March 27, 2010 by: Dom
Monday, March 28th, 11 a.m., Clemens 606
Teresa’s Tyszkiewicz jouissance and the beginnings of feminist art in Poland
This lecture will be an introduction to the beginnings of polish feminist art in the 1970s as a background for the art of Teresa Tyszkiewicz, a filmmaker and artist who is, as yet, little known even in Poland. She débuted as an individual artist in the late ‘70s, and in 1982 she moved to Paris and gave up film for a specific form of painting made using pins. At the beginning she was “using”—in a sexist way—her partner Zdzisław Sosnowski as a moving body in her films. From this experience was born her unique way of conceptualizing the feminine subject visible in only her subsequent movies made on 16 mm in 1981-1981. The main topic of her focus in these pictures is the figure of the active feminine subject as an artist and as a self-orientated or narcissistic sexual subject, and intuitionally considered ambivalent burden of feminine jouissance.
- Zdzisław Sosnowski, Teresa Tyszkiewicz, Permanent Position, 1979, 10:08
- Zdzisław Sosnowski, Teresa Tyszkiewicz, The Other Side, 1980, 12:33
- Teresa Tyszkiewicz, Day after day, 1980, 16:04
- Teresa Tyszkiewicz, The grain, 1980, 12:39
- Teresa Tyszkiewicz, Image and games, 1981, 14:54
- Teresa Tyszkiewicz, The breath, 1981, 16:48
Ewa Małgorzata Tatar is an art critic, historian, and free-lance curator. She is a PhD student in the Institute of the History of Art at Jagiellonian University in Krakow, an editor of the most significant art magazine in Poland, “Obieg”, and editor of the book series Visual Line published by editing house Korporacja Ha!art. She is collaborating with National Museum in Krakow.