Rebâtir, Exposition, Maison de la Fontaine, Brest

Vernissage, Rebâtir, Maison de la Fontaine, Brest

You’re invited to opening of my next show, Rebâtir (Rebuild), on Thursday March 9th at 6:30 pm at the Maison de la Fontaine in Brest, France. The site specific installation features sculptures and rooms that I designed together with project participants including EESAB students Ophélie Fruchart, Océane Hamet, Clarisse Marguerite, Fiona Segadaes Da Silva, Matéo Guérillon, Julie Le Roux, Guillaume Martin, Sylvain Pinotie, Gwen Lebette and partners including local non-profits such at the Recyclerie Un Peu d’R and La Pince. For more information, click on the project’s facebook page!

Venez nombreux au vernissage de l’exposition Rebâtir de Kasia Ozga avec Ophélie Fruchart, Océane Hamet, Clarisse Marguerite, Fiona Segadaes Da Silva, Matéo Guérillon, Julie Le Roux, Guillaume Martin, Sylvain Pinotie, Gwen Lebette ainsi que d’autres étudiants de 2e année de l’Ecole européenne supérieure d’art de Bretagne – site de Brest!

Le vernissage aura lieu le jeudi 9 mars 2017 à 18 heures 30 et l’exposition sera ouverte du 09 au 31 mars 2017 de 14 h 30 à 17 h 30 – du mardi au samedi. Fermé les dimanches, lundis et jours fériés.

Rebâtir consiste en une série de sculptures, installations et aménagements conçus pour les espaces intérieurs d’une maison à partir de meubles usagés. Spécifique au cadre de la Maison Fontaine, le projet invite mes co-créateurs et les visiteurs à imaginer une maison détournée de sa fonction primaire, celle d’offrir un abri. Au lieu de raconter l’histoire de ses véritables occupants antérieurs ou de proposer un cadre neutre d’exposition type « white cube », la maison pendant le projet sera un espace de partage et d’expérimentation où l’on s’interrogera sur le passé et le présent à travers ce qu’on expose et ce qu’on crée sur place.

Pour plus d’informations, cliquez sur l’évènement facebook!

Vernissage, Représences, médiathèque L’Oiseau-Lyre, Marpent

Dans le cadre du Contrat Local d’Education Artistique de la Communauté d’Agglomération Maubeuge-Val de Sambre,
est présenté le temps de diffusion de la plasticienne Kasia Ozga.
Vous êtes invités au vernissage de son exposition Représences :
le samedi 21 mai 2016 à 11h00,
à la médiathèque L’Oiseau-Lyre,
rue de la Mairie à Marpent.
Elle sera visible jusque 19h00 ce jour-là, dans le cadre de la Nuit des musées.

L’exposition Représences montre les toutes dernières réalisations de l’artiste Kasia Ozga, créées entre 2012 et 2016 et montrées pour la première fois au grand public. Ses sculptures, réalisées à partir du bois de récupération et de béton, représentent la présence des corps humains dans des environnements urbains. Volontairement antihéroïques, ces corps visent à tenir debout dix jours durant, et jusqu’au 30 mai 2016.

For more information, please contact the Service Culture:
Pôle « Solidarités et services à la population »
Communauté d’Agglomération Maubeuge-Val de Sambre
+33 (0) 3 27 53 01 00
email : service.culture@amvs.fr
www.agglo-maubeugevaldesambre.fr

Represences_Logos

“We Can’t Breathe” @ LaGaleru jusqu’au 23 avril 2015

The Installation, “We can’t breathe” is on display at La Galeru and La Galeru des Chemins in Fontenay-sous-Bois, France, through April 23rd. A guided tour of the works will take place on Saturday, March 28th.

« I can’t breathe » (« J’étouffe ») sont les derniers mots d’Eric Garner, noir américain de 43 ans, dont la mort le 17 juillet 2014 a été filmée par un témoin et est passée en boucle à la télévision et internet. Ils sont devenus le cri de ralliement des manifestants contre l’impunité des violences policières lors de nombreuses manifestations pour les droits civiques qui ont eu lieu aux États-Unis et à l’étranger depuis la décision de ne pas inculper le policier blanc impliqué dans sa mort. La respiration est une métaphore puissante pour la vie entière : le poumon est un organe permettant d’échanger des gaz vitaux, l’oxygène, qui est nécessaire au métabolisme de l’organisme, et le dioxyde de carbone, qui doit être évacué. Arrêter la vie c’est arrêter cette capacité d’échanger avec l’environnement autour de nous. Ainsi quand des manifestants crient « we can’t breathe », ils insistent sur l’idée que l’inégalité empêche la société entière de respirer et que c’est à nous de changer la politique dominante qui fait passer la sécurité avant les droits de l’homme.

Le projet de Kasia Ozga s’inspire des œuvres gonflables d’artistes comme Annette Messager, Nils Völker, ou Joseph Morris et des réflexions d’Erwin Wurm sur la nature de l’œuvre d’art et son rapport à la maison. L’artiste se demande qui a le droit à posséder l’art et qui décide qui en a besoin. LaGaleru, en tant que vitrine qui vise à questionner, proposer ou provoquer les passants, les invite aussi à se demander à qui sert cette ancienne échoppe de cordonnier. Mon intervention positionne le bâtiment même comme un corps au milieu de la ville et met en avant le rapport entre ce corps et la vie de l’association.

Merci à Benjamin Lévy et ICI Montreuil pour l’assistance technique.

We Can't Breathe from Kasia Ozga on Vimeo.

Ordinary Projects presents BOYS WILL BE BOYS, works by Kasia Ozga (ACRE 2013)

Ordinary Projects presents BOYS WILL BE BOYS, new works by Kasia Ozga (ACRE 2013)

Opening Reception:
Friday, January 9, 2015
6PM-9PM
Gallery hours TBA
January 9 – February 6, 2015
Ordinary Projects
Mana Contemporary Chicago
2233 South Throop, 5th Floor
Chicago, IL 60608

Kasia Ozga (ACRE 2013) presents BOYS WILL BE BOYS, an exhibition juxtaposing celebratory conspicuous consumption and the reality of recent racially motivated street violence across the United States. A sculpture built on-site from fifteen Christmas trees transforms the iconic symbol into a shape that overwhelms viewers, challenging the magic of the holidays, championed by consumer culture.

Kasia Ozga is a Polish American sculptor and installation artist based between Chicago, IL and Paris, France. She creates public artworks and sculptural installations in a variety of materials for both interior and exterior spaces. Her works depict change in the body’s relationship to physical and social spaces, either directly, through the use of organic materials intentionally affected by weather conditions over time, or indirectly, via visual metaphors for the experience of time. Ozga is a former Kosciuszko Foundation Fellowship recipient, Harriet Hale Woolley Grant recipient from the Fondation des Etats-Unis and Young Professional Artist Travel Grant recipient from the Polish Ministry of Culture grantee. Her work has been exhibited in over 10 countries. She has created site-specific installations in materials ranging from bread to wicker, and from resin to bronze and holds a Ph.D. from the University of Paris 8, an M.F.A. from the Jan Matejko Academy of Fine Arts in Krakow, and a B.F.A. from the SMFA, Boston.

Ordinary Projects is an exhibition space and curatorial project that leverages the success of Industry of the Ordinary to create a highly visible platform for performance, installation and other non-traditional media works.

ACRE (Artists’ Cooperative Residency and Exhibitions) is a volunteer-run non-profit based in Chicago devoted to employing various systems of support for emerging artists and to creating a generative community of cultural producers. ACRE investigates and institutes models designed to help artists develop, present, and discuss their practices by providing forums for idea exchange, interdisciplinary collaboration, and experimental projects.

Group Show “Le Travail en corps, encore”

Le travail. Qu’il soit manuel, intellectuel ou activement recherché, le travail revêt aujourd’hui des réalités différentes. Lorsque l’on évoque le geste au travail, on peut parler d’habitudes, des gestes que l’on apprend, des gestes que l’on connaît, des gestes que l’on répète, des gestes que l’on banalise. Des gestes et des corps que l’on oublie ou que l’on ignore.
Cette exposition aborde le travail par le biais du corps en évoquant les différentes réalités qui modèlent le corps au travail dans la société actuelle : de l’esthétisation à l’aliénation.

L’exposition fait écho à la programmation du TANDEM Douai-Arras. Au théâtre, le corps est largement sollicité, que ce soit le corps des acteurs, des circassiens, des musiciens, mais aussi celui des techniciens, etc. Certains spectacles des saisons 2013 à 2015 parmi lesquels la pièce Contractions mise en scène par Mélanie Leray, abordent la thématique du travail. La pièce Moi, Corinne Dadat, programmée durant l’exposition interroge elle aussi cette thématique au prisme du corps.

Grâce à des oeuvres d’art contemporain (photographies, sculpture, installations audio-visuelles, dessins et performance) et des témoignages recueillis auprès de professionnels du travail et de l’univers du spectacle, l’exposition met en lumière les effets du travail sur le corps rappelant à quel point celui-ci est en permanence sollicité.

Par cette approche, l’exposition invite le visiteur à questionner son expérience personnelle, voire à s’impliquer grâce à un espace participatif.
Des visites guidées adaptées aux différents publics, notamment aux élèves du second degré et aux étudiants permettent de s’interroger et de débattre sur le rapport du corps au travail.

Avec les oeuvres de :
ACCETTONE Jean-Louis, BEAUREGARD Christophe, CENCIG Claire, FRESIL Manuela, LAMOUROUX Florent, LEBRUN Estelle, MARQUES Fabien, OZGA Kasia, POUSSIER Marion, ROLLAND J.-M., STAELENS Anaïs, WOOD Madeline et 5 jeunes artistes de l’ESAT : Dsainbayonne Wilfried, Dufrene Sullivan, Garrigue Romain, Perry Sophie et Sudre Léo.

AFFICHE_Le travail en corps encore

Engaged @ Lift Gallery

LIFT Gallery at Greensboro College is exhibiting video documentation of social practice art projects for its show ENGAGED. The theme of the show is open and artworks include community organizing, activism, environmentalism, intervention or performance, but must blur the line between artist and audience. The ten videos selected for the show will be exhibited at LIFT from November 7 to December 3, 2014. Featured artists include: William Paul Thomas, Ellen Mueller, Sheryl Oring, Matt Garcia, Kasia Ozga, Larry Caveney, Angela Wilcocks, Aaron Nemec, Patrick Lichty, and Maeve Jackson.

Interview with Alizah Salario

Kasia Ozga is a Polish-American sculptor with degrees from Tufts & the School of the Museum of Fine Arts, the Academy of Fine Arts in Cracow, Poland, and the University of Paris. She returned to Chicago from France for her first solo show on her home turf in the Mission Gallery’s Sub-Mission Project Space. The work was informed by her experiences living abroad, but it’s a microcosm of a lot of the issues that Chicago is dealing with on large and small scales including immigration, pollution, sustainable living, and shrinking natural resources,.

Ozga and I discussed the motivation behind her work, art’s role in affecting social change, and what the Paris-based artist misses most about Chicago.


1) You use a lot of found objects in this show. Is that intentional?

I’ve used found objects on and off throughout the years and it really depends on the specific intent behind each piece. Internal Frontier, the series of chest x-ray cut-outs shown in military light boxes, depicts images of international borders throughout the world. The actual x-rays were donated by immigrants who live in France, and who were required to obtain the x-rays in order to submit their Carte de Séjour (residency permit) applications. If I had used another material for the cut-outs, or even if the x-rays came from medical sources unconnected to immigration, the work wouldn’t convey the same meaning.

2) What was the motivation behind projecting such a large-scale fingerprint? How did you go about finding a source?

I’ve made art installations using my own fingerprint before, as a reaction to government surveillance. I’m interested in how biometric data is now used to monitor people and to prevent them from accessing public spaces. The fingerprint wall drawings made from duct-tape and packaging tape claim otherwise “neutral” exhibition spaces and extend out into the floors and ceilings of the rooms in which they’re shown. The Chicago version of the piece involved a collaboration with Andrea R., a local undocumented college graduate, who was involved in the Dreamer movement. Rather than continuing to use my own fingerprint, I wanted to tie it to a pressing political concern that affects everyone in our society, whether we are citizens or not.

3) You have a series of modified maps. How did you choose the specific locations?

I wanted to link the most abundant metal on earth, Aluminum, to the history of its’ production and distribution. While I was on a residency at ACRE (Artists’ Cooperative Residency and Exhibitions) last year, I researched different conflict zones related to aluminum production. I decided to focus on Ajka, Veszprém County, Hungary (where an industrial accident caused a toxic sludge spill of alkaline mud), the Saint Lawrence River in Massena, NY (where Superfund site exists in the place of a former Alcoa smelting operation), and the Simandou Mountain Range, Guinea (where Bauxite mining concessions were sold to BSGR through corruption involving one of the ex-dictator’s wives ). I created wax relief maps of these sites that incorporated geographic features cast from rubber molds of crushed aluminum cans. The maps were then cast in Aluminum in a local Chicago foundry.

4) In what ways do you feel your art creates space or opens discussions about the issues it addresses? Did you find those dialogues happened at the opening?

I create work that asks questions that are answered with questions. My goal is to stimulate dialogue and action, but not to provide a ready response to social and environmental issues. As far as the opening goes, I got a great turnout, especially from the Polish community in Chicago and it has been great to get reactions from people who have gone to see the show since!

5) Who were your biggest artistic influences for your pieces? Where do you draw inspiration?

I’m influenced by many artists who use specific materials to look at human presence within a larger social and environmental context. I’m inspired by artists such as Ann Hamilton, Dario Robleto, Juan Muñoz, Michel Blazy, Subodh Gupta, Cildo Mireiles, Marc Quinn, Monika Sosnowska and Agnes Denes, to name a few.

6) What do you think about having your work in a gallery as opposed to a public viewing?

I think that gallery shows and public spaces are suited for different kinds of artwork. I also believe that an artwork isn’t an object; it’s an experience that happens between the physical piece, the viewer, and the site, so changing the site will change how the artwork is perceived and reflected on.

7) You’re an international artist, with roots in Chicago, Paris and Warsaw. How do you see your multicultural background as shaping your work?

I wanted to show pieces that dealt with these issues for my first show in Chicago, which after having grown up in the Chicagoland area, I still consider my hometown. I was very fortunate to be able to immigrate to the US at a time when I could easily get citizenship. Today, a young person in the same situation wouldn’t have the same opportunities, especially if they came here from the Middle East or the Global South. My own background has enabled me to travel freely and has made me especially aware that this ability to “pass” in different cultural contexts is a privilege. While I grew up in the Midwest, I moved abroad after graduating from college and have spent many years in Poland and France. As my environment changed, physically and culturally, I remained committed to making art that explored the relationship between that environment and the bodies within it. All of my work remains grounded in some aspect of the body, which I see as the first medium through which we experience and affect the world around us, wherever we may be.

8) What do you miss most about living in Chicago?

I love the strong sense of community and collaboration among artists in town; the support networks and the apartment galleries, the music scene, deep dish and Mexican food, and summer movies and concerts in the parks! I miss the friendly and casual vibe to the city, the can-do attitude of my friends and family here, and the ease with which people share resources and information to support social change!

9) What are you working on now? Anything we can look out for soon?

I’m currently finishing up a residency at the Kimmel Harding Nelson Center in Nebraska City, where I’ve been working on a site-specific sculpture and art/industry collaboration with a local manufacturer. This Fall, I will also have another show of my work with a performance component at Rooms Gallery in Pilsen!

For now, I’m looking forward to the continuing the discussion about my exhibition during my artist’s talk at Mission Gallery on Thursday, June 12th.

LAND GRAB at THE MISSION CHICAGO, 1431 W. Chicago Ave. May 2 – Jun 14, 2014

Alizah Salario‘s reporting, essays and criticism have appeared in The New York Times, The Washington Post, Racked, Slate, The Los Angeles Review of Books, and elsewhere. She’s currently the education & careers editor at Metro U.S. A graduate of the Columbia School of Journalism and Pitzer College, Alizah lives in Brooklyn.

La Nuit de l’Instant

Come check out some of my artwork at the Nuit de l’Instant!

19 avril 2014 / Midi – Minuit / Le Panier – Marseille

_La Nuit de l’Instant propose de porter un autre regard sur les
pratiques de la Photographie aujourd’hui.__ Vidéos, diaporamas,
installations, performances, films… vont questionner l’image fixe à
travers une déambulation joyeuse dans les rues du plus vieux quartier de
Marseille._

_QUINZE LIEUX, tous différents, et VINGT-NEUF ARTISTES vous donnent
rendez-vous pour découvrir autrement le Panier, et pour rencontrer des
œuvres expérimentales, originales et novatrices, où les artistes
d’aujourd’hui réinventent constamment les manières de produire des
images. Quels que soient les moyens utilisés : le dessin animé, la
sculpture, la projection, le photofilm… ils redonnent à l’image fixe son
caractère magique, unique, sa valeur d’instantané qui façonne notre
mémoire et nos imaginaires. L’occasion de découvrir des animaux
assoupis, une baignoire photographique, Bernadette Soubirous revisitée,
Marseille animée en Noir et Blanc, des négatoscopes, ou encore le 100
mètres des jeux olympiques…_

PROGRAMME DÉTAILLÉ : www.lanuitdelinstant.tumblr.com