Krzysztof Wodiczko

Krzysztof Wodiczko, Personal Instrument, 1969-1972.
Born	April 16, 1943(1943-04-16) 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

Wodiczko, The Homeless Vehicle, 1988-1989 (5th Avenue, New York City, 1988).

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”.

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. (2022)

Publications

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

• Krzysztof Wodiczko, ed. Maria Morzuch, Łódź: Muzeum Sztuki w Łodzi, 1992, [47] pp. [6] (Polish)
• Krzysztof Wodiczko. Na rzecz domeny publicznej, ed. Bożena Czubak, Łódź: Muzeum Sztuki w Łodzi, 2015, 367 pp. [7] [8] (Polish)
  • Krzysztof Wodiczko. On Behalf of the Public Domain, Łódź: Muzeum Sztuki in Łódź, 2015, 367 pp. [9] (English)
• Krzysztof Wodiczko: Monument, New York: Madison Square Park, 2020, 87 pp. (English)

Interviews

• 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

• 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. [10]
• Rosalyn Deutsche, "Sharing Strangeness: Krzysztof Wodiczko's Ægis and the Question of Hospitality", Grey Room 6, Winter 2002, pp 26-43. [11]
• 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. [12]
• 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. [13]

Links

• Profile on GSD Harvard
• Works and biography on Culture.pl
• http://www.fundacjaprofile.pl/wystawy.php?act=more&a=275
• Wikipedia