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siele_witch
Natalia Sielewicz
Curator at the Museum of Modern Art in Warsaw @msnwarszawa
Curator of the Estonian Pavilion at the 61st La Biennale di Venezia 2026 with @merikeestna
Defrost with @nikita.kadan @siele_witch by 📷 @karolgrygoruk for the next #baltictriennial at @smcvilnius
Stay tuned for the prologue event in June
Defrost with @nikita.kadan @siele_witch by 📷 @karolgrygoruk for the next #baltictriennial at @smcvilnius
Stay tuned for the prologue event in June
Defrost with @nikita.kadan @siele_witch by 📷 @karolgrygoruk for the next #baltictriennial at @smcvilnius
Stay tuned for the prologue event in June
Defrost with @nikita.kadan @siele_witch by 📷 @karolgrygoruk for the next #baltictriennial at @smcvilnius
Stay tuned for the prologue event in June
Defrost with @nikita.kadan @siele_witch by 📷 @karolgrygoruk for the next #baltictriennial at @smcvilnius
Stay tuned for the prologue event in June
Defrost with @nikita.kadan @siele_witch by 📷 @karolgrygoruk for the next #baltictriennial at @smcvilnius
Stay tuned for the prologue event in June
Defrost with @nikita.kadan @siele_witch by 📷 @karolgrygoruk for the next #baltictriennial at @smcvilnius
Stay tuned for the prologue event in June
💔 „Maria Jarema. Pęknięty modernizm” to jedna z trzech wystaw, na którą zaprosimy Was już 20 marca.
👀 Proponujemy nowe spojrzenie na twórczość jednej z najbardziej oryginalnych postaci polskiej sztuki nowoczesnej okresu międzywojennego i powojennego.
Od początku kariery artystycznej Jarema identyfikowała się z międzynarodowym nurtem modernizmu, przejmując język wspólny dla abstrakcji postkubistycznej i czerpiąc z surrealizmu i ekspresjonizmu. ✊ W okresie powojennym radykalnie domagała się wolności artystycznej. Łącząc charakterystyczną dla surrealizmu koncentrację na cielesności i autoekspresji z dążeniem do formalnej autonomii sztuki abstrakcyjnej, Jarema od 1949 roku rozpoczęła eksperymenty z techniką monotypii. To właśnie ta technika umożliwiała jej artykulację podmiotu jako całości, obejmując także to, co pozornie niemożliwe do pogodzenia – obszary pęknięć i rozdarć, naznaczone zarówno napięciami wewnętrznymi, jak i zewnętrznymi.
💔 Kuratorzy określają wypracowany przez nią idiom mianem „pękniętego modernizmu”. Twórczość artystki można czytać jako badanie różnych sytuacji, w jakich znajduje się ciało i podmiot: od doświadczenia jednostki, przez relacje między dwojgiem ludzi, rodzinę, aż po funkcjonowanie w szerszej wspólnocie. Wystawa jest zaaranżowana według tej narastającej skali – jednostka, para, rodzina, wielość, pokazując, jak w obrazach ciała ujawniają się napięcia społeczne oraz procesy rozpadu i pęknięcia podmiotu.
Kuratorzy: Éric de Chassey, Natalia Sielewicz
🖤 Nasi partnerzy:
Muzeum jest instytucją prowadzoną przez @miasto_warszawa i @kultura_gov_pl
Partner Strategiczny: @audipl
Mecenas Muzeum i Kolekcji: EY
Partner Muzeum: @przyjacielemsn i @purohotels
Partner Kina: @eonpolska
Partner Edukacji: @fundacja.efc
Partner Prawny: Kancelaria DZP
Partnerzy medialni: Polskie Radio, PAP, Zwierciadło, Vogue, Onet, Wyborcza.pl, Wysokie Obcasy, Pismo
📸 Maria Jarema, Penetracje I, 1957, tempera, monotypia na papierze przyklejonym na płótnie, Muzeum Sztuki, Łódź
zdjęcie Jaremy dzięki uprzejmości rodziny
#muzeumsztukinowoczesnejwwarszawie #muzeum #jarema
💔 „Maria Jarema. Pęknięty modernizm” to jedna z trzech wystaw, na którą zaprosimy Was już 20 marca.
👀 Proponujemy nowe spojrzenie na twórczość jednej z najbardziej oryginalnych postaci polskiej sztuki nowoczesnej okresu międzywojennego i powojennego.
Od początku kariery artystycznej Jarema identyfikowała się z międzynarodowym nurtem modernizmu, przejmując język wspólny dla abstrakcji postkubistycznej i czerpiąc z surrealizmu i ekspresjonizmu. ✊ W okresie powojennym radykalnie domagała się wolności artystycznej. Łącząc charakterystyczną dla surrealizmu koncentrację na cielesności i autoekspresji z dążeniem do formalnej autonomii sztuki abstrakcyjnej, Jarema od 1949 roku rozpoczęła eksperymenty z techniką monotypii. To właśnie ta technika umożliwiała jej artykulację podmiotu jako całości, obejmując także to, co pozornie niemożliwe do pogodzenia – obszary pęknięć i rozdarć, naznaczone zarówno napięciami wewnętrznymi, jak i zewnętrznymi.
💔 Kuratorzy określają wypracowany przez nią idiom mianem „pękniętego modernizmu”. Twórczość artystki można czytać jako badanie różnych sytuacji, w jakich znajduje się ciało i podmiot: od doświadczenia jednostki, przez relacje między dwojgiem ludzi, rodzinę, aż po funkcjonowanie w szerszej wspólnocie. Wystawa jest zaaranżowana według tej narastającej skali – jednostka, para, rodzina, wielość, pokazując, jak w obrazach ciała ujawniają się napięcia społeczne oraz procesy rozpadu i pęknięcia podmiotu.
Kuratorzy: Éric de Chassey, Natalia Sielewicz
🖤 Nasi partnerzy:
Muzeum jest instytucją prowadzoną przez @miasto_warszawa i @kultura_gov_pl
Partner Strategiczny: @audipl
Mecenas Muzeum i Kolekcji: EY
Partner Muzeum: @przyjacielemsn i @purohotels
Partner Kina: @eonpolska
Partner Edukacji: @fundacja.efc
Partner Prawny: Kancelaria DZP
Partnerzy medialni: Polskie Radio, PAP, Zwierciadło, Vogue, Onet, Wyborcza.pl, Wysokie Obcasy, Pismo
📸 Maria Jarema, Penetracje I, 1957, tempera, monotypia na papierze przyklejonym na płótnie, Muzeum Sztuki, Łódź
zdjęcie Jaremy dzięki uprzejmości rodziny
#muzeumsztukinowoczesnejwwarszawie #muzeum #jarema
At the 61st International Art Exhibition - La Biennale di Venezia, Estonia will be represented by the painter Merike Estna with the exhibition titled ‘The House of Leaking Sky’, curated by Natalia Sielewicz.
@labiennale @merikeestna #estonianpavilion #labiennale61
Graphic design by Paula Buškevica and Louise Borinski @it5pa @louiseborinski
Opening day at the Estonian Pavilion on May 6 ✨
Thank you to everyone who joined us for the opening of The House of Leaking Sky at the 61st Venice Biennale.
In the pavilion, Merike Estna transforms the exhibition space into an open studio, painting on site throughout the Biennale while the work gradually develops in public view. Alongside the live painting, there is a large-scale floor painting made from more than 25,000 glazed ceramic tiles.
During the opening, speeches were given by artist Merike Estna, curator Natalia Sielewicz, commissioner Maria Arusoo, and Estonian Minister of Culture Heidy Purga.
Estonian Pavilion is open until 22 November, everyone is warmly welcome to visit!
Photos: Agne Raceviciute
Opening day at the Estonian Pavilion on May 6 ✨
Thank you to everyone who joined us for the opening of The House of Leaking Sky at the 61st Venice Biennale.
In the pavilion, Merike Estna transforms the exhibition space into an open studio, painting on site throughout the Biennale while the work gradually develops in public view. Alongside the live painting, there is a large-scale floor painting made from more than 25,000 glazed ceramic tiles.
During the opening, speeches were given by artist Merike Estna, curator Natalia Sielewicz, commissioner Maria Arusoo, and Estonian Minister of Culture Heidy Purga.
Estonian Pavilion is open until 22 November, everyone is warmly welcome to visit!
Photos: Agne Raceviciute
Opening day at the Estonian Pavilion on May 6 ✨
Thank you to everyone who joined us for the opening of The House of Leaking Sky at the 61st Venice Biennale.
In the pavilion, Merike Estna transforms the exhibition space into an open studio, painting on site throughout the Biennale while the work gradually develops in public view. Alongside the live painting, there is a large-scale floor painting made from more than 25,000 glazed ceramic tiles.
During the opening, speeches were given by artist Merike Estna, curator Natalia Sielewicz, commissioner Maria Arusoo, and Estonian Minister of Culture Heidy Purga.
Estonian Pavilion is open until 22 November, everyone is warmly welcome to visit!
Photos: Agne Raceviciute
Opening day at the Estonian Pavilion on May 6 ✨
Thank you to everyone who joined us for the opening of The House of Leaking Sky at the 61st Venice Biennale.
In the pavilion, Merike Estna transforms the exhibition space into an open studio, painting on site throughout the Biennale while the work gradually develops in public view. Alongside the live painting, there is a large-scale floor painting made from more than 25,000 glazed ceramic tiles.
During the opening, speeches were given by artist Merike Estna, curator Natalia Sielewicz, commissioner Maria Arusoo, and Estonian Minister of Culture Heidy Purga.
Estonian Pavilion is open until 22 November, everyone is warmly welcome to visit!
Photos: Agne Raceviciute
Opening day at the Estonian Pavilion on May 6 ✨
Thank you to everyone who joined us for the opening of The House of Leaking Sky at the 61st Venice Biennale.
In the pavilion, Merike Estna transforms the exhibition space into an open studio, painting on site throughout the Biennale while the work gradually develops in public view. Alongside the live painting, there is a large-scale floor painting made from more than 25,000 glazed ceramic tiles.
During the opening, speeches were given by artist Merike Estna, curator Natalia Sielewicz, commissioner Maria Arusoo, and Estonian Minister of Culture Heidy Purga.
Estonian Pavilion is open until 22 November, everyone is warmly welcome to visit!
Photos: Agne Raceviciute
Opening day at the Estonian Pavilion on May 6 ✨
Thank you to everyone who joined us for the opening of The House of Leaking Sky at the 61st Venice Biennale.
In the pavilion, Merike Estna transforms the exhibition space into an open studio, painting on site throughout the Biennale while the work gradually develops in public view. Alongside the live painting, there is a large-scale floor painting made from more than 25,000 glazed ceramic tiles.
During the opening, speeches were given by artist Merike Estna, curator Natalia Sielewicz, commissioner Maria Arusoo, and Estonian Minister of Culture Heidy Purga.
Estonian Pavilion is open until 22 November, everyone is warmly welcome to visit!
Photos: Agne Raceviciute
Opening day at the Estonian Pavilion on May 6 ✨
Thank you to everyone who joined us for the opening of The House of Leaking Sky at the 61st Venice Biennale.
In the pavilion, Merike Estna transforms the exhibition space into an open studio, painting on site throughout the Biennale while the work gradually develops in public view. Alongside the live painting, there is a large-scale floor painting made from more than 25,000 glazed ceramic tiles.
During the opening, speeches were given by artist Merike Estna, curator Natalia Sielewicz, commissioner Maria Arusoo, and Estonian Minister of Culture Heidy Purga.
Estonian Pavilion is open until 22 November, everyone is warmly welcome to visit!
Photos: Agne Raceviciute
Opening day at the Estonian Pavilion on May 6 ✨
Thank you to everyone who joined us for the opening of The House of Leaking Sky at the 61st Venice Biennale.
In the pavilion, Merike Estna transforms the exhibition space into an open studio, painting on site throughout the Biennale while the work gradually develops in public view. Alongside the live painting, there is a large-scale floor painting made from more than 25,000 glazed ceramic tiles.
During the opening, speeches were given by artist Merike Estna, curator Natalia Sielewicz, commissioner Maria Arusoo, and Estonian Minister of Culture Heidy Purga.
Estonian Pavilion is open until 22 November, everyone is warmly welcome to visit!
Photos: Agne Raceviciute
Sunny moments with La Familia of The House of Leaking Sky - artist @merikeestna & architect @diogopassarinhostudio
Please come to our opening of the @estonianpavilion_merikeestna today - Wednesday, May 6 at 3 pm. There will be drinks, food, free hugs and performance by @jaimelobatocardoso and @albertocerro
We are located on the grounds of a community centre, in a converted church just off Garibaldi and Giardini where a small pocket of Venetian life spills beyond the Biennale façade. In her work, Merike has always pushed the idea of painting as something that might extend beyond its formal boundaries—something that can remain unfinished, or require ongoing care rather than being turned into an object of consumption.
This is perhaps how we should imagine world-making today: as a labour of maintenance that moves toward open-endedness, a slow choreography of care and attention—something our world desperately needs right now.
@estonianpavilion_merikeestna
Merike Estna (@merikeestna) begins a monumental 22-canvas painting at the Estonian Pavilion, working on it daily throughout the entire duration of @labiennale.
Curated by Natalia Sielewicz (@siele_witch), the pavilion becomes an immersive open studio, bringing the often unseen labour of painting into full view.
Join us today, 6 May at 3pm for a live performance and drinks reception.
📍Calle San Domenico 1285
@estonianpavilion_merikeestna
@ccaestonia
#BiennaleArte2026 #EstonianPavilion
Co kryje się pod pojęciem „Pękniętego modernizmu” i o tym dlaczego warto sięgnąć po nasz najnowszy katalog, opowiada Natalia Sielewicz – współkuratorka wystawy i współredaktorka publikacji „Maria Jarema. Pęknięty modernizm” / „Maria Jarema. Cracked Modernism”
W środku znajdziecie eseje wybitnych badaczek i badaczy twórczości Jaremianki – Agnieszki Daukszy, Doroty Jareckiej, Luizy Nader, Joanny Kordjak, Małgorzaty Dziewulskiej, Barbary Ilkosz oraz redaktorów (Natalii Sielewicz i Érica de Chassey), które nie tylko analizują fenomen artystki, ale przede wszystkim rzucają nowe światło na jej walkę o autonomię sztuki w czasach opresji. To lektura, która pozwala zrozumieć, dlaczego Jarema pozostaje dziś tak boleśnie aktualna.
👉 Majówka w mieście? Wpadnij do Księgarni – katalog czeka na Ciebie.
👉 Swój egzemplarz możesz też zamówić online na stronie Muzeum.
#wydawnictwomsn #msnwarszawa #mariajarema #msklep #katalogdowystawy
The catalogue for Maria Jarema: Cracked Modernism is finally out—in both English and Polish. Co-edited by Éric de Chassey and Natalia Sielewicz, it offers a fresh perspective on the work of one of the most original figures in Polish modern art. Jarema’s uncompromising practice continues to inspire bold interpretations, and we are grateful to all the contributors and everyone involved in bringing this project to life.
Published to coincide with our exhibition at @msnwarszawa , the book is richly illustrated and includes contributions by Éric de Chassey, myself, @agnieszka_dauksza , Małgorzata Dziewulska, Barbara Ilkosz, Dorota Jarecka, @kordjakjoanna and Luiza Nader.
The album section follows an escalating scale—singles, doubles, family, and multitude—according to which we have arranged the exhibition, illustrating how social tensions, as well as processes of fragmentation and rupture of the subject, emerge in representations of the self in Maria Jarema’s work.
Edited by: @ericdechassey and myself
Designed by: @ludovic_balland @gosiastolinska
Managing editors: Łukasz Mojsak, @kasiaszotkowska @wydawnictwo_msn
The catalogue for Maria Jarema: Cracked Modernism is finally out—in both English and Polish. Co-edited by Éric de Chassey and Natalia Sielewicz, it offers a fresh perspective on the work of one of the most original figures in Polish modern art. Jarema’s uncompromising practice continues to inspire bold interpretations, and we are grateful to all the contributors and everyone involved in bringing this project to life.
Published to coincide with our exhibition at @msnwarszawa , the book is richly illustrated and includes contributions by Éric de Chassey, myself, @agnieszka_dauksza , Małgorzata Dziewulska, Barbara Ilkosz, Dorota Jarecka, @kordjakjoanna and Luiza Nader.
The album section follows an escalating scale—singles, doubles, family, and multitude—according to which we have arranged the exhibition, illustrating how social tensions, as well as processes of fragmentation and rupture of the subject, emerge in representations of the self in Maria Jarema’s work.
Edited by: @ericdechassey and myself
Designed by: @ludovic_balland @gosiastolinska
Managing editors: Łukasz Mojsak, @kasiaszotkowska @wydawnictwo_msn
The catalogue for Maria Jarema: Cracked Modernism is finally out—in both English and Polish. Co-edited by Éric de Chassey and Natalia Sielewicz, it offers a fresh perspective on the work of one of the most original figures in Polish modern art. Jarema’s uncompromising practice continues to inspire bold interpretations, and we are grateful to all the contributors and everyone involved in bringing this project to life.
Published to coincide with our exhibition at @msnwarszawa , the book is richly illustrated and includes contributions by Éric de Chassey, myself, @agnieszka_dauksza , Małgorzata Dziewulska, Barbara Ilkosz, Dorota Jarecka, @kordjakjoanna and Luiza Nader.
The album section follows an escalating scale—singles, doubles, family, and multitude—according to which we have arranged the exhibition, illustrating how social tensions, as well as processes of fragmentation and rupture of the subject, emerge in representations of the self in Maria Jarema’s work.
Edited by: @ericdechassey and myself
Designed by: @ludovic_balland @gosiastolinska
Managing editors: Łukasz Mojsak, @kasiaszotkowska @wydawnictwo_msn
The catalogue for Maria Jarema: Cracked Modernism is finally out—in both English and Polish. Co-edited by Éric de Chassey and Natalia Sielewicz, it offers a fresh perspective on the work of one of the most original figures in Polish modern art. Jarema’s uncompromising practice continues to inspire bold interpretations, and we are grateful to all the contributors and everyone involved in bringing this project to life.
Published to coincide with our exhibition at @msnwarszawa , the book is richly illustrated and includes contributions by Éric de Chassey, myself, @agnieszka_dauksza , Małgorzata Dziewulska, Barbara Ilkosz, Dorota Jarecka, @kordjakjoanna and Luiza Nader.
The album section follows an escalating scale—singles, doubles, family, and multitude—according to which we have arranged the exhibition, illustrating how social tensions, as well as processes of fragmentation and rupture of the subject, emerge in representations of the self in Maria Jarema’s work.
Edited by: @ericdechassey and myself
Designed by: @ludovic_balland @gosiastolinska
Managing editors: Łukasz Mojsak, @kasiaszotkowska @wydawnictwo_msn
The catalogue for Maria Jarema: Cracked Modernism is finally out—in both English and Polish. Co-edited by Éric de Chassey and Natalia Sielewicz, it offers a fresh perspective on the work of one of the most original figures in Polish modern art. Jarema’s uncompromising practice continues to inspire bold interpretations, and we are grateful to all the contributors and everyone involved in bringing this project to life.
Published to coincide with our exhibition at @msnwarszawa , the book is richly illustrated and includes contributions by Éric de Chassey, myself, @agnieszka_dauksza , Małgorzata Dziewulska, Barbara Ilkosz, Dorota Jarecka, @kordjakjoanna and Luiza Nader.
The album section follows an escalating scale—singles, doubles, family, and multitude—according to which we have arranged the exhibition, illustrating how social tensions, as well as processes of fragmentation and rupture of the subject, emerge in representations of the self in Maria Jarema’s work.
Edited by: @ericdechassey and myself
Designed by: @ludovic_balland @gosiastolinska
Managing editors: Łukasz Mojsak, @kasiaszotkowska @wydawnictwo_msn
✨Join us for the opening of the Estonian Pavilion at the 61st Venice Biennale.✨
The House of Leaking Sky by Merike Estna, curated by Natalia Sielewicz, opens on May 6.
The opening takes place from 15:00-17:00 at Calle San Domenico 1285, Venice.
A sound performance by the artist collective Tsch! (Jaime Lobato Cardoso & Alberto Cerro) will take place during the opening.
We look forward to seeing you in Venice! 🌊
✨Join us for the opening of the Estonian Pavilion at the 61st Venice Biennale.✨
The House of Leaking Sky by Merike Estna, curated by Natalia Sielewicz, opens on May 6.
The opening takes place from 15:00-17:00 at Calle San Domenico 1285, Venice.
A sound performance by the artist collective Tsch! (Jaime Lobato Cardoso & Alberto Cerro) will take place during the opening.
We look forward to seeing you in Venice! 🌊
✨Join us for the opening of the Estonian Pavilion at the 61st Venice Biennale.✨
The House of Leaking Sky by Merike Estna, curated by Natalia Sielewicz, opens on May 6.
The opening takes place from 15:00-17:00 at Calle San Domenico 1285, Venice.
A sound performance by the artist collective Tsch! (Jaime Lobato Cardoso & Alberto Cerro) will take place during the opening.
We look forward to seeing you in Venice! 🌊
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Lavinia Fontana, Noli me tangere, 1581. Oil on canvas
Let’s not forget that it was Mary Magdalene who saw Christ first after his resurrection, even though she initially mistook him for a gardener, while he forbade her to touch him. After hearing his instruction—“Noli me tangere” —she pulls back her hands. He recoils.
The inherited choreography of Noli me tangere is quite rigid. Modern charlatans of insta-therapy might as well study it for the definition of anxious/avoidant attachment.
Though a familiar motif,with far more elegant examples like Fra Angelico, and more unconventional - like Michelangelo where Christ touches MM’s left breast with his finger - I dig how Fontana handles her Noli me tangere: with an unapologetic eroticism, almost mischievously.
In most paintings MM reaches and yearns—while Christ withdraws, sanctity defined by distance. It is the sense of touch that commands not to touch, wrote J.L. Nancy ( l read his book about Fra Angelico during Covid and it made perfect sense back then, as it does now). It feels almost gratifying to see MM doing her balancing act on one knee as he offers her blessing and cranial therapy.
With Fontana - perhaps this is why it had to be a woman to execute such a painting—he does not recoil. Instead, his hand rises toward her halo, gaze is not transfigured, but curiously terrestrial. Something in him almost hesitates, within the human. You can dismiss the literalism of Fontana the way she shows the gardener with so many attributes - the smock, the straw hat, the shovel - but our girl loved costumes and I love her for that in return.She closes the distance. The scene becomes charged differently.Is he curing her migraine? In Provence, devotees venerated a cranial relic of Mary Magdalene, notable for a patch of flesh said to cling to the forehead of an otherwise bare skull - a legend circulated to explain this anomaly, linking it to a touch upon her head.In 1938 Simone Weil spent Easter weekend at a Benedictine monastery.
She suffered headaches but indulged in Georgian chanting, Sun and plants: „We do not live by anything else but solar energy, perhaps the only thing opposed to gravity”
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
Installation views from Maria Jarema. Cracked Modernism, curated by Éric de Chassey and Natalia Sielewicz at the Museum of Modern Art in Warsaw @msnwarszawa
The exhibition opened on March 20 and has already welcomed 15,000 visitors — thank you!
With works by:
Maria Jarema
and
Jean-Michel Atlan, Jean Deyrolle, Maurice Estève, Gillo Dorfles, Hans Hartung, Jean Hélion, Berta Grünberg, Józef Jarema, Tadeusz Kantor, Alfred Manessier, André Masson, Henri Matisse, Erna Rosenstein, Jonasz Stern, Pierre Tal-Coat, Sophie Taeuber-Arp & Jean Arp, Jean Tinguely, Victor Vasarely, Zygmunt Waliszewski, Eugeniusz Waniek, Henryk Wiciński
Mural inspired by Cricot Theatre and Artist Café: Paulina Włostowska
Architecture design: Centrala @centrala_architects @simone_de_iacobis Gosia Kuciewicz
Production: Olga Pawlak @czlowiek.olga
The curators are deeply grateful to the artist’s family members for their commitment and assistance in making this exhibition happen.
MSN wishes to extend special thanks to Fondation Gandur pour l’Art.
Photos: Robert Głowacki
@ericdechassey
@siele_witch
View Instagram Stories in Secret
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