Natalia lach lachowicz polish deli

Raunchy and uncompromising, meet Natalia LL

Freedom is a goal in and of itself, and art realises that goal. Pfeiffer stressed then how much he admires the work of Natalia LL, and how deeply it is ingrained in his memory.

Gallery "Meno parkas". Teksty Natalii LL. Yet in this case, the images of a head were only a starting point for further action. Mateusz Kozieradzki. Natalia LL was closely connected with conceptual scene of Wroclaw. Our website uses cookies to improve users experience.

Being seen as an empowered woman artist fighting for her right to be unrestricted in her interests, thinking, sexual liberation and taking a stand against the traditionally male-dominated mentality of Poland at the time, her work and powerful stand drew the attention of the international feminist movement and this allowed her the opportunity to travel and exhibit her work abroad, including her participation in shows in the USA, Japan, France and Germany.

One differs from the other only in details.

Natalia LL

They were no longer about femininity, sexuality, or nooks of intimacy. Natalia LL, Post-consumer Art, 1975, colour photograph on paper, 50.

A condensation of the registrations is a warrant for reduction of deformations and mistakes resulting from a selection … The state of ideal registration results from receiving and recording all signals coming from reality. The artist refuses to talk about the specifics of the illness as she believed it would give energy to the disease. By continuing to browse you are giving us your consent to our use of cookies.

In 1997 she stayed in New York owing to a scholarship from the Kosciuszko Foundation.


Share this: The exhibition "Sum ergo sum" is retrospective in character as it attempts to capture and summarise the oeuvre of the artist in its entirety: Several ephemeral works have been reconstructed for this exhibition, such as the installations prepared in the past for individual exhibitions, dismantled after the presentation on account of being difficult to store.

The Destruction series of photographs from this period portray her face as death masks of a living person. A woman became reduced to a mere object, an element subjected to the consumption of the world that — at that time — was ruled and dominated by men.