les presses du réel

Pavilionesque #01

Paulina Olowska - Pavilionesque #01
A magazine dedicated to art and theater (artistic director : Paulina Ołowska).
A puppet theater tends to be miniature by definition. The puppets are usually the size of dolls, small objects that can be kept in drawers, fetishes, lucky charms, voodoo dolls, and talismans. Their size means that you would lose them if you did not keep them safe in a box on the shelf. Frances Glessner Lee excelled in miniatures; she was a pioneer of forensic medicine who created eighteen dioramas reproducing brutal murders. Of course, not all puppets are miniatures of people and animals. In the Bread and Puppet Theater there appear gigantic puppets. Giants also appear in the work of the Japanese artist Yotsuya Simon. In the productions of the Polish theatrical director Tadeusz Kantor, mannequins on a “human scale”—life-size and cumbersomely attached to the bodies of the actors—symbolize the spirits of the departed and those remembered from childhood. The face of a puppet is spellbinding, with its wide-open eyes, prominent cheekbones, and slightly parted lips. Sometimes it looks like a figurine assembled from remnants that don't go together; neither old nor a child. The wild character of the puppet, its playful inclination, a tendency to joke and tell made-up stories puts us in touch with our carefree childhood, in which we can remember playing with homemade puppets. One of the most colorful hildhood heroes is Lemuel Gulliver, a mysterious traveler imprisoned by the Lilliputians, who visits the land of the giants and a kingdom reigned over by horses. Jonathan Swift's Travels into Several Remote Nations of the World. In Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships, commonly known as Gulliver's Travels, first published in 1726, continues to stimulate political imagination and poses fundamental questions about human anatomy.
The work of Paulina Olowska (born 1976 in Gdańsk, lives and works in Raba Niżna, Poland) demonstrates an interest on Communist Poland's fascination with Western consumerism and celebrates the spirit and stylish improvisations of the "Applied Fantastic"—a term coined by Polish writer Leopold Tyrmand in 1954, to describe the vernacular re-creations of Western styles.
In her paintings, collages, and knitted works, Olowska incorporates text and graphics from found illustrations or images that have a decidedly "behind the Iron Curtain" look, while paying tribute to American Pattern and Decoration art of the 1970s and its use of non-traditional contemporary art mediums such as tiles and textiles.
Olowska, who lives and works in the Polish countryside, has had recent one-person and project exhibitions at MoMA, New York (2011); Tramway, Glasgow (2010); Pinakothek der Moderne, Munich (2009); DAAD Galerie, Berlin (2008); and Portikus, Frankfurt (2007).
Edited by Anna Czaban and Joanna Zielinska.
Texts by Evgeny Anufiev, Peter Błachut, Bread and Puppet Theater, Anna Bujnowska, Paul Dudziak, Paul Elliman, Bruno Fernandès, Henryk Jurkowski, Tadeusz Kantor, Jerzy Kolecki, Eustachy Kossakowski, Eve Kuryluk, Jacek Marcinkowski, Steven Millhauser, New Theater, Paulina Ołowska, Barry Redzisz, Mathilde Rosier, Zofia Rydet, Yotsuya Simon Theatre Gulliver, TJ Wilcox, Richard Wilson, Kiki Uhart, Joanna Zielinska.

Artistic Director: Paulina Ołowska.

Graphic design: Alicja Pismenko and Paulina Ołowska.

Published by Cricoteka, Krakow.
published in 2015
English edition
28 x 40 cm (softcover)
108 pages (ill.)
ISBN : 978-83-61213-53-6
EAN : 9788361213536
in stock
topicsPaulina Olowska: other title

Paulina Olowska: also present in

related to

 top of page