Joanna Warsza

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research interests: Public sphere, politics, activism, performativity, curatorial, feminism, politics of memory, Eastern Europe
affiliation: Konstfack University of Arts, Crafts and Design, Stockholm
en

 

Joanna Warsza is a Program Director of CuratorLab since 2014 and an interdependent curator and editor interested in how art functions outside of the protection of the institutional walls and white cubes. Currently she is a co-curator of the Polish Pavilion at the 59th Venice Biennale. Together with Övül Ö. Durmusoglu she co-curates Die Balkone in Berlin, the 3rd and the 4th Autostrada Biennale in Kosovo, and the 12th Survival Kit in Riga. She is an editor of over 10 publications, recent ones including: Red Love. A Reader on Alexandra Kollontai (co-edited with Maria Lind and Michele Masucci; Sternberg Press, Konstfack Collections, and Tensta Konsthall, 2020), and And Warren Niesłuchowski Was There: Guest, Host, Ghost (co-edited with Sina Najafi 2020). Originally from Warsaw, she lives in Berlin and occasionally in Stockholm. 

 

CuratorLab is a one-year international curatorial course. One of our leading questions is how to understand — paraphrasing Audre Lorde — our interdependence in relation to our own individual power and creativity? We are exploring radical approaches to engagement, contributing to the pertinent conversations of our times, practicing curating beyond exhibition making, having collective fun and applying horizontal learning. Every year we work on one common topic where everyone contributes in an own way. CuratorLab is open for all interested in collective work, thinking out of the box, and keen to form a solid research group sharing the language of art.

 

 

research

research expositions

  • Assuming Asymmetries. Extra Research Time 2020/21 (last edited: 2021) author(s): Joanna Warsza This exposition is in progress and its share status is: visible to all.
    Assuming Asymmetries. Conversations on Curating Public Art Projects of the 1980s and 1990s is a volume based on the dialogues between the curators and participants from some of the most complex and yet underresearched European and US public art exhibitions of the 1980s and 1990s. The discussions include and unpack such influential projects as “Culture in Action” curated by Mary Jane Jacob in 1993; “Sonsbeek 93” curated by Valerie Smith; “Endlichkeit der Freiheit,” an exhibition initiated by Heiner Müller and Rebecca Horn, on both sides of the former Berlin wall in 1990; “Construction in Process,” an artist-initiated site-specific exhibition in early 1980s Łódz, Poland; “Five Gardens” curated by Carlos Capelán in 1996 in Simrishamn and Ystad, Sweden, and “U-media” in 1987 Umeå, Sweden. The dialogues focus on such questions as: How does one ethically and culturally deal with asymmetries? How have the notions of situated or embedded knowledge changed over the last decades? How can artworks actually create meaning from the place where they're produced? What were the early attempts of de-monumentalizing art outside of the museums; and, finally, what actually is non-extractive curating. Both books are edited by CuratorLab at Konstfack University of Arts 2020/2021: Anna Mikaela Ekstrand, Giulia Floris, Vasco Forconi, Edy Fung, Julius Lehmann, Maria Lind, Marc Navarro, Simina Neagu, Hanna Nordell, Tomek Pawłowski Jarmołajew, Marja Rautaharju, Erik Sandberg, Joanna Warsza The process was led by Joanna Warsza and Maria Lind
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