BWA Warszawa
BWA Warszawa
"It hurts when I laugh"
05.07.2019 - 14.09.2019
Martyna Czech, Leszek Knaflewski "We have nothing in common"
25.05.2019 - 30.06.2019
FOAF 2019: BWA Warszawa hosting Gianni Manhattan (Vienna) + Kristina Kite (LA)
06.04.2019 - 11.05.2019
Witek Orski "I would prefer not to talk about this"
14.02.2019 - 30.03.2019
Between Salvation and Constitution
11.11.2018 - 05.01.2019
WGW 2018: Agnieszka Brzeżańska, Jan Dobkowski, Zuza Krajewska "Goddesses"
21.09.2018 - 27.10.2018
Jadwiga Sawicka "Protest Reflex"
23.06.2018 - 31.07.2018
Ewa Ciepielewska "Emotional Support Animals" BWA Warszawa
12.05.2018 - 16.06.2018
FOAF: Jiří Thýn, Piotr Makowski, Witek Orski, "Line"
07.04.2018 - 28.04.2018
Adam Adach "Demos and Demons"
03.03.2018 - 04.04.2018
Agnieszka Kalinowska "Heavy Water"
27.01.2018 - 28.02.2018
WGW 2017: Yann Gerstberger, Sławomir Pawszak, Hanna Rechowicz "The Uses of Enchantment"
22.09.2017 - 25.11.2017
WGW2017: WYKWITEX
22.09.2017 - 24.09.2017
"Living in a Material World" Paweł Dudziak, Adrian Kolerski, Michał Sroka, Eliasz Styrna, Katarzyna Szymkiewicz
02.09.2017 - 16.09.2017
Małgorzata Szymankiewicz "Stretching of Concepts"
27.05.2017 - 29.07.2017
Ruben Montini "One Person Protest"
27.05.2017 - 27.05.2017
Wielka 19 Gallery
04.03.2017 - 06.05.2017
THE DYNAMICS OF DECLINE
28.01.2017 - 25.02.2017
Witek Orski & Maria Toboła "Spinning sex"
17.12.2016 - 14.01.2017
WGW 2016: Karol Radziszewski "Ali"
23.09.2016 - 19.11.2016
Small Sculptural Forms
19.06.2016 - 10.09.2016
Sławomir Pawszak "Heat"
12.03.2016 - 28.05.2016
Krzysztof Maniak "Snow Is What Comes To Mind"
06.02.2016 - 05.03.2016
Lada Nakonechna, Zhanna Kadyrova "Experiments"
05.12.2015 - 30.01.2016
WGW 2015: Ewa Axelrad "Minimum, Necessary, Objectively Reasonable"
25.09.2015 - 21.11.2015
Małgorzata Szymankiewicz "Postproduction"
26.06.2015 - 12.09.2015
Joanna Janiak, Piotr C. Kowalski "The Nature of Things"
25.04.2015 - 13.06.2015
Iza Tarasewicz "Reverse Logistics"
14.02.2015 - 19.04.2015
Karol Radziszewski "In the Shadow of the Flame"
29.11.2014 - 04.02.2015
WGW: Olga Mokrzycka-Grospierre, Nicolas Grospierre "A Glass Shard in the Eye"
26.09.2014 - 22.11.2014
Jadwiga Sawicka "Fragments of Stories"
24.05.2014 - 24.07.2014
Jakub Woynarowski "Saturnia Regna"
15.03.2014 - 17.05.2014
Sławomir Pawszak „Cannabis, whisky, ananas”
11.01.2014 - 08.03.2014
The Gardens. Laura Kaminskaite, Augustas Serapinas
23.11.2013 - 19.12.2013
Agnieszka Kalinowska "Eastern Wall"
27.09.2013 - 16.11.2013
Zuza Krajewska "Solstice"
29.06.2013 - 14.09.2013
WITHERED, Kisterem Gallery, Budapest
21.06.2013 - 15.08.2013
LITTLE WARSAW "Enter"
25.04.2013 - 21.06.2013
“Warsaw: The Day After..." Vartai Gallery, Vilnius
11.04.2013 - 11.05.2013
Self-Organization, vol.2: New Roman
23.03.2013 - 20.04.2013
Ewa Axelrad "Warm Leatherette"
26.01.2013 - 20.03.2013
Self-Organization, vol. 1. Certainty
05.01.2013 - 19.01.2013
Ziemilski / Marriott / The End of the World
21.12.2012 - 21.12.2012
Kama Sokolnicka "Rusty elements of our garden"
28.09.2012 - 30.11.2012
"ALPHAVILLE" Griffin Artspace, Warsaw
28.09.2012 - 30.12.2012
Krystian TRUTH Czaplicki "The Changeling"
21.07.2012 - 09.08.2012
Adam Adach "Reprezentacja"
21.04.2012 - 07.07.2012
Małgorzata Szymankiewicz, Przemek Dzienis "Sub Pop"
25.02.2012 - 14.04.2012
Nicolas Grospierre "The Bank"
03.12.2011 - 11.02.2012
Tribute To Fangor
05.11.2011 - 20.11.2011
"New Order", Art Stations, Poznań
29.09.2011 - 09.02.2012
Wojtek Ziemilski "New Order" performance
23.09.2011 - 24.09.2011
Agnieszka Kalinowska „Extinguished Neon Signs”
10.09.2011 - 30.10.2011
Jarosław Fliciński "Nobody Knows That For Sure"
25.06.2011 - 28.08.2011
THE OPENING "Plundering the Ruins of Reality"
07.05.2011 - 11.06.2011

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Ewa Ciepielewska "Emotional Support Animals"

Ewa Ciepielewska, born 1960, is a Polish painter, studied at the Academy of Fine Arts in Wroclaw, Poland. In February 1982, shortly after martial law was declared in Poland, a new art group published the first “Luxus” magazine in the Atelier 314 at the Academy of Fine Arts in Wrocław. The establishment of the Luxus group was a consequence of the students’ spontaneous response to the internment of Professor Konrad Jarodzki by the authorities at the beginning of 1982. The five founding members (Ewa Ciepielewska, Bożena Grzyb, Artur Gołacki, Piotr Gusta, Paweł Jarodzki) announced their activities as a group in a manifesto titled: ”THE SOPHISTICATED MAN WHO WANTS TO KILL” published in the second issue of the magazine: “In the foreground is an enormous garbage dump. A real luxury might be found as a foreign pill or in the ashtray full of butts. (...)”. The term 'luxus', which referred to the luxurious, carefree life, was technically used as an instrument to present the reality of the 1980’s in communist Poland. At the same time, it functioned as a parody of the myth of prosperity and the shoddy goods from the West. At that time artist, Ewa Ciepielewska shaped her practice influenced by esoteric New Age movement. She was associated with such art genres as Punk Art, Pop Art and she is broadly known for her performative activities in the public space. She formed her works in various media that stretched broadly including painting, installation, public projects.

 

Michał Suchora: According to the new rules set for passenger rights in the Air Carrier Access Act, anyone travelling across the U.S. by airplane has the right to take an “emotional support animals” along with them. Have you see photos of owls, peacocks, miniature ponies coming along for the ride? We can’t seem to function without animals by our sides.
 
Ewa Ciepielewska: Alas, even though we love animals so much, our civilization is built upon their killing and exploitation. If only it happened, as it did in primal cultures, with complete awareness and a sense of dignity within the act! All over the world, there’s are great injustices taking place and we don’t seem to notice. Human progress has given way to industrial breeding and imprisonment in the name of convenience and the “common good” of humanity. The Manicheans used to say, “Evil is goodness in the wrong place.” According to this idea, animals are supposed to be entirely subordinate and harmless to humans. Beavers, their populations reduced and then reintroduced, were seen as cute mascots for tourists, until they began to live according to their own terms. Then they became vermin. The same thing goes for the Vistula River, which rises and falls naturally – but we fear it flooding, even though this is its natural cycle of cleansing itself, attracting a great amount of creatures, big and small. A river is a living organism, older than any humans, trees or animals. The rivers were here before we were, gradually winding into directions we can’t entirely fathom. We’ve evolved with these rivers as a part of the same ecosystem. If someone can’t understand this, then they see mankind rather as an alien invader from the cosmos, unconnected to the planet by any means physical or emotional. This is the root of the unruly, cruel actions of humans against the Earth.
 
M.S.: I remember when on the 16th of February, you sent me a text message saying, "Best wishes on the occasion of the Year of the Dog”. Animals are present throughout our languages and iconography. We seem to love them, but on the other hand, we tear their hides off, we devour them, we even rub them into our skin as beauty treatments.
 
E.C.: The lunar year doesn’t have a fixed beginning. The current one started on the 16th of February and it was on this day that I prepared the next lunar calendar, whose hero this year is the Earth Dog. People have always been inspired by animals in their art. I just can’t help myself! For example, I found an excuse each year to spend some time drawing or painting animals to celebrate the new lunar year. Both the eastern and western zodiac systems describe humans using animal names and traits. The solar calendar is based on the main stars of an animal based on a monthly cycle. We like to check our horoscopes, our zodiac signs, our “internal” animals and use these clues to think about who we are, how we got here and where we’re going. Rudolf Steiner described his vision of our relationship with animals in his book "Man as Symphony of the Creative Word" (1923). He compares human thought to an eagle’s quills. Thoughts grown out of our heads like the feathers out of a bird’s body! The rhythmic harmony of the circulatory and respiratory systems are inhabited by the Lion, while the metabolic and digestive systems, which are related to human will to some extent, are represented by the sluggish and somnolent nature of the Cow. One can see some truth in these ideas or cast them away as fairy tales, but it’s fairy tales and anecdotes that set animals up in their rightful positions in the world, as creatures that are as important to the whole as guides, guardians and enchanted princes…

M.S.: You’ve had animals in your paintings and pictures from the start; sometimes as the main subject, other times, as in the case of "Lady with an Ermine" as companions for people.

E.C.: First came the “Blue Panther” who’s now living in New Delhi. My friends, who I once left her with, refused to live in the same home with her. On the other hand, my mother says she reminds her of me. I painted the first “Rabbit” from a catalogue of lab animals. The picture next to it was of a scale, price tag included. “Kuskus” is a marsupial, endemic to Madagascar since antiquity. He may be an ancestor perhaps? When I’m painting, In working with color, I make sure the right form strengthens the coloristic message. I choose forms that touch me: I’m drawn by inner beauty, sadness, mystery, which surrounds animals, the similarities and differences we share. When making a print, I select images of celebrities with animals because this is where you can best see this inter-species relationship. Animals are sincere in how they express their emotions, and we are free to safely express our own love and bond with them. We’re not at risk of rejection or cheating. They’re the ideal friends for those who might feel lonely or insecure. Small dogs can provide support for celebs with certain vulnerabilities or emotionally unavailable tough guys. When, in 2011, I was taking my “Lady with Ermine” (1989) along the river all the way to Gdansk, I conjured up a name for a band that had just come together on the boat ride over. That name was “White Weasels” (weasel being another name for an ermine). In other words, we had a lady with three weasels making music together.

M.S.: At the exhibition 140 Beats per Minute at the MoMA Muzeum nad Wisłą last year, you showed a psychedelic portrait of a bunny. I like the Snow Panthers series most of all. All Your animals are surrounded by a certain aura? What is it made of exactly?
 
E.C.: It comes from, above all, the chromatic logic of the painting; it appears along the edge between light and dark. I noticed this at the very start, when I began drawing black-and-white nudes based on a live model, for my academy portfolio. I worked quite solidly then! I saw a light halo-cocoon in the tiny hairs on the skin, on each surface of the body. It’s the same with the pictures, the light on the tips of the fur is dispersed, creating a rainbow areola. I later read that this is just how Goethe saw the creation of color, which is completely in opposition to how Newton saw it. Goethe believed, which I discovered solely through intuition, that colors appear on the divide between light and darkness. We’re talking about colors within the atmosphere. The next step is to transfer them into the physical space of the painting. In my paintings, this aura also has a symbolic meaning; the areola of martyrs, a supernatural light that appears when the mind is in an altered state of consciousness.