Team

Ewa Partum (*1945) belongs to the first generation of Polish conceptual artists and is considered one of the pioneers of conceptual and feminist art in Europe. In the mid-1960s, she positioned herself with a „critical attitude towards reality, the system and control“ and initially appeared with pioneering actions and installations in public space, visual poetry, films as well as photographs and performances. In Self-Identification (1980) this becomes tapered: The nude body of the artist is exposed in different public situations and shows the vulnerability not only of the body itself but the vulnerability of the process of ‘self-identification’, as the title states. Her early work reflects the reality of a country torn between socialist, communist and liberal dynamics. Partum is one of the most important representatives of conceptual and feminist art in Poland, as evidenced by presentations of her works at the Palais de Tokyo, Centre Pompidou and other venues, as well as her participation in international exhibitions such as the 14th Biennale de Lyon, La Triennale 2012 Paris, 18th Biennale of Sydney and Manifesta 7, among others. (Text: Mathias Güntner Gallery)

Berenika Partum is an art historian, cultural manager and curator. She works on various projects in the cultural field, mainly focussing on Central and Eastern Europe. She gained professional experience in various cultural institutions in Berlin, including the Polish Cultural Institute, Akademie der Künste, Neuer Berliner Kunstverein, Hamburger Bahnhof – Museum für Gegenwart, Kooperative Berlin Medienproduktion, etc. For many years she was an art critic and cultural journalist. Her texts were published in Springerin – Hefte für Gegenwartskunst, artmagazine.cc, uMagazine and many others. She curated exhibitions such as: Piotr Blajerski „The End”, Lettrétage Berlin, 2015, Polenbegeisterungswelle – Cultural Topographies of Polish Berlin, Kunstquartier Bethanien, Berlin 2017 (with Iwona Bigos and Yagner Anderson), with Karolina Majewska-Güde „Ewa Partum. My Gallery is an Idea. Galeria Adres Archive” and Pavel Brăila „Undressing the Bride” 2020 at Centrala, Birmingham (UK) and in 2021 Casa Mare at Centrala Birmingham (UK). From 2016 until 2022 she worked in the field of project and funding management for a project that promotes the development of ideas that structurally strengthen national film industries in Central and Eastern Europe (SOFA – School of Film Advancement.). Since 2016, she has been at the same time the Programme Director of the Polish foundation ARTUM ewa partum museum.

Karolina Majewska-Güde, Ph.D., is a researcher, art historian and curator. She works as a researcher at the Institute of Art History at the University of Warsaw. Her research focuses on the East-Central European neo-avant-gardes, feminist art and epistemologies, performance art, and contemporary issues of circulation, translation, and production of knowledge through art-based research. She is interested in the artistic archive as a site of collaboration and maintenance where reproductive and creative work intertwine. She is involved in many collective research projects at the intersection of the transnational art history of socialist Europe and the history of feminist art, and in artistic projects that focus on rethinking regional cultural history from a gendered perspective. She has co-curated several exhibitions and authored publications on the art of post-socialist Europe, such as ArtMargins, Post MoMA: Notes on Art in a Global Context. She has taught at the KU Linz and at the Institute for Art and Visual History at the Humboldt University. Majewska-Güde published in 2021 „Ewa Partum’s Artistic Practice. An Atlas of Continuity in Different Locations” (Transcript). She is a member of AICA.

https://karolinamajewska.wordpress.com