Difference between revisions of "Krzysztof Wodiczko"
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{{Infobox artist | {{Infobox artist | ||
|image = Wodiczko_Krzysztof_1969-72_Personal_Instrument.jpg | |image = Wodiczko_Krzysztof_1969-72_Personal_Instrument.jpg | ||
| − | |imagesize = | + | |imagesize = 338px |
|caption = Krzysztof Wodiczko, ''Personal Instrument'', 1969-1972. | |caption = Krzysztof Wodiczko, ''Personal Instrument'', 1969-1972. | ||
|birth_date = {{birth date|1943|4|16|mf=y}} | |birth_date = {{birth date|1943|4|16|mf=y}} | ||
|birth_place = Warsaw, Poland | |birth_place = Warsaw, Poland | ||
|based_in = [[New York City]], United States | |based_in = [[New York City]], United States | ||
| + | |collections = [[Walker::{{Walker|krzysztof-wodiczko}}|Walker]] 23, [https://navigart.mocak.pl/artist/5b2d2a8ff30c9 Mocak Kraków] 11, [https://zasoby.msl.org.pl/martists/view/1584 MS Łódź] 9, [https://www.navigart.fr/mac-lyon/artworks?filters=query%3Awodiczko MAC Lyon] 5, [[Macba::{{Macba|wodiczko-krzysztof}}|Macba]] 2, [[Pompidou::{{Pompidou|caXogMX/rBgGRo6}}|Pompidou]] 1, [https://artmuseum.pl/en/kolekcja/artysci/krzysztof-wodiczko MSNW Warsaw] 1, [http://collection.mcasd.org/people/1106/krzysztof-wodiczko MCA San Diego] 1, [https://www.momak.go.jp/English/collection/ MoMAK Kyoto] 1, [https://www.mmca.go.kr/eng/collections/collectionsDetail.do?wrkMngNo=NM-08141 MMCA Seoul] 1, [https://artbank.ca/?qartist=Krzysztof%20Wodiczko Art Bank Ottawa] 1 | ||
}} | }} | ||
| − | [[Image:Wodiczko_Krzysztof_1988-89_The_Homeless_Vehicle.jpg|thumb| | + | |
| − | '''Krzysztof Wodiczko''' (1943) is an artist renowned for his large-scale slide and video projections on architectural facades and monuments. | + | [[Image:Wodiczko_Krzysztof_1988-89_The_Homeless_Vehicle.jpg|thumb|350px|Wodiczko, ''The Homeless Vehicle'', 1988-1989 (5th Avenue, New York City, 1988).]] |
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| + | '''Krzysztof Wodiczko''' (1943) is an artist renowned for his large-scale slide and video projections on architectural facades and monuments. He is Professor in Residence of Art, Design and the Public Domain at the Graduate School of Design at Harvard University. | ||
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| + | |{{#ev:youtube|PdgRV99FiGY|640|center||}}''The Engineer of Art - Krzysztof Wodiczko'', Culture.pl, 2016. | ||
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| + | He has realized more than 90 of public projections and installations in Australia, Austria, Belgium, Canada, England, Turkey, Germany, Holland, Northern Ireland, Israel, Italy, Japan, Mexico, Poland, Spain, Switzerland, and the United States. Since the late 1980s, his projections have involved the active participation of marginalized and estranged city residents. Simultaneously, and also internationally (England, Finland, France, Poland, Holland, Japan, Northern Ireland, Spain, Sweden and the US) he has been designing and implementing a series of nomadic instruments and vehicles with homeless, immigrant, and war veteran operators for their survival and communication. | ||
| − | + | Wodiczko’s work has been exhibited in Documenta (twice), Paris Biennale, Sydney Biennale, Lyon Biennale, The Venice Art Biennale (Canadian and Polish Pavilions), in ''Magiciens de la Terre'' exhibition, Paris, Venice Biennale of Architecture, The Whitney Biennial, Yokohama Triennale, International Center for Photography Triennale, New York, The Montreal Biennale (2014), The Liverpool Biennale (2016) and other international art festivals and international exhibitions. In 2009, he represented Poland in the Venice Biennale. In 2017, Wodiczko has held a retrospective exhibition at the Museum of Modern and Contemporary Art in Seoul. | |
| − | + | Since 1985, he held many major retrospectives at such institutions as the MIT List Visual Arts Center, Boston, Walker Art Center, Minneapolis; Museum Sztuki, Lodz; Fundacio Tapies, Barcelona; Wadsworth Athenaeum, Hartford CT; La Jolla Museum of Contemporary Art, San Diego; Contemporary Art Center, Warsaw; the Zacheta National Gallery of Art, Warsaw, DOX Contemporary Art Center, Prague, Muzeum Sztuki Lodz, Poland (2015) and in FACT Foundation for Art Culture and Technology in Liverpool (2016). | |
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| + | He is a recipient of the Hiroshima Art Prize in 1998 “for his contribution as an international artist to world peace”. He is also recipient of Skowhegan Medal for Sculpture, the Georgy Kepes Award, MIT, the Katarzyna Kobro Prize, and "Gloria Artis" Golden Medal from Polish Ministry of Culture. | ||
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| + | Krzysztof Wodiczko is a former Director of the Center for Advanced Visual Studies and the head of Interrogative Design Group at MIT and since 2010 is a Professor and a coordinator of Art, Design and the Public Domain, a postgraduate (MDes) concentration at the Graduate School of Design at Harvard University. | ||
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| + | He was teaching at Warsaw School of Social Psychology (SWPS), and since 2013 is a visiting Professor at the Media Arts Department of Academy of Fine Arts, Warsaw. | ||
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| + | Before beginning his full time work work at MIT (1992) and at Harvard (2010), Krzysztof Wodiczko was holding full time academic positions in such institutions as the Nova Scotia College of Art and Design, Halifax NS (intermedia art) New York Institute of Technology (history of modern art and basic design) , University of Hartford CT (photography), Cal Arts, California (photography and public art), Ecole superieure nationale des beaux arts Paris (Atelier focusing on critical art and public space). He also taught on part time basis at Ontario College of Art (industrial design), Cornell Universty (public art), the Cooper Union (public sculpture), Academy of Fine Arts in Warsaw (Basic Design), Warsaw’s Politechnique (Industrial Design) and Trent University’s Cultural Studies, Peterborough, Ontario (history and theory of the artistic avant-garde). | ||
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| + | His works are part of following public and private collections: Art Bank, Ottawa, Canada • Centre Pompidou, Paris • Chase Manhattan Bank, New York, U.S.A. • Contemporary Art Center, Warsaw, Poland • Galeria Foksal, Warsaw, Poland • Fonds National d’Art et de Culture, Ministère de la Culture, Paris • Fonds Régional d’Art et de Culture d’Île de France • Ministère de la Culture, Paris • Fundació Antoni Tàpies, Barcelona • Hiroshima City Museum Of Contemporary Art • Israel Museum, Jerusalem • The Jewish Museum, New York • Kresge Art Museum, East Lansing, MI, U.S.A. • The Linc Group, Chicago, IL, U.S.A. • Museum Sztuki, Łódź, Poland • Museum of Contemporary Art, San Diego, CA • Musée d’Art Contemporain de Lyon, France • Museu d’Art Contemporani de Barcelona, Barcelona, Spain • Museum of Modern Art, Warsaw, Poland • Contemporary Art Center Warsaw • National Gallery, Ottawa • National Museum of Modern Art, Kyoto,Japan • New Museum of Contemporary Art, NewYork • Queensland Art Gallery, South Brisbane, Australia • Wadsworth Athenaeum, Hartford, CT, U.S.A. • Walker Art Center, Minneapolis, U.S.A. • Fundacja Signum, Poznań, Poland • The Silverstein Collection, Detroit, MI, U.S.A. | ||
| + | |||
| + | Wodiczko’s books include ''Critical Vehicles: Writings, Projects, Interviews published'' by MIT Press (1999), a large monograph of his works titled Krzysztof Wodiczko (2012), ''September 11: City of Refuge'' (2009), ''The Abolition of War'' (2013) by Black Dog Publishing, London, followed by expanded Polish edition under the title ''Obalenie Wojen'' by MOCAK (2014), ''Guests'' by Charta (2009), and a comprehensive collection of his writings titled ''Transformative Avant-Garde and Other Writings'' (2016) by Black Dog Publishing, London. | ||
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| + | Krzysztof Wodiczko’s work has been presented as a part of PBS television series ''Art 21, Art in the Twenty-First Century: Season III''. | ||
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| + | He received Master degree in Fine Arts, (With Distinction) in Interior Architecture and Industrial Design from Academy of Fine Arts Warsaw (1968). He has a Doctoral Degree in Media Arts from Academy of Fine Arts in Warsaw (2013) and doctorats Honoris Causa from the Academy of Fine Arts in Poznan, Poland (2008) and from Maine School of Art (2007). | ||
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| + | Lives and works in [[New York City]], Cambridge, Massachusetts, and [[Warsaw]], Poland.([https://www.gsd.harvard.edu/person/krzysztof-wodiczko/ 2022], [https://www.krzysztofwodiczko.com/about 2022]) | ||
==Publications== | ==Publications== | ||
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* ''September 11: City of Refuge'', 2009. | * ''September 11: City of Refuge'', 2009. | ||
* ''Guests'', Charta, 2009. | * ''Guests'', Charta, 2009. | ||
| − | * ''Krzysztof Wodiczko'', | + | * ''Krzysztof Wodiczko'', London: Black Dog Publishing, 2011, 368 pp. A collection of installations and projects. Contributors: Rosalyn Deutsche, Lisa Saltzman, Andrzej Turowski, Dick Hebdige, Denis Hollier, Ewa Lajer-Burcharth, Dora Apel. [https://www.blackdogonline.com/imported-products-20/krzysztof-wodiczko] [http://www.polishculture.org.uk/literature/books/news/article/krzysztof-wodiczko-complete-survey-352.html] |
* ''The Abolition of War'', London: Black Dog Publishing, 2013. | * ''The Abolition of War'', London: Black Dog Publishing, 2013. | ||
| − | ** ''Obalenie | + | ** ''Obalenie Wojen'', MOCAK, 2014. Expanded edition. {{pl}} |
* ''Transformative Avant-Garde and Other Writings'', London: Black Dog Publishing, 2016. Collection of writings. | * ''Transformative Avant-Garde and Other Writings'', London: Black Dog Publishing, 2016. Collection of writings. | ||
| + | ** 크지슈토프 보디츠코 지음, 〈변형적 아방가르드〉, trans. 정주영 옮김, Seoul: Workroom, 2017, 424 pp. [http://workroompress.kr/wp/?p=1098] {{ko}} | ||
* with Adam Ostolski, ''Socjoestetyka'', Warsaw: Krytyka Polityczna, 2016, 352 pp. [https://issuu.com/krytykapolityczna/docs/wodiczko Excerpt]. [https://wydawnictwo.krytykapolityczna.pl/wodiczko-socjoestetyka-314#.WeHgYbNbycw] {{pl}} | * with Adam Ostolski, ''Socjoestetyka'', Warsaw: Krytyka Polityczna, 2016, 352 pp. [https://issuu.com/krytykapolityczna/docs/wodiczko Excerpt]. [https://wydawnictwo.krytykapolityczna.pl/wodiczko-socjoestetyka-314#.WeHgYbNbycw] {{pl}} | ||
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* [[Media:Wodiczko_Krzysztof_2003_The_Tijuana_Projection_2001.pdf|"''The Tijuana Projection'', 2001"]], ''Rethinking Marxism'' 15:3, Jul 2003, pp 422-423. | * [[Media:Wodiczko_Krzysztof_2003_The_Tijuana_Projection_2001.pdf|"''The Tijuana Projection'', 2001"]], ''Rethinking Marxism'' 15:3, Jul 2003, pp 422-423. | ||
* [[Media:Wodiczko_Krzysztof_2014_The_Transformative_Avant-Garde_A_Manifest_of_the_Present.pdf|"The Transformative Avant-Garde: A Manifest of the Present"]], ''Third Text'' 28:2, 2014, pp 111-122. | * [[Media:Wodiczko_Krzysztof_2014_The_Transformative_Avant-Garde_A_Manifest_of_the_Present.pdf|"The Transformative Avant-Garde: A Manifest of the Present"]], ''Third Text'' 28:2, 2014, pp 111-122. | ||
| + | * [http://field-journal.com/issue-1/wodiczko "The Inner Public"], ''Field'' 1, Spring 2015, [http://field-journal.com/wp-content/uploads/2015/05/FIELD-01-Wodiczko-InnerPublic.pdf PDF]. | ||
* with Rafael Lozano-Hemmer, "Zoom Pavilion", in ''The Participatory Condition in the Digital Age'', University of Minnesota Press, 2016, pp 285-288. [http://www.jstor.org/stable/10.5749/j.ctt1ggjkfg] | * with Rafael Lozano-Hemmer, "Zoom Pavilion", in ''The Participatory Condition in the Digital Age'', University of Minnesota Press, 2016, pp 285-288. [http://www.jstor.org/stable/10.5749/j.ctt1ggjkfg] | ||
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| + | ==Catalogues== | ||
| + | |||
| + | * ''[[Media:Krzysztof Wodiczko 1992.pdf|Krzysztof Wodiczko]]'', ed. Maria Morzuch, Łódź: Muzeum Sztuki w Łodzi, 1992, [47] pp. [https://zasoby.msl.org.pl/mobjects/view/1433] {{pl}} | ||
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| + | * ''[https://issuu.com/fundacjaprofile/docs/krzysztof_wodiczko._sztuka_domeny_publicznej_pl_en Krzysztof Wodiczko. Sztuka Domeny Publicznej / Art of the Public Domain]'', ed. Bożena Czubak, Sopot: Panstwowa Galeria Sztuky, and Warsaw: Fundacja Profile, 2011, 175 pp. {{pl}}/{{en}} | ||
| + | |||
| + | * ''Krzysztof Wodiczko. Na rzecz domeny publicznej'', ed. Bożena Czubak, Łódź: Muzeum Sztuki w Łodzi, 2015, 367 pp. [https://msl.org.pl/ms/ksiegarnia/krzysztof-wodiczko--na-rzecz-domeny-publicznej,120.html Publisher]. [https://msl.org.pl/krzysztof-wodiczko-na-rzecz-domeny-publicznej/ Exhibition]. {{pl}} | ||
| + | ** ''Krzysztof Wodiczko. On Behalf of the Public Domain'', Łódź: Muzeum Sztuki in Łódź, 2015, 367 pp. [https://msl.org.pl/en/eventsms/publications/krzysztof-wodiczko--on-behalf-of-the-public-domain,1796.html Publisher]. {{en}} | ||
| + | |||
| + | * ''[[Media:Krzysztof Wodiczko Monument 2020.pdf|Krzysztof Wodiczko: Monument]]'', New York: Madison Square Park, 2020, 87 pp. {{en}} | ||
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| + | * ''[https://www.gsd.harvard.edu/exhibition/interrogative-design-selected-works-of-krzysztof-wodiczko/ Interrogative Design: Selected Works of Krzysztof Wodiczko]'', Graduate School of Design, Harvard University, 2021. Exh. website with materials provided by the artist. {{en}} | ||
==Interviews== | ==Interviews== | ||
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==Literature== | ==Literature== | ||
| − | * Rosalyn Deutsche, [[Media:Deutsche_Rosalyn_1986_Krzysztof_Wodiczkos_Homeless_Projection_and_the_Site_of_Urban_Revitalization.pdf|"Krzysztof Wodiczko's "Homeless Projection" and the Site of Urban 'Revitalization'"]], ''October'' 38, Autumn 1986, pp 63-98. | + | |
| − | * Neil Smith, "Contours of a Spatialized Politics: Homeless Vehicles and the Production of Geographical Scale", ''Social Text'' 33, 1992, pp 54-81. [https://www.jstor.org/stable/466434] | + | * [[Rosalyn Deutsche]], [[Media:Deutsche_Rosalyn_1986_Krzysztof_Wodiczkos_Homeless_Projection_and_the_Site_of_Urban_Revitalization.pdf|"Krzysztof Wodiczko's "Homeless Projection" and the Site of Urban 'Revitalization'"]], ''October'' 38, Autumn 1986, pp 63-98. |
| − | * Rosalyn Deutsche, "Sharing Strangeness: Krzysztof Wodiczko's ''Ægis'' and the Question of Hospitality", ''Grey Room'' 6, Winter 2002, pp 26-43. [https://www.jstor.org/stable/1262614] | + | |
| + | * Neil Smith, [https://sci-hub.st/https://www.jstor.org/stable/466434 "Contours of a Spatialized Politics: Homeless Vehicles and the Production of Geographical Scale"], ''Social Text'' 33, 1992, pp 54-81. [https://www.jstor.org/stable/466434] | ||
| + | |||
| + | * [[Rosalyn Deutsche]], [https://sci-hub.st/https://www.jstor.org/stable/1262614 "Sharing Strangeness: Krzysztof Wodiczko's ''Ægis'' and the Question of Hospitality"], ''Grey Room'' 6, Winter 2002, pp 26-43. [https://www.jstor.org/stable/1262614] | ||
| + | |||
* Sarah J. Purcel, [https://berlinarchaeology.files.wordpress.com/2012/08/purcell-2003.pdf "Commemoration, Public Art, and the Changing Meaning of the Bunker Hill Monument"], ''The Public Historian'' 25:2, Spring 2003, pp 55-71. | * Sarah J. Purcel, [https://berlinarchaeology.files.wordpress.com/2012/08/purcell-2003.pdf "Commemoration, Public Art, and the Changing Meaning of the Bunker Hill Monument"], ''The Public Historian'' 25:2, Spring 2003, pp 55-71. | ||
| − | * Marie Fraser, "Media Image, Public Space, and the Body: Around Krzysztof Wodiczko’s Alien Staff", in ''Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture'', McGill-Queen's University Press, 2008, pp 249-263. [https://www.jstor.org/stable/j.ctt1pq1zh] | + | |
| + | * Marie Fraser, "Media Image, Public Space, and the Body: Around Krzysztof Wodiczko’s Alien Staff", in ''[http://libgen.rs/book/index.php?md5=34CFE80ED19A297AF8EED646C72C77B1 Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture]'', McGill-Queen's University Press, 2008, pp 249-263. [https://www.jstor.org/stable/j.ctt1pq1zh] | ||
| + | |||
* Marc James Léger, [http://legermj.typepad.com/blog/2011/10/xenology-and-identity-krzysztof-wodiczkos-immigrant-instruments.html "Xenology and Identity: Krzysztof Wodiczko's Immigrant Instruments"], 2011. | * Marc James Léger, [http://legermj.typepad.com/blog/2011/10/xenology-and-identity-krzysztof-wodiczkos-immigrant-instruments.html "Xenology and Identity: Krzysztof Wodiczko's Immigrant Instruments"], 2011. | ||
| + | |||
* Dora Apel, "Technologies of War, Media, and Dissent in the Post-9/11 Work of Krzysztof Wodiczko", ch 1 in Apel, ''War Culture and the Contest of Images'', Rutgers University Press, 2012, pp 17-46. [https://www.jstor.org/stable/j.ctt5hhwpv] | * Dora Apel, "Technologies of War, Media, and Dissent in the Post-9/11 Work of Krzysztof Wodiczko", ch 1 in Apel, ''War Culture and the Contest of Images'', Rutgers University Press, 2012, pp 17-46. [https://www.jstor.org/stable/j.ctt5hhwpv] | ||
==Links== | ==Links== | ||
| + | * [https://www.krzysztofwodiczko.com/ Website] | ||
* [http://www.gsd.harvard.edu/person/krzysztof-wodiczko/ Profile on GSD Harvard] | * [http://www.gsd.harvard.edu/person/krzysztof-wodiczko/ Profile on GSD Harvard] | ||
* [http://culture.pl/en/artist/krzysztof-wodiczko Works and biography on Culture.pl] | * [http://culture.pl/en/artist/krzysztof-wodiczko Works and biography on Culture.pl] | ||
* http://www.fundacjaprofile.pl/wystawy.php?act=more&a=275 | * http://www.fundacjaprofile.pl/wystawy.php?act=more&a=275 | ||
* [http://en.wikipedia.org/wiki/Krzysztof_Wodiczko Wikipedia] | * [http://en.wikipedia.org/wiki/Krzysztof_Wodiczko Wikipedia] | ||
Latest revision as of 20:41, 3 March 2024
 Krzysztof Wodiczko, Personal Instrument, 1969-1972. | |
| Born |
April 16, 1943 Warsaw, Poland |
|---|---|
| Lives in | New York City, United States |
| Collections | Walker 23, Mocak Kraków 11, MS Łódź 9, MAC Lyon 5, Macba 2, Pompidou 1, MSNW Warsaw 1, MCA San Diego 1, MoMAK Kyoto 1, MMCA Seoul 1, Art Bank Ottawa 1 |
Krzysztof Wodiczko (1943) is an artist renowned for his large-scale slide and video projections on architectural facades and monuments. He is Professor in Residence of Art, Design and the Public Domain at the Graduate School of Design at Harvard University.
|
He has realized more than 90 of public projections and installations in Australia, Austria, Belgium, Canada, England, Turkey, Germany, Holland, Northern Ireland, Israel, Italy, Japan, Mexico, Poland, Spain, Switzerland, and the United States. Since the late 1980s, his projections have involved the active participation of marginalized and estranged city residents. Simultaneously, and also internationally (England, Finland, France, Poland, Holland, Japan, Northern Ireland, Spain, Sweden and the US) he has been designing and implementing a series of nomadic instruments and vehicles with homeless, immigrant, and war veteran operators for their survival and communication.
Wodiczko’s work has been exhibited in Documenta (twice), Paris Biennale, Sydney Biennale, Lyon Biennale, The Venice Art Biennale (Canadian and Polish Pavilions), in Magiciens de la Terre exhibition, Paris, Venice Biennale of Architecture, The Whitney Biennial, Yokohama Triennale, International Center for Photography Triennale, New York, The Montreal Biennale (2014), The Liverpool Biennale (2016) and other international art festivals and international exhibitions. In 2009, he represented Poland in the Venice Biennale. In 2017, Wodiczko has held a retrospective exhibition at the Museum of Modern and Contemporary Art in Seoul.
Since 1985, he held many major retrospectives at such institutions as the MIT List Visual Arts Center, Boston, Walker Art Center, Minneapolis; Museum Sztuki, Lodz; Fundacio Tapies, Barcelona; Wadsworth Athenaeum, Hartford CT; La Jolla Museum of Contemporary Art, San Diego; Contemporary Art Center, Warsaw; the Zacheta National Gallery of Art, Warsaw, DOX Contemporary Art Center, Prague, Muzeum Sztuki Lodz, Poland (2015) and in FACT Foundation for Art Culture and Technology in Liverpool (2016).
He is a recipient of the Hiroshima Art Prize in 1998 “for his contribution as an international artist to world peace”. He is also recipient of Skowhegan Medal for Sculpture, the Georgy Kepes Award, MIT, the Katarzyna Kobro Prize, and "Gloria Artis" Golden Medal from Polish Ministry of Culture.
Krzysztof Wodiczko is a former Director of the Center for Advanced Visual Studies and the head of Interrogative Design Group at MIT and since 2010 is a Professor and a coordinator of Art, Design and the Public Domain, a postgraduate (MDes) concentration at the Graduate School of Design at Harvard University.
He was teaching at Warsaw School of Social Psychology (SWPS), and since 2013 is a visiting Professor at the Media Arts Department of Academy of Fine Arts, Warsaw.
Before beginning his full time work work at MIT (1992) and at Harvard (2010), Krzysztof Wodiczko was holding full time academic positions in such institutions as the Nova Scotia College of Art and Design, Halifax NS (intermedia art) New York Institute of Technology (history of modern art and basic design) , University of Hartford CT (photography), Cal Arts, California (photography and public art), Ecole superieure nationale des beaux arts Paris (Atelier focusing on critical art and public space). He also taught on part time basis at Ontario College of Art (industrial design), Cornell Universty (public art), the Cooper Union (public sculpture), Academy of Fine Arts in Warsaw (Basic Design), Warsaw’s Politechnique (Industrial Design) and Trent University’s Cultural Studies, Peterborough, Ontario (history and theory of the artistic avant-garde).
His works are part of following public and private collections: Art Bank, Ottawa, Canada • Centre Pompidou, Paris • Chase Manhattan Bank, New York, U.S.A. • Contemporary Art Center, Warsaw, Poland • Galeria Foksal, Warsaw, Poland • Fonds National d’Art et de Culture, Ministère de la Culture, Paris • Fonds Régional d’Art et de Culture d’Île de France • Ministère de la Culture, Paris • Fundació Antoni Tàpies, Barcelona • Hiroshima City Museum Of Contemporary Art • Israel Museum, Jerusalem • The Jewish Museum, New York • Kresge Art Museum, East Lansing, MI, U.S.A. • The Linc Group, Chicago, IL, U.S.A. • Museum Sztuki, Łódź, Poland • Museum of Contemporary Art, San Diego, CA • Musée d’Art Contemporain de Lyon, France • Museu d’Art Contemporani de Barcelona, Barcelona, Spain • Museum of Modern Art, Warsaw, Poland • Contemporary Art Center Warsaw • National Gallery, Ottawa • National Museum of Modern Art, Kyoto,Japan • New Museum of Contemporary Art, NewYork • Queensland Art Gallery, South Brisbane, Australia • Wadsworth Athenaeum, Hartford, CT, U.S.A. • Walker Art Center, Minneapolis, U.S.A. • Fundacja Signum, Poznań, Poland • The Silverstein Collection, Detroit, MI, U.S.A.
Wodiczko’s books include Critical Vehicles: Writings, Projects, Interviews published by MIT Press (1999), a large monograph of his works titled Krzysztof Wodiczko (2012), September 11: City of Refuge (2009), The Abolition of War (2013) by Black Dog Publishing, London, followed by expanded Polish edition under the title Obalenie Wojen by MOCAK (2014), Guests by Charta (2009), and a comprehensive collection of his writings titled Transformative Avant-Garde and Other Writings (2016) by Black Dog Publishing, London.
Krzysztof Wodiczko’s work has been presented as a part of PBS television series Art 21, Art in the Twenty-First Century: Season III.
He received Master degree in Fine Arts, (With Distinction) in Interior Architecture and Industrial Design from Academy of Fine Arts Warsaw (1968). He has a Doctoral Degree in Media Arts from Academy of Fine Arts in Warsaw (2013) and doctorats Honoris Causa from the Academy of Fine Arts in Poznan, Poland (2008) and from Maine School of Art (2007).
Lives and works in New York City, Cambridge, Massachusetts, and Warsaw, Poland.(2022, 2022)
Publications[edit]
- Books
- Critical Vehicles: Writings, Projects, Interviews, MIT Press, 1999, 227 pp.
- September 11: City of Refuge, 2009.
- Guests, Charta, 2009.
- Krzysztof Wodiczko, London: Black Dog Publishing, 2011, 368 pp. A collection of installations and projects. Contributors: Rosalyn Deutsche, Lisa Saltzman, Andrzej Turowski, Dick Hebdige, Denis Hollier, Ewa Lajer-Burcharth, Dora Apel. [1] [2]
- The Abolition of War, London: Black Dog Publishing, 2013.
- Obalenie Wojen, MOCAK, 2014. Expanded edition. (Polish)
- Transformative Avant-Garde and Other Writings, London: Black Dog Publishing, 2016. Collection of writings.
- 크지슈토프 보디츠코 지음, 〈변형적 아방가르드〉, trans. 정주영 옮김, Seoul: Workroom, 2017, 424 pp. [3] (Korean)
- with Adam Ostolski, Socjoestetyka, Warsaw: Krytyka Polityczna, 2016, 352 pp. Excerpt. [4] (Polish)
- Essays, talks
- "Public Projection", Canadian Journal of Political and Social Theory 7:1-2 (Spring 1983), p 187-193.
- "Strategies of Public Access: Which Media, Which Projects?", in Discussions in Contemporary Culture, Number One, ed. Hal Foster, Seattle: Bay Press, and New York: Dia Art Foundation, 1987, pp 41-45. Contribution to discussion.
- "Open Transmission", Performance Research 2:3, 1997, pp 1-8.
- "The Tijuana Projection, 2001", Rethinking Marxism 15:3, Jul 2003, pp 422-423.
- "The Transformative Avant-Garde: A Manifest of the Present", Third Text 28:2, 2014, pp 111-122.
- "The Inner Public", Field 1, Spring 2015, PDF.
- with Rafael Lozano-Hemmer, "Zoom Pavilion", in The Participatory Condition in the Digital Age, University of Minnesota Press, 2016, pp 285-288. [5]
Catalogues[edit]
- Krzysztof Wodiczko, ed. Maria Morzuch, Łódź: Muzeum Sztuki w Łodzi, 1992, [47] pp. [6] (Polish)
- Krzysztof Wodiczko. Sztuka Domeny Publicznej / Art of the Public Domain, ed. Bożena Czubak, Sopot: Panstwowa Galeria Sztuky, and Warsaw: Fundacja Profile, 2011, 175 pp. (Polish)/(English)
- Krzysztof Wodiczko. Na rzecz domeny publicznej, ed. Bożena Czubak, Łódź: Muzeum Sztuki w Łodzi, 2015, 367 pp. Publisher. Exhibition. (Polish)
- Krzysztof Wodiczko. On Behalf of the Public Domain, Łódź: Muzeum Sztuki in Łódź, 2015, 367 pp. Publisher. (English)
- Krzysztof Wodiczko: Monument, New York: Madison Square Park, 2020, 87 pp. (English)
- Interrogative Design: Selected Works of Krzysztof Wodiczko, Graduate School of Design, Harvard University, 2021. Exh. website with materials provided by the artist. (English)
Interviews[edit]
- Douglas Crimp, Rosalyn Deutsche, Ewa Lajer-Burcharth, "A Conversation with Krzysztof Wodiczko", October 38, Autumn 1986, pp 23-51.
- "Krzysztof Wodiczko interviewed by Malcolm Dickson", Variant 6, 1989, p 17.
- Patricia C. Phillips, "Creating Democracy: A Dialogue with Krzysztof Wodiczko", Art Journal 62:4, Winter 2003, pp 32-47.
- Marc James Léger, "Aesthetic Responsibility: A Conversation with Krzysztof Wodiczko on the Transformative Avant-Garde", Third Text 28:2, 2014, pp 123-136.
- Marc James Léger, "Homeless Projection: Place des arts: An Interview with Krzysztof Wodiczko", Journal of Urban Cultural Studies 2:3, 2015.
Literature[edit]
- Rosalyn Deutsche, "Krzysztof Wodiczko's "Homeless Projection" and the Site of Urban 'Revitalization'", October 38, Autumn 1986, pp 63-98.
- Neil Smith, "Contours of a Spatialized Politics: Homeless Vehicles and the Production of Geographical Scale", Social Text 33, 1992, pp 54-81. [7]
- Rosalyn Deutsche, "Sharing Strangeness: Krzysztof Wodiczko's Ægis and the Question of Hospitality", Grey Room 6, Winter 2002, pp 26-43. [8]
- Sarah J. Purcel, "Commemoration, Public Art, and the Changing Meaning of the Bunker Hill Monument", The Public Historian 25:2, Spring 2003, pp 55-71.
- Marie Fraser, "Media Image, Public Space, and the Body: Around Krzysztof Wodiczko’s Alien Staff", in Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture, McGill-Queen's University Press, 2008, pp 249-263. [9]
- Marc James Léger, "Xenology and Identity: Krzysztof Wodiczko's Immigrant Instruments", 2011.
- Dora Apel, "Technologies of War, Media, and Dissent in the Post-9/11 Work of Krzysztof Wodiczko", ch 1 in Apel, War Culture and the Contest of Images, Rutgers University Press, 2012, pp 17-46. [10]
