First published in Polish in 2012 on the occasion of the exhibition Where is PERMAFO? at Wroclaw Contemporary Museum (30 November 2012- 4 February 2013). Shortly after this 2013 English edition was published in an edition of only 500 copies.
Young, vivid and unpretentious art of Wrocław of the 70s has resisted both musealization and academic discourses of art history. The artists of PERMAFO – as other Wrocław galleries of the 70s – didn’t think about making history, but about changing their lives and enjoying life. The PERMAFO gallery was founded after the famous symposium Wrocław ’70 considered to be a founding demonstration of conceptual art. After years a famous Poznań based critic has meanly said, that it is the inertia of Wrocław infrastructure what become a quantum leap of popularising conceptualism. Because almost none of the symposium projects has been realized.
That’s why the history of modern art in Wrocław is yet to be written.
An exhibition Where is PERMAFO? is the Wrocław Contemporary Museum’s attempt to tell the founders’ myth of the young, open city, through the figures of two artists Natalia LL and Andrzej Lachowicz. A beautiful and deeply in love couple makes a space and atmosphere and creates art anew – a surprising, even impossible combination of conceptual art with pop-art. In the splice of art and joie de vivre, tiny revelations appear that change the confines imposed by The People’s Republic of Poland into absurd usurpation. Soon, people appear in PERMAFO, without divisions into artists, scientists, dilettantes and devotees, discussions till dawn and certainty that all “begun in Wrocław” – modernity, art and life in a fresh context and mutual relation. The PERMAFO artists chose democratic means like photo cameras. One of the main ideas of PERMAFO – permanent registration – was completely transparent towards life. It’s life attitude that was becoming a form. Participation in art, with the preference of participating, not the work itself, caused the work become a trace of real experience and that (an not the aesthetic form) protected against ideology.
This generous monograph serves as the first and only major book to document PERMAFO.
- PERMAFO 1970-1981
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However satisfying writing is – that mix of discipline and intuition, which leaves you in command, even when what appears on the page has emerged from regions beyond your control – it is a poor substitute for the joy and the agony of love. e industrial, Jean-Michel Wicker’s first solo exhibition in the UK, is a meditation on human-machine reconfigurations, inflation and desire.
Since the early 1990s, Wicker’s work has had an all-encompassing approach to production – spanning publishing, typography, performance and gardening. Extending a nod of appreciation to Italian Situationist Giuseppe Pinot-Gallizio and his approach to mass-production and collapse, the exhibition at Cubitt pushes this legacy into Wicker’s own symbolic registers. A total work spanning a 70-metre scroll, a newly realised publication and smoke.
- Jean-Michel Wicker - e industrial
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Artist book by sculptor Michael Dean, published in an edition of 500 by Motto Books and Supportico Lopez. Each original edition is bound in a found paperback, each one different, with 10 inserted colour plates of Dean’s work, and a thermo printed index.
- Michael Dean - UO
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