Stach Szablowski
A History of Subjection and Its Possible Termination Warsaw 2019
The way in which Katarzyna Swinarska constructs her project entitled Innocent Colonies recalls throwing a pebble into a body of standing water. The artist hits a point from which circles spread out […]
Magdalena Ujma
Self-aware memory Krakow 2019
Innocent Colonies is a tricky title. It sounds like it was taken from a movie or a novel. It is full of poetry and carries the promise of something pleasant. It arouses memories of childhood, when time passed slowly, the world was colorful and safe, and life was […]
Agata Araszkiewicz
Being and Becoming a Woman... Brussels 2017
[…] In this art “there is no” woman. She is absent in that the artist subverts all possible information concerning the potential “being” of a woman. “Being a woman” means nothing for Swinarska. Her efforts are focused on questioning, undermining, and analyzing the diverse ways in which “a woman” appears as one. […]
Agata Jakubowska
The Art of Women According to Katarzyna Swinarska Warsaw 2016
[…] In the most recent images, Swinarska indicated her presence somewhat indirectly through the traces left by her body. “The gesture of painting,” she writes, “comes from the movement of the arms, but its origin lies in the potential movements of the whole body which I experience in physical labor, in running, dancing […]