Joanna Malinowska
– born in Gdynia. Artist, lives and works in New York. In her work oscillating between various media &#; sculpture, video, peformative actions &#; she touches upon issues of national identity and its paradoxes perceived through an experimental-anthropological filter. In , together with C.T. Jasper, she represented Poland at the Venice Biennale, showing the video installation Halka/Haiti 18°48&#;05 &#;N 72°23&#;01 &#;W.
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My first artistic project after graduating from Yale University with a master&#;s degree in sculpture was to place an ad in &#;The New York Review of Books&#; offering to do typical household chores (cleaning, cooking, ironing, etc.) in exchange for private lessons in philosophy and other humanities, and to document (with a video camera) what happened1. My subversive proposal, hurled into the space of New York&#;s intellectual elite, met with an immediate response and over the following weeks I had the pleasure of scrubbing kitchens and bathrooms, cooking dumplings and ironing mountains of shirts in order to finally receive payment in the form of custom-made oratorical compendiums on the philosophy of Spinoza, Kant and D
Joanna Malinowska In The Studio
JOANNA MALINOWSKA SPENDS a lot of her working hours in thought, trying to organize her time, space and materials. Sometimes what the Polish-born, New York-based artist calls “procrastination” works and sometimes it doesn’t, but, as I discovered in following her process for the Whitney Biennial (which I co-organized with Jay Sanders), she takes the curator on a journey. She might test her ideas out, and if they don’t function the way she wants, she may let them go, or bring them back in another form later on. Sometimes they come together at the very last minute. This open-ended process makes the resulting piece feel very fresh. One sees the rumination, the making and the spontaneity, and then one sees something at the other end.
Born in Gdynia, Poland, in , Malinowska came to the U.S. in Attending Rutgers University, she majored in art but was also keenly interested in cultural anthropology, which has proved to be important to her subsequent work. After graduating from Rutgers in , she went on to receive her MFA from Yale in Over the past dozen years, throughout a diverse practice that crosses mediums—from video t
About
ᐞ Rhode Island School of Design, Providence, RI
ᐞ Graduate School of Design, Harvard, Cambridge, MA
ᐞ Cranbrook Academy of Art, Bloomfield Hills, MI
ᐞ School of Visual Arts, NYC
ᐞ Vermont Studio Center, Johnson, VT
ᐞ Rutgers University, New Brunswick, NJ
ᐞ SUNY Old Westbury, NY
ᐞ Rutgers University, Mason Gross School of Art, New Brunswick, NJ
ᐞ University of Maine, Intermedia Department, Orono, ME
ᐞ Purchase Collage, Art Department, Purchase, NY
ᐞ Brooklyn Public Library, Greenpoint, NY
ᐞ Vermont Studio Center, Johnson, VT
ᐞ Temple School of Art, Temple University, Philadelphia, PA
ᐞ University of Texas, Austin, TX
ᐞ Cornell University School of Art, Ithaca, NY
ᐞ Rutgers University, New Brunswick, NJ
ᐞ University of Texas, Austin, TX
ᐞ Rutgers University, New Brunswick, NJ
ᐞ Cornell University Department of Art, Ithaca, NY
ᐞ Warsaw School of Social Psychology, Warsaw, Poland
New York
CANADA
Polish-born sculptor Joanna Malinowska, now based in the U.S., has shown at the SculptureCenter and the Whitney Museum of American Art. Though she often collaborates with her partner C.T. Jasper, her recent exhibition was primarily a solo effort, with strikingly idiosyncratic single and grouped sculptures that appeared to have been designed on the fly. Objects such as stacked plates placed on the floor, a rickety ladder, and a tall column of stacked fedoras reaching nearly to the ceiling seemed to occupy their places by chance.
The word “random” has been at the center of new art since Modernism. A way of letting in unknown relations, chance can stimulate artistic production by casting an aura of free association over process and finished artwork alike. In Malinowska’s case, a casual arrangement of objects enables her to suggest interpretive links from one work to the next—a highly efficient way of creating an open field in which the artist’s decisions are placed to the side in favor of the viewer’s imaginative connections and intelligence. Because Malinowska often uses ready-made objects, we do not necessarily pick up on her own associations, which means that
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