuizinas (director)

The Contemporary Art Centre (CAC) is the largest venue for contemporary art in the Baltic States, with an exhibition space of 2400 square meters. The CAC is a non-collection based institution committed to developing a broad range of international and Lithuanian exhibition projects as well as presenting a wide range of public programmes including lectures, seminars, performances, film and video screenings, and live new music events.
The building was inaugurated in 1968 as the Art Exhibition Palace and was run as a branch of the Lithuanian Museum of Art until 1988. Since 1992, the CAC has been an independent institution principally funded by the Lithuanian Ministry of Culture. In 1997 the CAC was gifted a Fluxus Archive by the Silverman Collection (Detroit) in commemoration of Lithuanian Fluxus co-founder George Maciunas, that it keeps on permanent display.
The CAC organises approximately five/six large-scale exhibition projects per annum (including retrospectives, surveys, and international group shows) in conjunction with up to 15 smaller projects. The CAC is well known internationally as the home of the Baltic Triennial of International Art, one of the major contemporary festival exhibitions in Northern Europe. In 2005 the IX Baltic Triennial: BMW (Black Market Worlds) was positively reviewed by international specialist press. And in 2009 the X Baltic Triennial: Urban Stories was the lynchpin contemporary art event in the national program of ‘Vilnius – European Capital of Culture’. In 2012 ‘Mindaugas Triennial’ turned into 12 day event focused exclusively on performance and film, where the contributions of artists were channelled through a radically minimized vessel – one human being.
Since 2005, the CAC has produced the magazine CAC Interviu: a bilingual (Lithuanian & English) interview based publication that focuses on the Baltic region while providing a view on topical events that impact on art produced everywhere. In 2009 the CAC launched the CAC Reading Room – a dynamic space for reading, talking, and the presentation of social, educational and contemporary art events designed by the Amsterdam-based collective of architects and designers Anouk Vogel, Johan Selbing, and Bart Guldemond. In 2012 the CAC has expanded its activity by opening a new film space – the CAC Cinema, dedicated to presenting the searches for a new film language and works by authors from different continents. The CAC Cinema seeks to provide a ground for institutional dialogue between arts and film.
The CAC also produces exhibitions abroad. In 2001, 2007 and 2011 the CAC was the commissioning institution of the Lithuanian Pavilion at the Venice Biennale with the artists Deimantas Narkevicius, and Gediminas & Nomeda Urbonas, Darius Miksys respectively. In 2009 it presented a Frieze Project in London, in 2012 – a project ‘Black Pillow‘ in the Liverpool Biennial. The CAC has also collaborated with institutions in the Czech Republic, Germany and Estonia to present the touring project FLUXUS East (2007–2008), and has been a partner institution, co-producer, and venue in the international exhibitions ‘Holiday In’ (2007) ‘On Mobility’ (2006), ‘Populism’ (2005), and ‘Who If Not We…?’ (2004–2005).

Diner with invited guests:
Juan de Nives, director Rupert program
Justé Jonutytë.curator at Ruppert
Inesa Pavlovskaitė, curator The Garden
Gerda Paliušytė, curator The Garden
Ms. Lolita Jablonskiene, director National Art Gallery
Nida Rutkienė (Founder / Partner), Gallery “Vartai”
Laura Rutkutė (Partner), Gallery “Vartai”
Agne Savarauskienė (Partner) Gallery “Vartai”
Vitalija Jasaitė (Director) vitalija@galerijavartai.lt
Rasa Antanaviciute, Executive Director, responsible for the overall functioning of NAC;
Vytautas Michelkevicius, Artistic Director, responsible for the artistic and educational programmes of NAC;
Linas Ramanauskas, Producer, responsible for the everyday functioning of the building;
Sacha Waldron, Shadow Curator intern, assists with residencies, projects and educational programs;
Daina Pupkeviciute, project assistant.
Vytautas Michelkevicius (curator, art critic, artistic director) of (www.nidacolony.lt)
Mr. Viktoras Liutkus, director Titanic – the galleries of the Museum of the Vilnius Academy of Arts,
Ray Bartkus, Laura Garbstiné, Ugnius Gelguda, Patricija jurkšaitytė, žilvinas kempinas, žilvinas landzbergas, Mindaugas Lukošaitis, Andrius Zakarauskas, Deimantas Narkevicius, Gintaras Didziapetris, Darius Miksys http://www.galerijavartai.lt/?menu=menininkai

Day 4 / Vilnius
National Art Gallery
Konstitucijos pr. 22, LT-08105 Vilnius., T: (+370 ~ 5) 212 29 97.
Meeting with director Ms. Lolita Jablonskiene
Gallery is a subdivision of Lithuanian Art Museum. It is composed of 10 collection exposition halls, a Grand Exhibition Hall, Auditorium, Information Centre, Museum Education Centre, storages, administration premises, bookshop and café.
The goal of the National Art Gallery is to collect and research Lithuanian art of the 20th and 21st Century and present it to Lithuanian and international audiences as a part of the international modern art culture. Our aim is to study Lithuanian art heritage of this period, broaden the view of our audiences, reveal the links between Lithuanian art and art in other countries, encourage new interpretations of Lithuanian art, and develop a culture of understanding visual arts. NGA is a contemporaneous, multifunctional centre for art and culture seeking a dialogue with society. This is a space for active communication where the audience can see the permanent exposition and temporary exhibitions as well as participate in cultural events, lectures and educational programmes.
Exhibitions of 20th–21st Century Lithuanian and international art are organised in the Grand Exhibition Hall. Commissioned new art works are featured in the lobbies and courtyard. The 150 seat Auditorium hosts lectures, conferences, cultural events and screenings of films and videos by Lithuanian and foreign artists. The Information Center runs the only in Lithuania archive on 20th–21st Century Lithuanian artists and the library–reading room.

The 20th–21st Century Lithuanian art collection includes over 46 000 exhibits. Modern and contemporary Lithuanian painting, sculpture, graphic arts, photography, installations and video art are presented in the collection exposition covering:
multinational art milieu of Vilnius in the beginning of the 20th Century, the birth of the Lithuanian art movement;
modern art in Lithuania and Vilnius region in the first half of the 20th Century;
works of Lithuanian artists affected by World War II and Soviet occupation in mid 20th Century; manifestations of socialist realism;
Lithuanian art and photography in the second half of the 20th Century continuing the modernist tradition; the art of Lithuanian artists in exile;
contemporary Lithuanian art at the end of the 20th–21st Centuries.

Modern and Contemporary Lithuanian Art in the Collections of Lithuanian Art Museum
Art of the first half of the 20th century
Vilnius was the main centre of Lithuanian artistic life at the beginning of the 20th Century. Then it was a city of the Russian Empire, and the centre of the region.
Artists who studied at schools in Warsaw, Krakow, St. Petersburg, Paris and Munich lived and worked here; art societies were founded and exhibitions were organised. Artists who studied at the Vilnius Drawing School and later became famous include Jacques Lipchitz, Chaim Soutine, Lazar Segal, Michel Kikoine. The artists who lived in Vilnius were mostly Russian, Polish and Jewish. The Lithuanian art movement was stimulated by The Lithuanian Art Society, which organised exhibitions of Lithuanian art from 1907. Various tendencies, such as realism, impressionism, symbolism, modernism, can be seen in works by Vilnius artists. The art in Vilnius from this period is strongly represented in the collection of the Lithuanian Art Museum, which is in possession of works by some the most renowned painters of the time:, including Lev Antokolski, Stanisław Bohusz-Siestrzeńcewicz, Stanisław Jarocki, Sergei Juzhanin, Ivan Rybakov, Ferdynand Ruszczyc, Nikolai Sergeyev-Korobov, Kazimierz Stabrowski and Ivan Trutnyov, and also by works from participants of the first exhibitions of Lithuanian art: Petras Kalpokas, Adomas Varnas, Justinas Vienožinskis, Antanas Žmuidzinavičius. More >

Art of the second half of the 20th century
Developments of art in Independent Lithuania were interrupted by the occupation of the USSR, which began in 1941. After the war, Lithuanian art divided into two branches: those who stayed in the country and those who emigrated to the West. Artists who were forced to leave Lithuania spread across North and South America, Australia and Europe; they cherished traditions of their country’s art, but and also experienced influences of art in other countries. The collection of the Lithuanian Art Museum also includes paintings, sculptures and prints by some of the artists who worked in exile, including Paulius Augius-Augustinavičius, Alfonsas Dargis, Pranas Domšaitis, Albinas Elskus, Pranas Gailius, Adomas Galdikas, Vytautas Ignas, Vytautas Kazimieras Jonynas, Vytautas Kasiulis, Vytautas Kašuba, Petras Kiaulėnas, Pranas Lapė, Žibuntas Mikšys, Antanas Mončys, Vaclovas Ratas-Rataiskis, Vytas Sakalas, Magdalena Stankūnienė, Elena Urbaitytė, Telesforas Valius, Albertas Vesčiūnas, Romas Viesulas, Viktoras Vizgirda, Kęstutis Zapkus, Kazimieras Žoromskis and others. More >

The Museum Education Centre organizes art lessons, practical art workshops, excursions, lectures, meetings with museum curators as well as Lithuanian and foreign artists. Educational programmes on modern and contemporary Lithuanian and international art are designed for families with children, schoolchildren and visitors of various age groups.

History of the Gallery
The National Gallery of Art is situated on the right bank of the River Neris in the new public and commercial centre of Vilnius, in close proximity to the Vilnius Municipality, banks, hotels as well as commerce and entertainment centres.
The prime building was designed by architects Gediminas Baravykas and Vytautas Vielius in 1968. It was built in 1980 and housed the Museum of Revolution of the LSSR.
A subdivision of the National Art Museum of Lithuania, the National Gallery of Art, was opened in this building in 1993. Until the building was closed for reconstruction it held constant expositions of Lithuanian folk art and sculpture by Vytautas Kasuba. In 2003 a project by Audrius Bučas, Darius Čaplinskas and Gintaras Kuginys won the competition for the architectural reconstruction and extension of the National Gallery of Art.
In 2005 the National Gallery of Art was awarded a Japanese cultural grant aid to the value of 180,000 EUR; to furnish the auditorium with audiovisual equipment for conferences and culture events.
The reconstruction and extension of the National Gallery of Art is part of the Millennium of Lithuania Programme and was finished in 2009.
The National Gallery of Art hosted two of the principal projects of Vilnius – “European Capital of Culture 2009: the international exhibitions Dialogues of Colour and Sound. Works by Čiurlionis and His Contemporaries” and “Cold War Modern: Art and Design in a Divided World. 1945-1970”.

The Garden
Konstitucijos pr. 12A (planetarium), 09308, Vilnius, Lithuania
Staff: Inesa Pavlovskaitė and Gerda Paliušytė
Meet Inesa Pavlovskaite

Rupert program
Meškeriotojų g. 33, Vilnius 10100, Lithuania
Meeting with Mr. Juan de Nives (director)

Rupert is about to open a new artists in residence, exhibition and education centre in Vilnius in September of 2013. Its recently appointed director Juan is already active and works in Vilnius.
RUPERT is an educational exhibition center devoted to establishing close cooperation between artists, thinkers, researchers, and other cultural actors through interdisciplinary programs and residencies. A knowledge-based platform for innovative creative production, Rupert integrates with the social and cultural framework of the city of Vilnius while simultaneously supporting a strong international focus.
Rupert’s mission manifests in three distinct but closely-linked channels: first, the EDUCATIONAL PROGRAM offers 8–10 participants the chance to develop project ideas and make connections with professionals in the field through regular lectures and workshops. It provides the invaluable opportunity for collaborative education, forging new international networks. This degreeless, non-academic program is proudly career-oriented and supplemented by its trans disciplinary approach. Rupert’s second educational series begins in October 2013 and will last until June 2014.

Second, Rupert offers a RESIDENCY PROGRAM in which the participants develop their individual projects, giving them the opportunity to immerse themselves in Vilnius. Through collaboration, participants will establish fruitful connections with Rupert’s educational program and the artistic sphere of the region. Rupert’s residencies will provide both Lithuanian and foreign participants with the opportunity to live and work in Vilnius for a minimum of 10 weeks.
Finally, an unconventional EXHIBITION PROGRAM will serve as the basis for a wide range of public programs and activities exploring art and its role in contemporary society. The gallery is conceived as a space of support for the educational program – a laboratory that will complement topics covered by workshops and lectures.
Through its research and development-oriented programs, Rupert supports international thinkers in realizing their projects and establishing their creative careers on an international scale. It focuses on contemporary artistic and curatorial practices but remains close to an extensive range of disciplines, while encouraging trans-disciplinarity.
The next open call for RUPERT’s educational and residency programs will be announced on June 1st, 2013.

Day 5 / Vilnius & Warsaw
Joneikiskiu k., 15148 Vilnius r., LITHUANIA, (370 5) 2377 077, 2377 070, hq@europosparkas.lt
director Mr. Gintaras Karosas

The sculpture park a bit outside Vilnius (not more than 20 km) Open air museum of the center of Europe:
Europos Parkas was founded in 1991 by Lithuanian sculptor Gintaras Karosas. The exhibition spans an area of 55 hectares and is visited by over 60,000 people annually.
The goal of the museum is to give an artistic significance to the geographic centre (as determined by the French National Geographic Institute in 1989) of the European continent and to present the best of Lithuanian and international modern art achievements.
While enjoying the treasured landscape of the park, you will at the same time discover the admirable world of art.
The sculptures are permanently exhibited amidst beautiful rolling hills, woodlands and grasslands dotted with natural springs. The yellow blossoms of the grassland in the spring time and the faded colours of the misty autumn add an atmospheric backdrop to the sculptures. This harmonious whole with the light changing as the day progresses makes a lasting impression. EUROPOS PARKAS PHOTO GALLERY

Trip to Warsaw.

Day 6 / Warsaw

Foksal Gallery Foundation
Górskiego 1A, 00-033 Warszawa / Warsaw
Aleksandra Urbanska

The Foksal Gallery Foundation was founded in 1997 with the aim to protect the collections and traditions of the Foksal Gallery and widen the scope of activities of the gallery by promoting new artistic projects, publishing and academic activities.
Initially based within the Foksal Gallery, the Foksal Gallery Foundation moved in 2001 to Górczewska Street and now operates as an independent business. Currently, it is focused on initiating and supporting artistic projects (exhibitions, concerts, films, publications), which often take place outside the gallery becoming a part of the public space. The characteristic window view on the Palace of Culture and Science is often the inspiration for the art work created in the Foksal Gallery Foundation for artists like Oskar Hansen and Olafur Eliasson.
The Foundation is associated with artists including: Paweł Althamer, Cezary Bodzianowski, Piotr Janas, Katarzyna Józefowicz, Robert Kuśmirowski, Edward Krasiński, Anna Niesterowicz, Wilhelm Sasnal, Monika Sosnowska, Jakub Julian Ziółkowski, Artur Żmijewski.
The Foundation is directed by Andrzej Przywara in cooperation with Adam Szymczyk, the present Kunsthalle

House Edward Krasinski. True Foksal Gallery Foundation.
http://www.instytutawangardy.org/en a hidden treasure of the Polish conceptual art history. In order to organise a tour there you have to get in touch with the Foksal Gallery Foundation which takes care of the place.

Zacheta National Gallery of Art, Warsaw
pl. Małachowskiego 3, 00-916 Warszawa, 48 22 556 96 01
Meeting with Hanna Wróblewska (director)

The history of Zacheta (English: encouragement) dates back to 1860, when the Association for the Encouragement of Fine Arts was established in Warsaw at a time when Poland did not exist as a state and Warsaw was a provincial city in the Russian Empire. In 1900 Zacheta’s building was erected, designed by architect Stefan Sziller in neo-Renaissance style. In 1922, after Poland regained independence, the first Polish president, Gabriel Narutowicz, was shot dead at an exhibition opening in Zacheta by painter and right-wing fanatic Eligiusz Niewiadomski (“Assassination”, a film by Yael Bartana shown in the Polish Pavilion at the Venice Biennale in 2011 contains references to this tragic moment). After 1945 the historical collection of artworks was moved to the National Museum in Warsaw and Zacheta was renamed the Central Bureau for
Art Exhibitions (Polish abbr. CBWA), the focal point of a centralistic system of art institutions (Bureaus for Art Exhibitions, Polish abbr. BWA) scattered all over the People’s Republic of Poland. Events in 1989 prompted the gallery to significantly overhaul its identity in relation to the alternative art of the 1980s. At
the turn of the century Zacheta was a scene of several scandals. Polish actor Daniel Olbrychski attacked the piece by Piotr Uklanski “Nazis” with a sword (his photo in Nazi uniform was included in the piece) and far-right MPs attempted to demolish Maurizio Cattelan’s sculpture “La nona ora”, exhibited by Harald Szeemann at the centennial exhibition in 2000. The politicians tried to relieve the figure of Pope John Paul II from the burden of the meteor. Although it may sound humorous, the events marked the peak of “the cold war between society and artists”, as Zbigniew Libera called it. One of its victims was Zacheta’s director, Anda Rottenberg, unseated in this anti-Semitic atmosphere. (Goshka Macuga at her exhibition “Untitled” at Zacheta in 2012 analysed the situation of hostility towards art at that time.) But it was under the directorship of Rottenberg and her successor Agnieszka Morawinska that Zacheta earned itself a reputation as one of
the best art institutions in Poland. Zacheta is known for retrospectives of established Polish and international artists, historical shows, presentations of art from particular regions (e.g. Australia, India) and smaller shows by emerging Polish artists. Aernout Mik present in exhibition.

Soho Factory
Mińska 25, 03-808 Warszawa, tel. +48.22 323 19 00 / 22 323 19 10
e-mail: biuro@sohofactory.pl

Minska 25 [SoHo Factory], 03–808 Warsaw PL, Marta Kołakowska (direc¬tor)

Leto Gallery was founded in 2007 by Marta Kołakowska in the centre of Warsaw. In spring 2011 the gallery moved to Soho Factory, where it shares the building with Piktogram / BLA, and now boasts one of the most attractive exhibition spaces in Warsaw. The gallery’s team include Maurycy Gomulicki, Bianka Rolando, Konrad Smolenski, Radek Szlaga, Honza Zamojski and others.
A very succesful gallery wroking with younger generation of artists, including Konrad Smolenski, who represnts Poland during this year Biennale of Art in Venice.

Piktogram Talking Pictures Magazine / Bureau of Loose Associations
ul. Mińska 25/ Soho Factory, 03-808 Warszawa/ PL,
Michał Woliński.wolinski

Piktogram / BLA (Bureau of Loose Associations) and Leto Gallery share a pavilion in Soho Factory, the new space in the Praga district of Warsaw dedicated to culture, creative industries and business. The districts of Warsaw on the right bank of the Vistula River generally do not have a good reputation. The old houses are often forlorn and dilapidated and industry is leaving the area. The potential for new residential areas and construction of a new underground train line spanning the east and west parts of the city are, however, making Praga more and more attractive to developers. Soho Factory is a perfect example of the
gentrification process.
The new owner of a former industrial complex renovated the buildings, which now form a contrast to their neighbourhood, and leases them for events, temporary shows and concerts. There are editorial offices of lifestyle magazines, showrooms of fashion designers, design stores, architectural studios, etc. One of the buildings hosts the Neon Museum, exhibiting the best examples of effervescent neon signs from the 1960s and 1970s, collected from the streets of Warsaw when the original sites were undergoing demolition or refurbishment. Of course, as the place attracts more and more people, Soho Factory, advertising itself as an “avant-garde space for culture and business”, will also house a complex of new luxurious apartment buildings in the near future. “Piktogram. Talking Pictures Magazine” is a bilingual magazine, published at irregular intervals by Michał Wolinski since 2005, focusing on visual phenomena in socialist Poland and the Eastern Bloc and today. The latest issue of Piktogram is devoted to fashion from the People’s Republic of Poland. The ephemeral and informal Bureau of Loose Associations, an alter ego of Piktogram, organized exhibitions in places such as deserted hotels or the Warsaw Stock Exchange in the past. Now it operates as a project room in Soho Factory and Michał Wolinski has
organised group and solo shows by Leszek Knaflewski, Anna Niesterowicz, Honza Zamojski as well as concerts and screenings.

Meeting with locale art scene at Museum of Modern Art Warsaw
ul. Panska 3, 00-124 Warsaw, Poland, +48 22 596 40 10
Meeting with Sebastian Cichocki

Starting from January 2008, the Museum of Modern Art in Warsaw runs its programme activities in a temporary space on Panska 3 street in central Warsaw, in close proximity to the future construction site of the Museum’s building. The exhibitions, events, educational programmes and publications provided by the
Museum today help to develop the full range of activities the Museum will run in the future, after the proper building is opened. The Museum constantly expands its offer to the public, focusing on modern and contemporary art, graphic and industrial design and architecture. The Museum’s main mission today is the creation of a proper art collection, relevant for the Museum’s institutional outlook and its new building.
The Museum of Modern Art in Warsaw is a national cultural insitution established by the Minister of Culture of the Republic of Poland on the 29th of April 2005.
On the 30th of October 2005 the municipal authorities of the City of Warsaw and the Ministry of Culture signed an agreement on shared management of the Museum.he agreement determines the managerial, organizational and financial basis of the Museum as well as the guidelines for investing in and erecting the Museum’s building designed by Christian Kerez.
The Museum is supervised by the Museum Board, established by the Minister of Culture. At present, the Board members are: visual artist Mirosław Bałka, art historian professor Waldemar Baraniewski, Secretary of State, Deputy Minister of Treasury Adam Leszkiewicz, Chairwoman of the Council of Warsaw Ewa Dorota Malinowska-Grupińska, Rector of the Institute of Human Sciences in Vienna, professor [Krzysztof Michalski], Director of The National Museum in Warsaw Agnieszka Morawińska , President of Korn/Ferry International/Poland, Friends of Museum Board Krzysztof Nowakowski, independent art curator Anda Rottenberg, Director of Kunsthalle Basel Adam Szymczyk, art historian, professor Andrzej Turowski, Deputy Mayor of Warsaw Jacek Wojciechowicz.

Day 7 / Warsaw
“Learning from Warsaw”
Marszałkowska street.
Contact: Nele Dachman and Nicola Ruffo:
project realized by “waescherei” from zurich and the air program of the cca ujazdowski castle (all the info about this project at our website http://www.prohelvetia.pl)

Learning from Warsaw
1 August–25 October 2013 | A-I-R Laboratory at CCA Ujazdowski Castle, Warsaw, Poland
As a result of connections forged in Switzerland a year ago by the curator Agnieszka Sosnowska, the A-I-R Laboratory will host the first institution-in-residence. In August, the Zurich’s association named Wäscherei (‘laundry’) will settle in Warsaw for three months. The innovative residency project is titled “Learning from Warsaw”, which relates to the famous architectural manifesto “Learning from Las Vegas” (Robert Venturi, Denis Scott Brown and Steven Izenour, 1972) on one hand, and on the other, emphasizes the local character of projects under the exchange.

Initiated by Nicola Ruffo and Nele Dachman, Wäscherei is a space devoted to film, contemporary art, literature, music, graphic design and the so-called neighborhood projects. It was founded in 2010 and is supported by the city of Zurich and Migros Kulturprozent. In Warsaw, the curators will invite Polish and Swiss artists to work together and present the results of these micro co-operations in two-week cycles.
All projects realised during this residency can be followed at: https://www.facebook.com/LearningFromWarsaw

Centre for Contemporary Art Ujazdowski Castle
ul. Jazdów 2, 00-467 Warsaw, Poland
Meeting with Fabio Cavallucci (director)

AIR Residency Program: Marianna Dobkowska and Ika Sienkiewicz.

The Centre for Contemporary Art Ujazdowski Castle is attempting to evolve as a new type of cultural institution in which various fields of art coexist with each other, interact, and transgress their own boundaries, in order to create new qualities and phenomena. The CCA draws particular attention to the relationship between art and society, as well as interdisciplinarity, interactivity, site-specific productions, various forms of collaboration, networking, and co-production. The CCA would like to transform itself into more of a space for artistic exploration, research, laboratories, workshops, and experiments than remain a traditional exhibition space. The CCA program will determine the fundamental objectives required to meet the needs of a modern society within the following categories:

Artistic exploration and a research-like approach to the surrounding reality lie at the heart of the activities undertaken by the Centre for Contemporary Art. These aim to strengthen the relationship between the visual arts and other areas of culture (including music, theater, film and new technologies), but also between art and society. The assumption underpinning these conjectures is that the areas with the greatest innovative potential are performance and art in public space, both of which may be regarded to some extent as points of contact between the various fields of art; as well as between art and its audience. Not only do these areas enjoy considerable popularity, but they are also flexible research tools that allow for both the evaluation of reactions and observation of human behaviors and organizational systems. The research will focus on fundamental topics which are becoming central to the life of modern society.

Creating social value through the arts
Attributing a purely economic value to art and making collection the primary focus of attention diminish art’s importance. The divergent nature of artistic creativity can play a very important role in trying to understand the development of society; it can also become an instrument of social growth through stimulating questions, and also – why not? – through provocation. In this sense, art can stimulate wider forms of creativity, ultimately leading to the production of economic value, not by creating objects but in a more elusive manner.

The introduction of innovative art processes to the public and the creative use of new technology are the foundations upon which the progress of society as a whole rests. The CCA is taking extensive measures facilitating the development of educational processes that see art as a means to explore and understand society, using such tools as conferences, debates, guided tours, workshops, publications, and television programs.

Art is also a means of communication. The CCA takes full advantage of this fact while remaining mindful of both the inherent communicative potential of each project, which often relates to unresolved problems and other issues affecting modern society, and also the need to construct innovative communication campaigns using new media and information technology. Maintaining a direct and lasting relationship with modern systems of communication (i.e. the press, TV, Internet and social networks) forms an integral part of the CCA’s quest as well as the development of projects, a process which is often bound up with media diffusion and audience reactions.

New technologies stimulate and facilitate the development of a demand for active participation in the creation of culture. The CCA would therefore like to transform itself into more of a place for meetings and active participation. For this reason, it not only creates resting areas and spaces for social interaction, both within the building and in the surrounding park, but also carries out projects that allow the audience to actively participate, all the while using and developing their own creative potential.

Promotion of creativity
The primary aim of the centre for research and experiments, thus conceived, is to support the development and promotion of creativity – in the city, across the region and throughout the whole country. Dynamic processes and discussions bolster the development of creativity within any space The presence of international artists, curators and intellectuals, who have chosen to associate themselves with Warsaw by working for the CCA, can only strengthen the development of culture while reinforcing the importance of Polish art throughout the world. By using parts of the Castle for the exhibitions and projects of artists of the younger generation, we hope to underscore our commitment to providing appropriate conditions for young talent to flourish.

Brief description of residency program
The mission of A-I-R laboratory is to support the mobility of Polish as well as international artists.
Our team carries out artistic residency programme tasks on two levels. First of all through a curatorial residency programme: we invite foreign artists to participate in the programme so that they can realise their own artistic projects. They use the residency to study a new setting, reflect on their practice, experiment.

Artistic residencies fulfil a different function with respect to the artist’s work than the art market or exhibition venues – and this form of working with artists interests us greatly, requiring critical reflection as well as good organisation. That is why we run research project and promote the idea of artistic residencies in Poland and Eastern Europe.
Our investigations concern several areas. Building a knowledge- and experience-sharing network between artistic institutions from the east and west of the European Union and supporting the professional development of cultural workers – co-creating an Eastern European map of artistic exchange as part of the project Re-tooling Residencies.
Another direction are bilateral exchange projects that provide for sending Polish artists on international residencies or promoting know-how on international residency possibilities (the project On-AIR carried out in association with the Dutch institution Transartists).
Rooted Design for Routed Living (www-design-in-residence.org), the research- and manufacture-based design project is also a reflection on the artistic residency, albeit in the context of the work space – the studio as a place for living and creating.

Galeria Le Guern
ul. Widok 8, 00-023 Warszawa, (+48) 22 690 69 69
Dyrektor: Agata Smoczyńska – Le Guern

Le Guern Gallery is a contemporary art gallery which focuses on exhibiting the work of emerging artists from Polish and international art scene. Presenting some of the most challenging contemporary artists, as well as supporting young local artists, the gallery shapes its profile with reference to the current visual manifestations.
Following the complexity of the art world today, we intend to reflect the perpetually evolving aspects of contemporary art in its most dynamic sense. Our intentions include the desire to show the changing forms of today’s art as it shifts to the broad field of visual culture. As a site for art to happen we are trying to respond to that challenge by providing artists with possibility of artistic production and project-making.
The gallery’s space is opened to various artistic positions. The program covers the range and diversity of contemporary art. The artists represented by the gallery work with variety of media such as photography, painting, drawing, sculpture, installation, object, film, video art as well as performance art.
The exhibition program is based on the following areas: solo exhibitions with new works by established artists, new projects by young, emerging artists, thematic and group exhibitions including projects outside the gallery. Some exhibitions or projects is accompanied by special publication

ul. Foksal 11/1
00-372 Warszawa 00-372 Warsaw Poland
Paweł Sosnowski

Raster Independent Art Space, Warsaw
ul. Wspólna 63, 00-687 Warszawa, POLAND, raster.gallery@gmail.com
Meeting with Łukasz Gorczyca

In 1995 Michał Kaczynski and Łukasz Gorczyca established the art magazine “Raster” (after 2000 an Internet magazine). Their attitude was based on a searing critique of the art present in official institutions and the mass media, especially the remnants of the former art-political system. They developed a new language of art critique, alluring and provocative, and their own dictionary in which Zacheta (Polish: encouragement), for instance, was called “Zniecheta” (discouragement). Gorczyca and Kaczynski mapped out and castigated the Polish art world at that time, while clearing the field for the art they promoted. In “Raster” they provided
a critical and literary equivalent to the art of new banalism, the term they coined for the Ładnie Group from Krakow, which included the painters Rafał Bujnowski, Rafał Maciejowski, Wilhelm Sasnal and others. The Raster gallery, founded in 2001, also promoted these artists as well as a neo-urban lifestyle. Raster’s venue
on Ho_a Street was a gallery-cum-dayroom, with a small bar and table football, on the top floor of an old townhouse, combining the air of elite and alternative. In 2011 Raster moved to a new location with large street windows and a better exhibition space, easy to access and more representative. The gallery has recently expanded its scope of interest, representing or exhibiting artists from the older generation (e.g. KwieKulik) and international artists (Slavs and Tatars).

Day 8 / Warsaw & Lodz
Trip to Lodz.

Museum Sztuki
MS1: Więckowskiego 36 St., 90-734 Łódź
MS2: Ogrodowa 19 St., 91-065 Łódź
Director: Jarosław Suchan

Muzeum Sztuki in Łódź is one of the oldest museums of modern art in the world. The Museum’s connections with the avant-garde date back to the turn of the 1920s and 1930s, when a group of radical artists from the “a.r.” group began gathering works of the most important artists of the day for the Museum. The action met with great interest of European avant-garde, making many outstanding artists, such as Fernand Leger, Max Ernst, Hans Arp and Kurt Schwitters to donate their works to the collection. The fact made the collection of the “a.r.” group a unique symbol of solidarity and cooperation of the avant-garde. The International Modern Art. Collection of the “a.r.” group, representing the main directions of art. such as Cubism, Futurism, Constructivism, Purism, Neoplasticism and Surrealism was open to public on 15th February 1931. The collection has since been consistently expanded by including international modern and contemporary artworks. Due to this fact Muzeum Sztuki is now the only museum in Poland with such extensive collection of world art of the 20th and 21st century.
The creation of the Łódź collection is a worldwide phenomenon for several reasons. Firstly, it was initiated by artists themselves: the unique collection was gathered thanks to the enthusiasm and devotion of as few as five members of the “a.r.” group – Władysław Strzemiński, Katarzyna Kobro, Henryk Stażewski (the artists) and Julian Przyboś and Jan Brzękowski (the poets). Their activities and contacts, stretching from Moscow to Paris, made it possible to create an outstanding international collection of their contemporary art. Secondly, the collection included the works of the most progressive representative of European avant-garde of the day whose names would only later be included in the canon of modern art. Finally, the attitude of the then-authorities of Łódź proved surprisingly open: in spite of certain misgivings the authorities decided to allow the revolutionary collection to be exhibited at the Julian and Kazimierz Bartoszewicz Museum of History and Art located at 1 Liberty Square, opened in 1930.

MS2: Ogrodowa 19 St., 91-065 Łódź
Meeting with the curators of “You come we’ll show you what we do” project and a guided tour.
This new space of the Muzeum Sztuki is located in the historic building of a 19th century weaving plant. ms2 is primarily a venue for experimenting with the Collection of 20th and 21st Century Art. The unique collection of the Museum is presented in an unconventional way: instead of a chronological lecture on the development of art, works of art representing various periods and movements are arranged into a story touching themes and motifs important for the contemporary public. The permanent exhibition is a ‘work in progress’, constantly subject to alterations, rearranged by invited curators and artists themselves. ms2 also features temporary exhibitions, workshops, lectures, meetings with artists and film screenings. The building also houses Boston Café and an artistic bookshop, mała litera art.

Day 9 / Lodz & Krakow
Atlas Sztuki
90-006 Łódź, ul. Piotrkowska 114/116
President of the Atlas Sztuki: Jacek Michalak

Galleria Miejska
ul. Sienkiewicza 44, 90-009 Łódź
Director: Elżbieta Fuchs

The City Art Gallery was founded by the Lodz Municipal Office in 1924. Since 1951 it functioned as the Lodz Department of the Central Bureau of Artistic Exhibitions in Warsaw, since 1962 as the Bureau of Artistic Exhibitions in Lodz. At the beginning of the 1990s the name of the institution was changed into the State Art Gallery, and in 1997 the original name – the City Art Gallery in Lodz was restored. It presents a variety of Polish and foreign contemporary art in all kind of forms, techniques and media. Painting, graphic art, drawing, sculpture, photography, fibre art, design, film, multimedia, performance, installations. The Gallery is involved in educational and publishing projects.

International Design Festival
Malgorzata Zmijska
Targowa 35, Łódź

Łódź Art Center
Lodz Design Festival is an event which, since its creation in 2007, has been the ground for thought and experience exchange for artistic circles who identify with design in general, and for business. The efforts of the organizer – Lodz Art Center – and the support of many partners made it possible for the festival to become the largest Polish event on design only a few years after it had been launched as a local, minor exhibition. The festival presents design in its various modes – starting from industrial design, through arts and crafts, graphic design, architecture, up to fashion. The key point of Lodz Design Festival is always a thematic main programme consisting of curator exhibitions. It is developed and completed by open and varied range of accompanying events. The most important are: lectures held by world renowned specialists, contest for young designers “make me!” and a portfolio review which enables the students and graduates of art schools to confront their ideas directly with professionals (curators, designers and producers).

Day 10 / Krakow & Bratislava
Visit the archive at Kanonicza
Contact: Joanna Zielinska
Info on new building.

Cricoteka, Centre for the Documentation of the Art of Tadeusz Kantor was founded by Tadeusz Kantor as early as in 1980, at first as the Centre of Cricot 2 Theatre at 5, Kanonicza Street (now the seat of the Archives of the Centre). For almost ten years it has been the basic institution for Kantor’s theatre, simultaneously a kind of the “Living Archives” of his theatre creation. The main purpose of the centre has been to preserve his ideas “not in a librarian system, but in the mind and imagination of generations to come”.
In accordance with the Master’s testament, this task is the basic and most important purpose currently realised by Cricoteka. The unique collection of Kantor’s works is the basis of activity of the centre. The collection consists of several hundreds of objects and costumes of Cricot 2 Theatre, Kantor’s theoretical papers, drawings and design works, video records, and photographic documentation as well as thousands of reviews, journals and books. This enormous output, the result of long peregrinations carried out by Tadeusz Kantor and his actors, is under constant development and scientific working out. Cricoteka is a specific institution functioning simultaneously as the archives, a “museum”, a gallery and a scientific post.
Tadeusz Kantor’s Gallery/Atelier is a kind of the “annexe” of Cricoteka. Its activity began in 1995 at Tadeusz Kantor’s studio, where he created his last works in the period 1987-1990. Apart from the “Poor Little Room of Imagination” it houses a small gallery.

Gallery Zderzak
ul. Floriańska 3, 31-019 Kraków, POLAND, +12 429 67 43
Director: Marta Tarabuła

Museum of Contemporary Art in Krakow
ul. Lipowa 4, 30-702 Krakow
Director: Maria Anna Potocka

The programme of the Museum of Contemporary Art in Kraków (MOCAK), which has been active since 1st February 2010, encompasses presentation of the latest international art, education as well as research and publication projects. MOCAK’s two most important aims are presenting the art of the two last decades in the context of the post-war avant-garde and conceptual art as well as clarifying the rationale of creating art by highlighting its cognitive and ethical value and its relationship with everyday reality.
All the projects will be undertaken by the Museum with diverse audiences in mind. The publications produced will provide information bringing closer the origin and significance of the works and events presented and placing them in contexts. The institution considers it an important challenge to reduce prejudice against very recent art.

The Idea of Creating the Museum
The project of creating a Museum of Contemporary Art in Kraków, which had been discussed for years both within the artistic community and local government, finally became reality towards the end of 2004, when Gmina Miejska Kraków (the Municipality of Kraków) took over and bought the land and buildings on the site of the former Schindler’s Factory at Lipowa Street 4, with the intention of providing a home for the future institution.

Introducing contemporary art into industrial space has been a worldwide practice. To revitalise post-industrial sites through cultural usage, and in particular as contemporary museums, has been one of the key priorities of European cultural policy. With these objectives in mind, the President of the Municipality of Kraków, Jacek Majchrowski, applied, in May 2005, for part financing of the Museum of Contemporary Art from the funds of the Ministry of Culture. The Minister, Waldemar Dąbrowski, allocated the subsidy of 4 milion PLN to the project. At the end of August 2005, the President and the Minister signed an agreement concerning subsidy for the Museum of Contemporary Art project.
In 2007, an 11-strong jury, led by Professor Konrad Kucz-Kuczyński, concluded the competition for the design of the Museum building by selecting the design by Claudio Nardi and Leonard Maria Proli. The project, produced by the architectural office Claudio Nardi Architetto, involves erecting a new building on the site of the old Schindler’s Factory, and adapting six other existing buildings. The design will provide a total of about 10 000 m2 of usable floor space.
The construction work began in mid-2009. The construction work, which will cost in excess of 70 million PLN, is 50 per cent-funded by the European Union.
The opening of the MOCAK building took place on the 16th of November 2010.
On the 19th May 2011 a formal opening of the Museum took place, as well as the presentation of the first six exhibitions. Thousands of visitors came to MOCAK on the day, including the President of Poland – Bronisław Komorowski.

Lunch at Museum.
Joined by people from Photomonth.
Tomasz Gutkowski

Gallery Starmach
ul. Węgierska 5, 30-535 Kraków, +48 12 656 49 15, galeria@starmach.eu
Director: Andrzej Starmach / Contact: Dobromila Blaszczyk
The Starmach Gallery was established in 1989 by a couple of art historians from Krakow – Teresa and Andrzej Starmach. First it was located at Rynek Główny, and the first opening took place on October 3, 1989. The gallery was active from October 1989 till July 1999. During almost ten years, fifty-five exhibitions were featured there. In 1997, the gallery changed its location and moved to Podgórze. The former Jewish Zucher’s house of prayer, built in 1879 – 1881, was refurbished and converted into exhibition space. It was there that the Nowosielski Foundation Prize was awarded for the first time on May 17, 1997. The first exhibition at the new gallery was opened on June 19 of the same year. Over the last twelve years there have been sixty-four exhibitions held in our venue at Węgierska Street.

National Museum
al. 3 Maja 1, 30-062 Kraków, Poland
Contact: Mrs. Olga Jaros, Head of the Exhibition Department

The National Museum in Krakow was originally founded as a municipal institution so as to shun control by the occupant’s government in Vienna. In 1950, already as a state museum, it came under the authority of the Ministry of Culture. It is financed by the Ministry and from its own proceeds which, for the past few years, the Museum has been able to generate despite its status of a non-profit organisation. At the moment it employs 644 people, including 257 in curatorial areas and a relatively big internal security forces of 112 armed officers who provide safeguarding services in all the buildings.
The first statute of the Museum was conferred in 1883. The current statute of 2001, the eighth in the institution’s history, was the first in which the Museum’s mission was laid down as follows:
“The mission of the Museum is to bear testimony to national and human values by promoting world and Polish art, especially the achievements of the Krakow artistic community, as well as through museum activities associated with its collections and works of scientific, historical and artistic merit, which were produced out of beliefs of those who shared a sense of belonging to or respect for Polish culture, regardless of their place of residence, nationality or religion”.

Galeria Bunkier Sztuki
Pl. Szczepanski 3-A, 31-011 Krakow
Director: Piotr Cypryański

Paintings, graphic art, sculptures, video, objects, installations.
The Bunkier Sztuki Collection comprised over a hundred works by thirty eight artists.
The compilation reflects the exhibition history of the Gallery as well as the most interesting trends in contemporary Polish art.
However, for us, the Collection represents, above all, action and experimentation. We seek out new avenues of development, focusing on young artists, on multimedia art and on non-standard creative techniques. Our activities are based on close collaboration with artists – we aim to ensure that a proportion of works are created especially for Bunkier, as the artist’s trademark statement about the Gallery.
The Collection is about working with the public and for the public. The works in it don’t gather dust in the storeroom – they trigger a dialogue with the viewers and become the catalyst for progress.
The Collection inspires numerous side events – workshops, meetings with artists and the invited experts in many fields – which provide opportunities to become involved in a discussion about the contemporary art and culture.
The Bunkier Collection promotes openness, innovation and communication.
This is a collection of works of art and a collection of experience.
Worldpress Photo exhbition.

Day 11 / Bratislava
AMT project (Y)
Meeting with Alberto Matteo Torri: amt@amtproject.sk
Petra Fejdi, Stetinova, 1, 81106, Bratislava – sk

the amt _ project is a contemporary art gallery based in Bratislava, Slovak republic established in April 2010. the gallery concentrates on contemporary young artists from the region of central and eastern Europe and specifies their importance within the international art scene.
the current program of the gallery is focused on an undoubtedly present and unique phenomenon: the relation between the young artists and the generation whose activity began in the seventies.
the amt _ project’s aim is to develop a coherent program, communicating the message through the individual expressions of the represented artists.

Slovak National Gallery
Námestie Ľudovíta Štúra 4, Bratislava
Contact: Lucia Gregorova – Chief Curator in SNG

In its foundation deed, the Slovak National Gallery (SNG) is defined as the supreme and central gallery institution of Slovakia.
Its activities and the extent of its collections contribute to the fulfillment of this requirement in the spirit of the conceptions for the building and management of the SNG. The SNG can be comprehended as a gallery institution creating collections which fulfill the expectations of the expert and general public; its role is to develop as the national art historical institution and, at the same time, to collect, preserve and interpret works of art at home and abroad.
We would like to present the Slovak National Gallery as an open institution built and operating on fundamental museum standards, which are not only maintained, but also renewed and advanced. A gallery should not only be the source of significant impulses of quality curator projects and their presentations, but also the site of discussions and interpretation platforms and eventually even the guarantor of artistic and creative values. In practice, this means an ambitious and legible dramaturgy of individual research, acquisition, exhibition and publication projects, without narrowing their conceptual, thematic and stylistic offers, modifying the mission of the SNG or devaluing or inflating new, old, domestic and international art.
Slovak National Gallery, besides its premises in Bratislava, consists of a network of four detached gallery facilities: Castle in Zvolen, Mansion of Strážky in Spišská Belá, Ľudovít Fulla Gallery in Ružomberok and Gallery of Naïve Art in Pezinok-Cajla.

Juraj Carny: Look at the space of the coming Kunsthalle

Day 12 / Bratislava
Krokus Gallery
Námestie 1. Mája 3, SK-81106 Bratislava
Gallery manager: Gabriela Kisová

Since 2008 is our mission to work with Slovak and international artists, and to provide them with space and support for further development and experiments, indispensable for shifting the limits of contemporary visual art. Apart from regular exhibitions, other activities of Krokus Gallery include publishing catalogues, intensive co-operation with Slovak and foreign institutes in the field of art and culture, participating in international art fairs, communicating with collectors, and consulting regarding purchasing works of art.

Krokus gallery, meeting with people from Banska Stanica
Svatopluk Mikyta (artist), Zusana Bodnarova,(artist)
It’s a former railway station, and they have an artist in residency program too.
(this place is outside of Bratislava, but you could meet him in the city).

Civic Association Štokovec, space for culture was created in the summer of 2008. A year later, in the summer of 2009, found asylum in Štokovec industrial premises railway station in Banska Štiavnica. There is an open platform BANSKÁ STANICA with attributes Contemporary, which forms a background for a wide range of cultural activities.
In the center of our concerns is active cultural production, realized through creative workshops, workshops, symposia and residencies particular professional artists who find in house facilities for short stays or several months, creating a mutual confrontation. In the area of Banska St a nice encounter at one time artists who are here, guests makeshift gallery, which is in the station waiting room and passengers arriving and departing trains to insufficient wonder how this monumental building takes second (cultural) breath.
BANSKÁ ST A NICA is a part of European research projects on mobility of artists Re-tooling Residencies and ON-AIR and a member of the network for independent culture ANTENNA.
Part of the project: – studio facilities and accommodation for artists – gallery in the waiting room – selling train tickets and information – mobile shop with books, magazines and original production – for club members tea, coffee and snacks on the train
The founders of the center are Svatopluk Mikyta artist and theorist and cultural manager of Zuzana Bodnárová. Internal team in 2012 and consists of fresh reinforcements, a graduate of Fine Arts, George Gabor and by summer 2012 environmentalist and beekeeper David Turčáni.

HIT Gallery
Hviezdoslavovo námestie 18, Bratislava 811 03, Slovakia, galeriahit@gmail.com
HIT Gallery emerged out of initiative of non-profit association KARTEL in 2003. Activities of the gallery facilitate confrontation of both professional and wider public with actual trends of contemporary visual art. Their aim is to dynamize local art-scene and also to stimulate intercultural and international exchange motivating formation of new projects. Our main aim is to broaden awareness of contemporary art in Slovakia and surrounding countries, cultural exchange, creation of platform for discussion about various discourses in central-european contemporary art and also realisation of projects in cooperation with broader theoretical sphere with generational overlaps.
Main activities of HIT Gallery :
– realization of exhibitions of young and emerging slovak artists (presenting solo monographical an group exhibitions)
– realization of exhibitions of foreign visual artists (exchange projects, hosting artists)
– mapping of actual trends in contemporary art, reflection on newest artistic and theoretical strategies both in Slovakia and abroad
– organization of symposiums, guided tours, artist talks and workshops.

Petra Feriancova – you met, now representing slovakia in Venice Biennale
Stano Filko – old artist very relevant

Martin Vongrej – young artist was in last Manifesta
Cyril Blazo – middle generation very relevant related with Martin Kochan and Boris Ondreicka
Roman Ondak sometimes in relation with XYZ(Matej Gavula – Milan Tittle)
Lubomir Durcek – having now important retrospective in SNG, curated by Mira Keratova
Milan Adamciak – mostly visual poetry, old generation
Peter Bartos – old generation
Martin Vongrej
Mira Keratova – indipendent but collaborating with institutions
Daniel Grun – director of Julius Koller society
Lucia Gavulova – very active in Bratislava referent for open society
Petra Hanakova – working in SNG

Kunsthalle Zilina – http://www.novasynagoga.sk/?lang=en
Stanica Zilina – http://www.stanica.sk
Memory Kontrol – http://www.memorykontrol.org
Photoport Gallery
Meeting with Filip Vanco (director)
Grösslingova 21 , 811 09 Bratislava

Meeting with artists organized by Filip.
The aim of the PHOTOPORT gallery is to create space for the presentation of contemporary work of young beginning authors and for the confrontation with the work of authors from the region of central Europe.
The purpose of the project is to initiate the market with art photography which doesn´t in fact exist in Slovakia. This goals we would like to reach partly by creating a net of independent galleries in central Europe which would cooperate on exhibition project and mutually change their exhibitions, by the way of publication work /quarterly about the photography and visual media/, lecture activities, workshops.
By creating space for the generation of beginning authors, exhibiting, publicating and selling woks, the project will motivate authors to create and we hope that it´ll also cause creation of a number of new works in photography media.
Diner at Photoport

Day 13 / Bratislava & Budapest
Ludwig Museum
1095 Budapest, Komor Marcell u. 1. PR Head: Fuzsanna Feher
Dr. Julia Fabényi, Director

The core activity of Ludwig Museum – Museum of Contemporary Art comprises the following functions:
Its scope of collection extends to Hungarian and general art works since the 1960s. Its principal function is to research, collect, and look after material coming within the scope of collection – art works, relics, documents and sources. The Museum’s activity includes cataloguing, preserving, protecting, researching, systematizing and exhibiting the material, presenting it in other forms and making use of it for educational purposes. A priority function is to present Hungarian art alongside international parallels and place contemporary Hungarian art in its international context.
Geographical scope of collection: the whole country and – with due regard to international and bilateral treaties and laws – all parts of the world where art works within the scope of collection are to be found.

Other functions:
– to act as a centre of methodology for presenting and interpreting contemporary art and communicating it to the public. Key specific tasks are curator training and coordination of museum education in the subject of contemporary art;
– to provide opportunities via a residency programme for Hungarian and foreign guest artists to produce and present art works and involve the public, by various means, in studying and interpreting these;
– to review and comment on the foreign export of art works by the criteria of preservation of the cultural heritage;
– to organise and host affiliated art programmes related to the Museum’s scope of collection;
– to provide consultancy, based on specialist knowledge and research findings, on legal matters and matters referred by the supervisory body related to art works within its scope of collection;
– to pursue research in the basic area of interest and the methodology and history of museology, and to provide technical support for external researchers;
– to take part in secondary and tertiary education related to the Museum’s areas of interest, and in museological training;
– to run a public specialist library and database and an academic database for academic and educational purposes, and to provide information on art works within its profile for collectors and dealers;
– to collaborate with domestic, foreign and international art organizations and peer institutions.

Gábor Ösz

The solo exhibition of Gábor Ősz, living and working in Amsterdam, is part of a series of exhibitions at the Ludwig Museum presenting Hungarian and foreign artists whose life and works are less known in Hungary. Looking at the oeuvre of the artist, awarded the Paris Photo BMW Prize in 2010, one’s attention is may as well caught by its consistency. He deals with certain topics for months, even years, during which he investigates the relationship of light and architecture, or analyzes questions of the border of photographic representation, its relation to reality, or the definition of the ‘real’. The experimental, conceptual tinge accompanies his activity, the basis of which is the undisturbed attention towards reality and the relationship between man and the space surrounding him. By the use of analogue photographic devices, such as the camera obscura or pinhole technique, he has created a photographic oeuvre with moderate visuality and a strong character.

In addition to displaying the most well-known artworks, the new permanent exhibition of Ludwig Museum focuses on a fundamental characteristic of the collection, the dialogue between “East” and “West”, with a special accent to the period before the regime change, the 60s-80s. Since its establishment in 1989, the museum has made its mission to present and collect the phenomena of Eastern European, American and Western European contemporary art in their entirety, and to gauge the multi directional and fruitful connections the artists of the region had with post-war international tendencies and art centres.
Reinterpreting and recontextualising the pieces on show, the present exhibition endeavours to throw light on the connections we know about or which are yet to be revealed, while reflecting on the social-political changes of the past 50 years and reviewing the history of the museum’s collection.
Peter Ludwig, German factory owner and art collector, founder of the Ludwig Foundation and Museum in Budapest, aimed to transcend the Cold War attitude and the rupture between East-West. Already in the 70s, he devoted his attention not only to American art, but also to art behind the Iron Curtain. His taste and methods were oft en criticised, but his person and his collection both functioned as catalysts in the Budapest scene, resulting in the conception of the first Hungarian museum of contemporary art that would also collect international art.

Studio visits
Little Warsaw (András Gálik, Bálint Havas artist duo) 2x
Dóra Maurer
Adam Kokesch

Day 14 / Budapest

Margit Valkó gallerist, +36 1 267 0522
1052 Budapest Képíró utca 5.

Vintage Gallery
Attila Pőcze gallery owner
1053 Budapest Magyar utca 26

acb gallery
1068 Budapest, Király utca 76

Hungarian National Gallery
Buda Palace Building B,
H-1014 Budapest, Szent György tér 2.

1068 Budapest Király utca 102.
Dóra Hegyi director

Meeting with locale curatorial scene:
Dóra Hegyi – tranzit.hu
Emese Süvecz – activist, tranzit.hu
Hajnalka Somogyi – curator, editor http://artmagazin.hu/
Áron Fenyvesi – Trafó Gallery, http://www.trafo.hu/hu-HU
Bori Szalai – Trafó Gallery, http://www.trafo.hu/hu-HU
János Szoboszlai – Academy of Fine Art, Curatorial course
Dávid Karas – Studio of Young Artists, http://studio.c3.hu/studio_english/general/spaces.html
Júlia Laki – Studio of Young Artists, http://studio.c3.hu/studio_english/general/spaces.html
Tímea Junghaus – founder of Gallery8 – Roma art gallery http://gallery8.org/
Szabolcs Kisspál – artist, activist, http://nemma.noblogs.org/
Csaba Nemes – artist, activist, member of Free Artists
Viltin Gallery, Krisztina Dián gallery director, http://www.viltin.hu/
Deák Erika Gallery, Deák Erika, http://deakgaleria.hu/index.php
Knoll Gallery, Erzsébet Pilinger, http://www.knollgalerie.at/

tranzit is a network working independently in Austria, the Czech Republic, Hungary and Slovakia since 2002.
The network has a polycentric structure as a collective of autonomous local units cooperating across various borderlines – between nations, languages, media, mentalities and histories.
Each tranzit works under its own conditions in a variety of local contexts, using different formats and methods such as critical platforms, exhibitions and other artistic settings (musical, poetical, literary, performative …), lectures, discussions, publications, research, mediation and non-conformist education.
tranzit generates deep experience in the local artistic and intellectual biotopes in relation with continuity, a re-assessment of contemporary history (arising chiefly from the artistic catharsis of the 1960s and ’70s) and in challenging the canons, geographies and master narratives of postwar European (art) histories. The aim of tranzit is to act translocally, i.e. in constant dialectics between local and global cultural narratives.
tranzit’s experience with self-organized activities in progressive cultures dates back to the totalitarian society of the 1970s and ’80s and has continued through the hypertransformational period and the comprehensive reform of all strata of society in the 1990s and up to the present.

Diner at Residency Embassador of The Netherlands
Budapest, 12th district, Mátyás király u. 32.

Dóra Hegyi – tranzit.hu
Emese Süvecz – activist, tranzit.hu
Hajnalka Somogyi – curator, editor http://artmagazin.hu/
Áron Fenyvesi – Trafó Gallery, http://www.trafo.hu/hu-HU
Bori Szalai – Trafó Gallery
János Szoboszlai – Academy of Fine Art, Curatorial course
Dávid Karas – Studio of Young Artists, http://studio.c3.hu/studio_english/general/spaces.html
Júlia Laki – Studio of Young Artists
Tímea Junghaus – founder of Gallery8 – Roma art gallery http://gallery8.org/
Szabolcs Kisspál – artist, activist, http://nemma.noblogs.org/
Csaba Nemes – artist, activist, member of Free Artists, http://www.knollgalerie.at/nemescsaba0.html?
Viltin Gallery, Krisztina Dián gallery director, http://www.viltin.hu/
Attila Pőcze, Vintage Gallery, http://www.vintage.hu/
Gábor Pados, acb Gallery, http://www.acbgaleria.hu/index.php
Orsolya Hegedűs, acb Gallery,
Deák Erika Gallery, Deák Erika, http://deakgaleria.hu/index.php
Attila Szűcs, artist
Knoll Gallery, Erzsébet Pilinger
István Csákány, artist
Zsolt Somlói – Katalin Spengler, collectors

Day 15 / Budapest & Home


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