Sookoon Ang
John Arndt
Elisabetta Benassi
Wolfgang Berkowski
Johanna Billing
Brian Block
Opie Boero-Imwinkelried
Daniel Bozhkov
Lasse Brandt
aka Bosse Sudenburg

Sarra Brill
Thomas M. Callori
Rob Carter
Anetta Mona Chisa
Suzy Cho
William Cobbing
Tyler Coburn
Patricia Cronin
Keren Cytter
Jen DeNike
Robert Ladislas Derr
Stanislao Di Giugno
Ra di Martino
Honoré d'O
Steven Eastwood
Chris Ernst
Billy Erhard
Mariana Ferratto
Oriana Fox
Rainer Ganahl
Jean-Baptiste Ganne
Mario Garcia Torres
Emil Goh
Dara Greenwald
Vincent Grenier
Jesper Just
Rob Johannesma
John Kelly
Jeroen Kooijmans
William Lamson
Penny Lane

Sandra Eula Lee
Jochen Lempert
Jason Livingston
Jennifer Locke
Giuliano Lombardo
Marie Losier
Mary Magsamen
& Stephen Hillerbrand

Giulia Mainenti
Kristine Marx
Tara Mateik
Ursula Mayer
Jacopo Miliani
Franklin Miller
Vincenzo Mistretta
Liana Miuccio
Joshua Mosley
Willett Moss
Shana Moulton
Lydia Moyer
Jeremy Newman
New Humans
Olaf Nicolai
Dan Oki
Joao Onofre
Jimmy Owenns
Arzu Ozkal Telhan
Jose Parral
Sarah Paul
Julie Perini
Rosalind Peters
Alessandro Piangiamore
Cesare Pietroiusti
Frederic Post
Gunter Puller
Marco Raparelli
Alia Raza
Asad Raza
Jack Riccobono
G. Alan Rhodes
Manuel Saiz
Alessandro Sarra
Corrado Sassi
Mathew Sawyer
Jennifer Schmidt
Guendalina Salini
Cigdem Slankard
Claudia Sohrens
Mirjam Somers
Nomi Talisman
Jennet Thomas
Jennie Thwing
Lucia Tkacova
Nathan Townes-Anderson
Thomas Tsang
Ken Ueno
Guido van der Werve
Marcella Vanzo
Nico Vascellari
Luca Vitone
Clemens von Wedemeyer
Patrick Ward
Julita Wojcik
Emiliano Zelada
Sarah Zwerling

Pust' wsiegda budiet' solnce /
Пусть всегда будеть солнце /
Let There Always Be Sun

somewhere in the East, October 1, 2004
DVD, 10'41"

'In one of the films by young Polish artist Julita Wójcik, a smiling girl flies a sun-shaped kite and hums the Soviet scout, or 'pioneer', anthem song, familiar to anyone who grew up in the former Estern Bloc: Пусть всегда будеть солнце or Let There Always Be Sun. The image is joyous like a happy childhood memory - or vitamin formula commercial promising its users permanent vigour and cheerfulness.

The state of consciousness reflected in the film is a state of consciousness of people born early enough to remember the PRL era well, and late enough to be living their adult life at a time when Poland is again becoming part of the West. The ballast of the communist-era reality weighs to different degrees on different people, the imprint that reality has left on the present affects them to diffrent degrees, and it is likewise to different degrees that 'western' present is perceived by them as natural environment and an obvious point of reference for their own activity. What they have in common is the hybrid nature of their existential experience. It is it than makes the image of a Soviet pioneer both familiar and exotic, and that causes the Soviet song to evoke both a nostalgia for a sad but own past, and a fascination similar to that evoked by things strange.'

- excerpt from Jaroslaw Suchan's esay, exhibition catalogue: Far West, Near East.

Pust ’ vsegda budet solntse, May there Always Be Sunshine, is the title of a famous song of Soviet children and youth. It was composed in 1962 by Arkady Ostrovsky and the lyrics were written by Lev Oshanin, with the exception of the chorus which was a poem made up by a four-year-old boy. This sunny song of peace and sunshine (between socialist countries) was very popular in the Soviet Bloc.

In 2004 in Gdansk, an artist, Julita Wójcik flies a kite on a windy day. The project called Pust’ vsegda budet solntse was filmed and presented at the Far West, Near East: Young Art from Poland exhibition in Essen as part of the Polish-German Year. Was this just an innocent game or did flying the kite have political connotations?

For the numerous May parades in the Soviet Union the weather had to be beautiful. This was achieved by aeroplanes with dry ice and liquid nitrogen. Julita Wójcik and her kite, however, had to take shelter from the weather, but still managed to evoke many, not always pleasant, associations. The reality of socialist times is not something that can be easily erased and it is still alive in our memories: the obligatory Russian lessons, the mandatory singing of Soviet songs, the compulsory brainwashing about Polish-Soviet friendship and the socialist land of happiness …

The art of Julita Wójcik skilfully defies all labels. When she crocheted tablecloths, teddy bears and poodles, when she peeled potatoes and cleaned she was instantly assumed to be a ‘stay-at-home’ or post-feminist artist. When she placed a blue sandpit with white clouds painted on it under a cross on a hill with a view of Gdansk (Sandbox with a View, 2002), and when she engaged in her Fabryka Latawców [Kite Factory] action (2003) the critics pronounced her a children’s artist. They could not have been more wrong. Wójcik’s message is ironic, perverse and thought-provoking.

Unlike the former Soviet authorities, Julita Wójcik does not control the weather. Nevertheless, her artistic projects are often performed in the unpredictable outdoors: sewing, planting, weeding and watering plants in a park, first in Gdynia (2000) and then in New York (2003), painting the surface of Lake Ukiel in Olsztyn (2001), and revitalising the Schopenhauer Park in Gdansk with the help of goats borrowed from the zoo (2002) ... And that kite flying towards the Sun makes one also think of …'

- Gabriela Świtek


Julita Wójcik introduces to her art a very personal, and thus very feminine, idiom. She reads from a private perspective the social conventions and codes, which she then ’familiarises’ and employs in her projects. Those are often very prosaic activities, typical for a ‘provincial girl,’ as the artist likes to call herself. Crocheting, sweeping up, cultivating a small vegetable garden, or setting up water holes in public places, building bird tables or flying kites are hardly activities one would think of as art, being more of everyday-life experiences, somewhat characteristic for a bygone era that is slowly falling into oblivion. The simple activities acquire a deeper meaning only when placed in an artistic context which, on the one hand, elevates them, and, on the other, strips art of its elitist quality. Demonstrating how art can negotiate with reality on an equal footing.

Born 1971 in Gdansk, Poland
Lives and works in Poland
Gratuate of the Academy of Fine Arts in Gdansk
Awarded scholarships from Polish Minister of Culture in the years:
1995/6, 2001, 2003, 2005, 2007

selected exhibitions:
"Audio Station" action at the Atostazione in Trento, in the framework of the project "Theater of Life" by Galeria Civica, Italy
"Ars Baltica Triennale of Photographic Art, Don't Worry - Be Curious!" at Stadtgalerie Kiel, Germany; KUMU Art Museum of Estonia in Tallinn, Eastland; Pori Art Museum, Finland ; Neue Gesellschaft für Bildende Kunst (NGBK) Bethanien in Berlin, Germany
"Pure Form" action for four ice-rinks in town durring the Art in General's Residency EERE in New York City, USA
"News: Recent Acquisitions in Contemporary Art", The Israel Museum in Jerusalem, Israel
"At the Very Centre of Attention part 8, Ready, Set, Action!" CCA Ujazdowski Castle in Warsaw, Poland
"Weather Forecast" action in Budapest, Hungary during the residency in Budapest with the framework of the project "How to Do Things? - In the Middle of (No)Where..." final exhibition in Trafo Gallery in Budapest and Neue Gesellschaft für Bildende Kunst (NGBK) Bethanien in Berlin, Germany
"From Italian land to Poland...and back" Polish Institute in Rome, Italy
"Prague Biennale 2, Poland Overview" Karlin Hall in Prague, Czech
"Under the red and white flag. New Art from Poland" in:
National Centre for Contemporary Arts in Moscow, Russia
Museum of Fine Arts in Nizny Tagil, Russia
Arsenal branch of the National Centre for Contemporary Arts in Nizny Novgorod, Russia
Contemporary Art Centre in Wilnius, Lithuania
Art Museum of Estonia Rotermann's Salt Storage in Tallinn, Eastland
"Dialog Loci", Kostrzyn, Poland
"Architectures of Gender. Contemporary Women's Art from Poland", Sculpture Centre in New York City, USA
"Paint Your Own Plainer-Watercolours" action at the Elba river with the framework of the ArtGenda in Hamburg, Germany