Portfolio Magda Wegrzyn 2023

MAGDA WEGRZYN
www.magdawegrzyn.pl
ARTISTIC RESEARCH /
CREATIVE DEVELPOMENT /
ART TEACHING /
22/10/23
Magda Wegrzyn, Joanna Małecka
Noise of Common Ground,
200 cm x 200 cm,
acrylic on canvas,
2023
as a part of the exhibiton:
UpROOiTng
Arka Gallery
Wilnus, Lithuania,
Curator: Egle Ganda Bogdaniene
2023
Because it is not true that all wounds are healed by tme.
CoCa Toruń, Poland
22/10/23
Because it is not true that all wounds are healed by tme.
CoCa Toruń, Poland
22/10/23
22/10/23
GOALS OF NAR
● Improve the aesthetc of the place. Revival of the locaton.

Constructon Project of Reconstructon (Expansion) and
Transformaton of the Household Building for service and
residental objectves along with infrastructure and landscape
Management. Create an artstc residency that helps
disadvantages (underprivileged youth, elderly, unemployed,
migrants etc.) to enhance their current skills and beneft from
encountering the artsts and their art.
● Cooperaton with artsts - connecton of everyday life and

contemporary art; develop new approaches in operatons of
cultural work and new alliances across sectors to deal with the
current challenges of everyday life.
● Building a network of interregional cooperaton, increasing

skills of linking cultural events with the social background, and
generatng inclusive events. Expand the noton of Europe as an
open and shared public space for everybody.
● Substantve planning of lectures and workshops, sharing

experiences, knowledge, skills, stories, ideas and resources of
solidarity across Europe, especially outside mainstream public
atenton.
A PROJECT where I want to
turn an old barn of my parents
in my home village into an
artstc residency.
z
2016 - 2021 (ongoing)
The plan to create an artistic residency in my home village is
a tribute to my mother who as a working class parent
decided to work abroad to raise two children from
a distance.
MAGDA_WEGRZYN_HOME
Silence in Kuwait I Silence in Kuwait II
Digital Photography Digital Photography
2020 2020
For about four years I was living and teaching in Kuwait – a desert country in the
Middle East. Through out this years I was facing many diferent types of censorship
that have been infict both on expats and Kuwaits. The work Silence in Kuwait is
a series of digital photographs dealing with diferent forms of oppression and lack
of freedom of expression.
Drawing Classes
Digital Photography
2017 - 2018
Drawing Classes is a series of digital photographs

dealing with censorship in Kuwait. Many topics related to body,
sex, or even evoluton are not allowed to discuss while
teaching on Kuwait Universites.
22/10/23
One Million to One
Bortkyrka Konsthall
Stockholm, Sweden,
Curator: Aleksandra Wasilkowska
2015
Right, Zohre Alici in her bathroom, photo Simon Berg. Above, view from Zhohre's bathroom, photo MW
Magda Wegrzyn,
Hidden From the Gaze,
130 cm x 97 cm,
acrylic on canvas,
2015
as a part of the exhibiton:
One Million to One

Bortkyrka Konsthall
Stockholm, Sweden,
Curator: Aleksandra Wasilkowska
2015
Hidden From the Gaze,
re-painted,
100 cm x 80 cm,
acrylic on canvas,
2015
As a part of the exhibiton:
Shadow Architecture, Chalets and Bazaars

MOMA
Warsaw, Poland 2014
OBSERWATORIUM MIEJSKIE – GRANICE
Gallery Milość Torun, Poland
2015
“Granice is a project initated by the Smacznego Foundaton! in

cooperaton with Galeria Miłość and Fundacja Wybudowania. Its main
topic is the outskirts of Toruń. The districts furthest from the city center
are usually devoid of cultural events, and there are no cultural
insttutons.(...)
For almost half a year, together with seven artsts, we have been
observing the space of Toruń defned through the prism of the concept of
the border. It was not only about looking at the peripheral districts of the
city, but rather about refectng on the cultural potental of these places.
Looking outside the centre, where all socio-cultural actvites usually
concentrate, we tried to think why, under certain historical and cultural
conditons, individual districts were shaped the way they were, what
place they occupy in the urban organism and in which directon the city is
expanding.”
htps://magazynszum.pl/obserwatorium-miejskie-granice-w-galerii-
milosc/
No ttle,
Installaton,
Bucket, ash in a form of bulbs
variable dimensions
2015
Bulbs have been made out of ash from the burnt garbage from Torun,
Bydgoszcz and surroundings towns. Locaton: The Municipal Waste
Incineraton Plant.
OBSERWATORIUM MIEJSKIE – GRANICE
Gallery Milość Torun, Poland
2015
No ttle (borders), 120 x 100 cm, acrylic on

canvas, 2015
Research at the BigCi Bilpin,
for the exhibiton Error Strategy
in Blue Mountains Cultural Center,
Katoomba, Australia,
2016
ERROR STRATEGY
Exhibiton View
Blue Mountains Cultural
Center Katoomba, Australia
2016
ERROR STRATEGY
Exhibiton View
Blue Mountains Cultural Center
Katoomba, Australia
2016
Two faces - Two mountains, exhibiton view, mural, acrylic on a wall, dimension variable,
2016
The changes of the colour are three large scale paintngs that focus on
a percepton of colour. The artworks were inspired by the discussion with an
Australian artsts and artstc director of the BigCi Art Residency in Bilipn, Rea
Bolotn. According to Rea Bolotn, colonial painters who came to Australia in the
early XIX century were creatng their paintngs using colours that they knew
from their home countries. Following her thought, I created artworks containing
the same shapes of a landscape but where old colours are gradually replaced by
the new once.
The main idea was to show that seeing is not objectve but interpreted and
conceptualized.
The changes of the colour, paintng, acrylic on canvas, 3 x 160 cm x 300 cm, 2016
The changes of the colour, paintng, acrylic on canvas, 3 x 160 cm x 300 cm,
2016
Lotery, sculpture, print on paper, plexiglas box on plinth, dimension variable,
2016
Lotery is a project that focuses on the act of
crossing of the Blue Mountains by three explorers:
Blaxland, Wentworth and Lawson in 1813. The work
is a collecton of quotes from diferent books of
a diferent authors who had been writng about this
partcular event. Although the crossing itself its
a well known fact in Australia, the meaning of it and
the details regading the trip, varies depending on the
perspectve of the author, or a person who is writng
about it.
Through the Lotery I am underlining the ambiguity

of the ''facts'' in the history and I point on a multple
perspectves in a single storie.
Two graphs, painting, acrylic on canvas, 2016
Two graphs is a paintng based on an visual
qualites of a graph created in Excel that uses
informaton from the Australian Bureau of
Statstcs that shows the populaton of
Indigenous and Non – indigenous people
between 1788 - 1861 in New South Wales,
Australia.
The year 1861 is the point in the Australian

history when Indigenous and Non -
Indigenous populaton stopped to be counted
separately. The work refers to the changes in
populaton that took place during this period
of tme.
Eucalyptus tree, animation, duration variable, 2016, concept: Magda Wegrzyn, animation: Jakub Szczesniak
Eucalyptus tree is a 3d animaton
where the main “character” is an
eucalyptus tree – an important
''fgure'' in the Australian landscape.
The animaton is constructed in a form
of a tme lapse, where the long life of
a tree is contrasted with the changes in
the Australian landscape staring from
1813 tll 2016. The animaton
juxtaposes the life of the tree with the
life around it.
Topographical map, 2016, drawing on the foor, dimensions variable
Topographical map is a drawing on the foor inspired
by a western concept of a map, understood as a tool
of navigatng of a terrain. Through the large scale
drawing in the gallery I am interested in returning to
the ways of feeling/understanding of a landscape.
I am using features of a contour lines, as the one
that simulate the noton of the landscape. The
arrangement of a contour line in a map indicates the
stoop of a terrain.
Figure 4, 2016, paintng, acrylic on cavas, dimension variable
”The work ”Figure 4” atempts to think about ways of depictng and refectng about
changes in languages in Australian society afer colonisaton. ”Figure 4” is described in
a paper of Nicholas Biddle, ”Indigenous Language Usage”, Indigenous Populaton Project,
2011 where he writes that: ”There were between 200 and 300 Indigenous languages
spoken in Australia at the tme of European colonisaton. These fgures rise to between
500 and 600 when one makes less distncton between a language and a dialect. However,
according to McConvell and Thieberger (2001), less than half of these languages are stll
spoken, with many more currently endangered. Specifcally, according to the most recent
Natonal Indigenous Languages Survey (Department of Communicatons, Informaton
Technology and the Arts 2005), of the 145 Indigenous languages stll spoken in Australia,
110 are severely or critcally endangered. Despite this decline in the number of languages
spoken since colonizaton, data from the most recent (2011) Census shows that there
were 60,550 speakers of Indigenous languages across Australia. Most of these, however,
were concentrated in four jurisdictons—the Northern Territory, Queensland, Western
Australia, and South Australia ” p.2
Moreover, he adds that: ”Indigenous language usage is highly correlated with the
percentage of the overall populaton in the area who are Indigenous. This is demonstrated
in Figure 4, which plots the Indigenous share of the populaton of each IARE on the x-axis
and the percentage of that populaton who speak an Indigenous language at home on the
y-axis. The results presented in this fgure demonstrate a clear relatonship between
Indigenous language usage in an area and the percentage of the populaton in that area
that identfy as being Indigenous” p.8
Nicholas Biddle, ”Indigenous Language Usage”, Indigenous Populaton Project, 2011

Census Papers, Paper 1, Centre for Aboriginal Economic Policy Research, Research School
of Social Sciences ANU College of Arts and Social Sciences, 2011.
IMAGE – NOISE – PHENOMENON OF VISUAL AMBIQUITY
The Math & Informatcs Gallery in Torun, Poland
30 September 2016
Practce – based work of Doctoral Thesis.

Theoretcal text upon request.
30 September 2016

30 September 2016

TRAP FOCUS
Vaapan Taiteen
Tila Helsinki,
Finland
2015
Theoretcal text upon

request.
No Title, Installaton, 2015 acrylic on canvas and paper, tape
No title, 100 x 100 cm, lightbox, foil, chain, 2015
No ttle, 130 x 150 cm, acrylic on canvas,
2015
No ttle, variable dimensions, paper, ladder,
2015
No ttle, 2 x 150 cm x 130 cm, acrylic on canvas, 2015
No ttle, installaton, projecton, 2015
No ttle, 150 cm x 130 cm, acrylic on canvas, 2015
No ttle, (cup), projecton, 2015
INVESTIGATIVE PAINTING
Chimera Project Budapest,
Hungary
2015
“The phrase „investgatve” refers to quote by the britsh

media theorist Hugo de Burgh, who states that “an
investgatve journalist is a man or woman whose
profession it is to discover the truth and to identfy
lapses from it in whatever media may be available.”
Conceptual politcal artworks by artsts like Hans Haacke
(e.g. Shapolsky et al Manhatan Real Estate Holdings, A
Real-Time Social System as of May 1, 1971) prove that
the very same investgatve approach reached artstc
practce a long tme ago. (…) We believe that even
today, in the well researched feld of abstract paintng
with it’s rich past, it is stll possible for artsts to discover
lapses - some of the missing parts that may to through a
new light on a certain aspect, so far never paid atenton
to. (…) “
Chimera Project
No ttle, 100 cm x 100 cm, acrylic on canvas, 2015

INVESTIGATIVE PAINTING
Chimera Project
Budapest
Hungary
2015
“But to be able to identfy and uncover lapses, an investgatve approach is of great importance. For journalists and artsts alike, a deep research is
the essental part of the working process. All of the invited artsts share a research-based artstc process and deal with the diverse aspects
abstract paintng can contain these days - but their methods and aims are diferent: while Johanna Binder examines the basic elements of paintng
(paint, canvas and frame), then takes them apart and deconstructs them, Magda Wegrzyn’s research is based on a mathematcal theory of
communicaton and addresses questons of percepton and communicaton in tune with aesthetcs, digital technologies and the medium of
paintng. Gabor Erdelyi’s minimalistc canvases are experimentng with the traditon of monochrome.”
Chimera Project
Wrong Signal, 100 cm x 900 cm, installaton, acrylic on canvas,
2015
THANK YOU

Portfolio Magda Wegrzyn 2023

Uploaded by

Copyright:

Available Formats

Portfolio Magda Wegrzyn 2023

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Portfolio Magda Wegrzyn 2023

Uploaded by

Copyright:

Available Formats

MAGDA WEGRZYN

● Improve the aesthetc of the place. Revival of the locaton.

● Cooperaton with artsts - connecton of everyday life and

● Building a network of interregional cooperaton, increasing

● Substantve planning of lectures and workshops, sharing

Drawing Classes is a series of digital photographs

One Million to One

Shadow Architecture, Chalets and Bazaars

“Granice is a project initated by the Smacznego Foundaton! in

No ttle (borders), 120 x 100 cm, acrylic on

Through the Lotery I am underlining the ambiguity

The year 1861 is the point in the Australian

Nicholas Biddle, ”Indigenous Language Usage”, Indigenous Populaton Project, 2011

Practce – based work of Doctoral Thesis.

Practce – based work of Doctoral Thesis.

Practce – based work of Doctoral Thesis.

Theoretcal text upon

“The phrase „investgatve” refers to quote by the britsh

No ttle, 100 cm x 100 cm, acrylic on canvas, 2015

You might also like