“All Mounds Can Be Seen From My Window” is an international group exhibition that brings together paintings, objects, scenes and quotations to tell a story of an institution – the present Bunkier Sztuki Gallery of Contemporary Art.
Some half a century ago Krakow’s daily newspapers have announced: “The exhibition pavilion by the Planty Park is finally open!” The previous evening, on September 11, 1965, a noisy crowd of distinguished guests have honoured with their presence the opening of the Municipal Exhibition Pavilion. After nearly a decade of struggles related to issues of architecture and construction, Krakow could finally enjoy a modern exhibition space dedicated to contemporary art – this phrase could work as an opening of a story about the beginnings of the present Bunkier Sztuki gallery. Certainly, this would not be the only narrative, but merely one of many.
The sentence appearing in the exhibition title was seductively and teasingly expressed by Marek Arens, the protagonist of “Jowita” (dir. Janusz Morgenstern, 1967). This illusory promise of fulfilling all the desires and needs of his lover (played by Barbara Kwiatkowska) becomes a metaphor of inaccessible ideal and a projection of dreams. Imagining the impossible marks a moment of demonstration of opposition against the ordinariness of the world. From this perspective, the gallery becomes a promise of an impossible yet tempting space.
“All Mounds Can Be Seen From My Window” is also a story about the Gallery’s architecture designed by Krystyna Tołłoczko-Różyska, who defined it as Exhibition Pavilion, that is, a place for exhibiting and viewing. Her working process on the development of the building’s architecture, as well as the coherent and innovative concept of functionality of all its spaces will be visualised by original drawings and designs made by the remarkable architect. Reference points for the historical narrative will be provided by specially commissioned works by Polish and international artists – installations by Andris Eglītis, Yane Calovski, Katarzyna Krakowiak, Monika Niwelińska and Mateusz Kula – that address fragility and transience of time, the decline of matter (including the architecture of the Gallery on the eve of the announcement of the competition for its reconstruction and expansion) and what is left after such erosion.
Anna Bargiel, Paulina Hyła, Magdalena Kownacka, Lidia Krawczyk, Anna Lebensztejn, Kinga Olesiejuk, Aneta Rostkowska, Krzysztof Siatka, Karolina Vyšata, Magdalena Ziółkowska
AWACS (Peter Grzybowski, Maciej Toporowicz), Azorro (Oskar Dawicki, Igor Krenz, Wojciech Niedzielko, Łukasz Skąpski), Agata Biskup i Przemysław Czepurko, Janusz Byszewski, Yane Calovski, Marek Chlanda, Wincenty Dunikowski-Duniko, Roman Dziadkiewicz, Andris Eglītis, Dan Fox, Peter Grzybowski, Maciej Jerzmanowski, Janusz Kaczorowski, Konger (Marian Figiel, Władysław Kaźmierczak, Marcin Krzyżanowski, Artur Tajber), Katarzyna Krakowiak, Mateusz Kula, Monika Niwelińska, Stefan Papp, Maria Pinińska-Bereś, Michael Portnoy, Laure Prouvost, Artur Tajber, Raša Todosijević, Krystyna Tołłoczko-Różyska, Zbigniew Warpechowski, Mieczysław Wejman, Anna Zaradny
Courtesy of Bunkier Sztuki Gallery of Contemporary Art