Search,
,

BIP,
MWW, pl. Strzegomski 2a, 53-681 Wrocław, Poland
Ph. +48 71 356 42 57, mww@muzeumwspolczesne.pl
Mon. 10AM–6PM, Tue. closed, Wed.–Sun. 12AM–8PM
more
The Ratcatcher 11.05.18–24.09.18 Wernisaż: 11.5.18 (piątek), godz. 19.00, poziom 3 i 4

Działania w ramach wernisażu:
- Justyna Scheuring, "Tak wspólnie oddychamy", performans,
godz. 19.45 i 20.30, Beautiful Tube
- Marta Kotwica, "Przymus powtarzania traumy", performans,
godz. 20.00 i 20.45, Beautiful Tube
- Łukasz Dziedzic, "Ratcatcher live", koncert,
godz. 21.00, 3. piętro

Oprowadzanie kuratorskie: 19.5.18 (sobota), godz. 20.00
Vernissage: 11.5.18 (Friday), 7.00 PM, 3rd and 4th floor

Actions during the opening:
- Justyna Scheuring, "This Is How We Breathe Together",
performance, 7.45 and 8.30 PM, Beautiful Tube
- Marta Kotwica, "Compulsory Repetition of Trauma",
performance, 8.00 and 8.45 PM, Beautiful Tube,
- Łukasz Dziedzic, "Ratcatcher live",
concert, 9.00 PM, 3rd floor

Curatorial tour: 19.5.18 (Saturday), 8 PM

One of the artists featured in The Ratcatcher exhibition utters the following words during her performance: “I’ve set up this situation to create the present” Through her action the artist performs a gesture aimed at a confrontation with reality. By investigating the structures of reality we may avoid falling into the traps of the world’s automation or randomness, and consequently – understand and deregulate its mechanisms. All the works shown at the exhibition, from the 1950s until now, present a multi-pronged attempt at perceiving the changing role and position of an individual vis-à-vis the social, political and civilisational conditions. Although the invited artists represent various points of view and differ in their experience, all the works add up to tell a story about human nature and psyche.

The title of the exhibition is borrowed from Andrzej Czarnecki’s documentary about a professional rat exterminator and his strategies. The main character reveals the methods of his work by describing how he exterminated rats in a meat processing plant. Although the man appreciates and respects rats’ intelligence, he is ruthless. His knowledge of the rodents’ psyche and behaviours makes it easier to kill them. By acting methodically and consistently, he always wins. First he gains the rats’ trust by giving them food, and once they have got used to him – they die.

The documentary was made in 1986, three years after the end of martial law in Poland. At that time it was interpreted as a metaphor of the systematic surveillance of the anti-communist resistance movement by the secret services. Nowadays the film and the strategies of extermination featured in it justify other, not only purely historical, interpretations. In the exhibition, the story has been treated as a starting point for a parabolic narrative about reality and a phantasm of the fall of the Latin civilisation. Owing to its essay-like form, the display accentuates tensions between the ideas, needs and desires of an individual and the social determinants. One of the main questions posed by the exhibition asks: “Is your mind full of goodness?”

In the same year when The Ratcatcher was made, the Chernobyl disaster occurred while the German sociologist Ulrich Beck published his treatise Risk Society: Towards a New Modernity. The book’s eponymous notion emerged in the wake of a critique of the industrial society. It turned out that the consequences of the development of civilisation and technology have led to irreversible and uncontrollable changes, which had transformed the parameters of social life. Beck proved that the old order, based on nation states, class divisions and patriarchy, belonged to the past. He emphasised threats – environmental, health, technological and social – arising from the emergence of the risk society as well as their global character. He wrote in the introduction: “There has certainly been no shortage of historical catastrophes in this century: two world wars, Auschwitz, Nagasaki, then Harrisburg and Bhopal, and now Chernobyl. This calls for caution in choosing our words and brings our view of distinctive historical characteristics into sharper focus” (Beck 1986, p. 7).

Today, in a fully globalised world thirty years after Beck’s diagnosis, avoiding the consequences is increasingly difficult. The technological advances that have ensured the supremacy of mankind are simultaneously the source of the destabilisation of the socio-political order. The status quo is dangerously upset by the awakening of radicalisms, the migration crisis, economic inequalities, armed conflicts, terrorism or environmental threats.

Instead of diagnosing the condition of society from the angle of risk, The Ratcatcher identifies borderline states, tensions and fears by focusing on interpersonal relationships and the consequences of the decisions we make. While analysing these areas, we are haunted by the image of Paul Klee’s Angel of History, who is constantly moving away from the present with terror in his eyes.
 
 
———————————————
 

Łukasz Dziedzic, Ratcatcher (Original Exhibition Soundtrack), 2018

Kurator Curator Piotr Lisowski Materiały do pobrania Download files # Scenariusz wystawy # Exhibition scenario # Dokumentacja fotograficzna wystawy - część 1. Fot. Małgorzata Kujda © Muzeum Współczesne Wrocław, 2018 # Photo documentation of the exhibition - part 1. Photo by Małgorzata Kujda © Wrocław Contemporary Museum, 2018 # Dokumentacja fotograficzna wystawy - część 2. Fot. Małgorzata Kujda © Muzeum Współczesne Wrocław, 2018 # Photo documentation of the exhibition - part 2. Photo by Małgorzata Kujda © Wrocław Contemporary Museum, 2018 # Dokumentacja fotograficzna wystawy - część 3. Fot. Małgorzata Kujda © Muzeum Współczesne Wrocław, 2018 # Photo documentation of the exhibition - part 3. Photo by Małgorzata Kujda © Wrocław Contemporary Museum, 2018 Published on:16.04.18 Share: Facebook, Twitter
Artyści:

Kuba Bąkowski
Przemysław Branas
Dorota Chilińska
Tomasz Domański
Marcin Dudek
Łukasz Dziedzic
Douglas Gordon
Elżbieta Jabłońska
Tobiasz Jędrak
Irena Kalicka
Piotr Kmita
Szymon Kobylarz
Jerzy Kosałka
Marta Kotwica
Urszula Kozak
Kasper Lecnim
Liliana Lewicka
Katarzyna Malejka
Jacek Malinowski
Angelika Markul
Gustav Metzger
Richard Mosse
Tymon Nogalski
Piotr Pawlenski
Liliana Piskorska
Aleka Polis
Irmina Rusicka
Jacek Rydecki
Justyna Scheuring
Roman Stańczak
Łukasz Surowiec
Tytus Szabelski
Mariusz Tarkawian
Jerzy Truszkowski
Zbyszko Trzeciakowski
Rafał Wilk
Natalia Wiśniewska
Andrzej Wróblewski
Jerzy „Jurry” Zieliński
Artur Żmijewski
Artists:

Kuba Bąkowski
Przemysław Branas
Dorota Chilińska
Tomasz Domański
Marcin Dudek
Łukasz Dziedzic
Douglas Gordon
Elżbieta Jabłońska
Tobiasz Jędrak
Irena Kalicka
Piotr Kmita
Szymon Kobylarz
Jerzy Kosałka
Marta Kotwica
Urszula Kozak
Kasper Lecnim
Liliana Lewicka
Katarzyna Malejka
Jacek Malinowski
Angelika Markul
Gustav Metzger
Richard Mosse
Tymon Nogalski
Piotr Pawlenski
Liliana Piskorska
Aleka Polis
Irmina Rusicka
Jacek Rydecki
Justyna Scheuring
Roman Stańczak
Łukasz Surowiec
Tytus Szabelski
Mariusz Tarkawian
Jerzy Truszkowski
Zbyszko Trzeciakowski
Rafał Wilk
Natalia Wiśniewska
Andrzej Wróblewski
Jerzy „Jurry” Zieliński
Artur Żmijewski
il. Grupa Projektor il. Grupa Projektor Andrzej Wróblewski, "Jeździec", 1956, własność Muzeum Okręgowego im. Leona Wyczółkowskiego w Bydgoszczy Andrzej Wróblewski, "Horse Rider", 1956, paper, property of Leon Wyczółkowski Regional Museum in Bydgoszcz Gustav Metzger, "Pomnik auto-destruktywny", 1960/2018, dzięki uprzejmości The Estate of Gustav Metzger Gustav Metzger, "Auto-Destructive Monument", 1960/2018, courtesy of The Estate of Gustav Metzger Liliana Piskorska, "Public displays of affection", 2017, dzięki uprzejmości artystki Liliana Piskorska, "Public Displays of Affection", 2017, courtesy of the artist Elżbieta Jabłońska, "Czy twój umysł jest pełen dobroci", 2005, dzięki uprzejmości Lubuskiej Zachęty Sztuki Współczesnej Elżbieta Jabłońska, "Is Your Mind Full of Goodness", 2005, courtesy of the Lubuskie Society for the Encouragement of Fine Arts Jerzy "Jurry" Zieliński, "Gołąb niepokoju", 1969, dzięki uprzejmości Galerii Zderzak Jerzy "Jurry" Zieliński, "Dove of Anxiety", 1969, courtesy of Zderzak Gallery Artur Żmijewski, "Glimpse", 2017, dzięki uprzejmości artysty i Fundacji Galerii Foksal Artur Żmijewski, "Glimpse", 2017, courtesy of the artist and the Foksal Gallery Foundation
Close
Ta strona używa plików cookie. Korzystając ze strony wyrażasz zgodę na używanie plików cookie zgodnie z ustawieniami przeglądarki. Dowiedz się więcej Close
Ladies and Gentlemen, In accordance with the General Data Protection Regulation (GDPR) and bearing in mind the concerns regarding your privacy, we would like to ask you for voluntary authorisation enabling us to process your personal data. By clicking “I accept” or closing the window, you will accept the conditions specified below. You also have the right to deny or limit the authorisation. I ACCEPT
Close