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Laznia Centre for Contemporary Art
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What is Gilbert & George?
In answering the question posed by its title, and drawing on his twenty year relationship with the artists, Michael Bracewell is the first writer to engage directly with Gilbert & George to understand why they have devoted their lives – exclusively and continuously – to the vision of art they conceived within months of first meeting.
What emerges piece by piece is a portrait of Gilbert & George as two men who are infinitely more intense, strange, determined and alone than their longstanding public image suggests.
Accompanied by illustrations selected by the artists, the book provides candid insights into their working practice, East London, sex, Victorian art, nationalism and maleness, among many other subjects.
“Gilbert and George are two men who together are one artist: Gilbert & George.
The vision of Gilbert & George is their art, of which they are the embodiment. Therefore Gilbert & George are the art of Gilbert & George.
The art of Gilbert & George is based upon feelings rather than intellect.
Gilbert & George are a total modern independent visionary artist, alone. (…)”
Michael Bracewell, “What is Gilbert & George?”, 2017, Heni Publishing, London; page 9.


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Julia Kurek Lucha Libre
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Augmenting the world Masaki Fujihata and hybrid space - time art
The publication accompanying the exhibition “Masaki Fujihata: Augmenting the World” was published by the LAZNIA CCA in Gdańsk as part of the Art+Science Meeting project 2017.
Masaki Fujihata is among the world’s most innovative and influential artists working with art that makes use of new media technologies. In its exploration of the cultural and artistic consequences of technology, the exhibition “Augmenting the World”, from which this book emerged, offers us the chance to experience a transgression of reality, allowing us to enter into burgeoning and expanding worlds. The experience of travelling through
a fluid, unstable, constantly transforming hybrid reality.
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Imbalance
This publication is issued in conjunction with group exhibition titled “Imbalance”, curated by Blanca de la Torre, which took place in CSW Łaźnia in autumn 2017. The approach of the exhibition implied understanding that our conceptions of natural fact and reality have to be re-examined and on the basis that our current situation of “ecocide” depends — either directly or indirectly— on the way in which we have instrumentalized our natural environment. The selected works of twenty five artists contributed — if coming from different approaches in modes and media — to reveal effects of capitalism economy regime.
The majority of the works come from the MUSAC Collection [Museo de Arte Contemporáneo de Castilla y León (León, Spain)]
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Watering Hole
This publication is issued in conjunction with an Agnieszka Kalinowska`s individual exhibition titled “Watering Hole”, which took place at the Łaźnia Centre for Contemporary Art in summer/autumn 2016. In her work, Agnieszka Kalinowska examines the mechanisms that govern the world and people functioning within it. At the “Watering Hole” exhibition in Łaźnia CCA, the artist analysed survival strategies employed by humans; those eternally played out schemes, whose existence – like access to water – guarantees a seemingly peaceful existence. ”Watering Hole” exhibition in Laznia Centre for Contemporary Art featured mostly new works of the artist and focuses on the questions of freedom and subjugation.
The publication includes the essays of the Dutch cultural theorist Mieke Bal and British artist and theorist David Rhodes.
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DIE AND BECOME! ART AND SCIENCE AS THE CONJECTURED POSSIBLE
This publication is issued in conjunction with an exhibition and educational programme of the same title, which took place at the Łaźnia Centre for Contemporary Art in late 2016 and early 2017. Its fundamental objective is the presentation of artists’ and philosophers’ quest for the limits of means of expression, transgressing the “visible” and the “present”. Art here is seen as a holistic creative praxis, within which, alongside the utilization of the newest 21st century means – biomedicine, informational technologies and robotics – a significant number of “non-scientific” elements are represented: intuitions, metaphors and assumptions When pondering over the scientific and technological possibilities of human modification, authors of the book refer to examples of a variety of agents of reality which, in eschewing their purely biological definition, require us to make sense of the relationships between life and multiplicity. Among such agents are programmable matter, symbiotic forms and hybrids, becoming an automaton, as well as the various manifestations of transitional, unidentified and indeterminate life forms The primary medium that is the subject of this project is hybrid matter, and the principal issue examined, that of its “living” aspect, capacity for expression, and reserves of existing possibilities which may be discovered if one finds oneself in this “semi-living” dimension. In the words of Johann Wolfgang von Goethe, such a model of overcoming one’s own “personhood” in art would have sounded “Stirb und Werde!” – die and be renewed, cease and become.

Artists in exhibition: James Auger and Jimmy Loizeau (United Kingdom), Dmitry ::vtol:: Morozov (Russia), Louise-Philippe Demers (Singapore), Where Dogs Run: Olga Inozemtseva, Natalia Grekhova, Alexey Korzukhin and Vladislav Bulatov (Russia), Heather Dewey-Hagborg (USA), Pedro Lopes (Portugal), Thomas Feuerstein (Austria), Verena Friedrich (Germany)

Essays by: Dmitry Bulatov (Russia), Pier Luigi Capucci (Italy), Dmitry Galkin (Russia), Jens Hauser (Denmark), Robert Mitchell (USA), Chris Salter (Canada)

About the Editor:
Dmitry Bulatov is the curator of the National Centre for Contemporary Arts (Russia). He is a two-time winner of the National Innovation Award for contemporary arts (2008 and 2013) and a Golden Nica nominee from Prix Ars Electronica (Austria, 2014) in the category Visionary Pioneers of Media Art.

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Patrick Tresset Human traits and the art of creative machines
In his art, Patrick Tresset engages with the discourse on creativity and its contemporary, trans-humanistic offshoots. He explores art transformations and reflects on art-making and art-appreciation strategies. At the same time, he attends to the place assigned to robots and other forms of artificial intelligence in the human world as well as to their future mutual relationships.
The particular value and sophistication of Patrick Tresset’s work stems not only from the status achieved by its products – which are both its subjects and objects, its works and authors. These values derive also from the hybrid weave of various trends and artistic forms that come together in his work and distinguish it: drawing, kinetic art, cybernetic art, robotic art, generative art, performance art, interactive art, installation art, conceptualism – the list could go on. The interactions between them generate the internal dynamics of Tresset’s works, as forms of hybrid art, playing a significant role in the characteristics of its properties and its general tenor. The significance of his art also derives from its scale and the seriousness of the aesthetic, philosophical and social problems it raises and makes conspicuous, as well as from the discussion it provokes and questions it poses, becoming in this way an important part of contemporary artistic and scientific discourses.

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Guy Ben-Ary. Bio-Robotic Art and its Cultural Contexts
„Bio-robotic art and its cultural context” is a collection of texts accompanying the exhibition presenting the works of Australian artist Guy Ben-Ary, realized at Łaźnia Centre for Contemporary Art in 2015.
The publication includes the texts of: the exhibition's curator, critic and theorist Richard W. Kluszczyński; creator of the art bio Guy Ben-Ary; a professor of political science at the University of York Shannon Bell; art critic and curator Monica Bello; art historian and cultural theorist and a professor at the resort PAST Dmitry V.Galkin; artist Andy Gracie; independent curator, writer and artist Gemma Ben-Ary; artist, writer and researcher Kirsten Hudson; Dr. Joanna Jeśman, culture expert; interdisciplinary artist Tanya Visosevic; interdisciplinary artist Nathan Thompson; an artist and curator Boryana Rossa, and a PhD student at the University of Lodz Martyna Michalska .

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Price:38,00 zł
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What? With What? Table [Politics] Jarosław Modzelewski, Marek Sobczyk
Catalog accompanying the exhibition What? With What? Table [Politics] Jarosław Modzelewski, Marek Sobczyk summarizing the current, ongoing since the 80s cooperation between Jarosław Modzelewski and Marek Sobczyk. For the first time collects source material on this artistic phenomenon: reproductions of almost 100 fulcolor paintings, original lyrics of artists, rich archival material, a calendar of joint activities, as well as a new critical text Mateusz Falkowski dedicated to the creative method - Table What? What?See details
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KEN FEINGOLD: Figures of Speech
The publication “KEN FEINGOLD: Figures of Speech” is a compilation of essays by different authors, referring to the exhibition by American artist Ken Feingold in Gdańsk City Gallery 2 in 2014 in scope of the Art+Science Meeting project. The authors of texts are: curator of the exhibition, critic and theoretician Ryszard W. Kluszczyński, conceptual artist Ken Feingold, media historian and theoretician Errki Huhtamo, art historian Edward Shanken, Head of the Art Studies Department in the Faculty of Artistic Education at the University of Arts in Poznań Ewa Wójtowicz. See details
Price:24,00 zł
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