Sopot, PL: 14.02.2019

ON love to_ one night exhibition

simultaneous show: performance and video projection

♡
ON Love to_ focused on love in the month of February. A leitmotif, a feeling, an abstract word that suits us all, a fatal drive.
During the 14.02.2019 exhibition we explored the notion of love in different dimensions with three artists: Zofia Krawiec [PL], Anna Steller [PL] and Nadezhda Titova [RU].

♡

Anna Steller – dancer and performer. Since many years, she has been creating her own performance and dance performances. She collaborates with the theater Dada von Bzdulow, Leon Dziemaszkiewicz, Magda Jędra with whom she creates the Good Girl Killer collective. Presented her performances on the most important stages in Poland and abroad, including Sweden, Germany, Hungary, the Czech Republic and the United States. She is a laureate of the Visegrad Fund Scholarship, Special Award of the Pomorskie Voivodship Marshall for outstanding services in the field of artistic creation (2012) and the Award of the Mayor of the City of Gdańsk for Young Artists for the performance of “Good Girl Killer” (2007)

♡

Zofia Krawiec – writer, artist, curator and journalist born in Poznan 1986. Author of „Miłosny Performans” wyd. Lampa i Iska Boża (2016 r.), a book where she described artworks created with strong emotions coming from romantic relationships. She also curated an exhibition by the same title („Love Performance” Labirynt Gallery and BWA Tarnów). In 2017 she was one of the curators of „140 Beats per Minute” in Museum of Modern Art in Warsaw. Curator of „The Girl May Seem Strong but Inside She Barely Holds On” exhibition, Lokal30, Warsaw (2018 r.).
Her articles and interviews were published in several polish magazines, as a journalist she also started a debate on selfie-feminism theory in Poland, concerning the use of new media in fighting for women’s own subjectivity. Author of Instagram feminist project Neurotic Girl, which aims to uncover hidden social stereotypes of young women.

♡

Nadezhda Titova was born in Apatity in the USSR and eventually ended up studying photography at the Royal Academy of Art in Hague. Her recent output has focused on the clash of culture, identity, and family with the propaganda and censorship in her home country, Russia. Rather than physical distance, her severe disconnect with contemporary Russian values and the political landscape makes home feel further and further away.