It’s a pleasure to end the week talking about a great woman and artist: Magdalena Abakanowicz. She was born in Poland on 1930 and graduated at the Warsaw Academy of Fine Arts, dedicating himself to painting until the 70s. Born into a Polish-Russian aristocratic family, she was a child when the horrors of war began. That experience had a psychological and emotional consequences and changed her existence.

My work comes from the experience of crowds, injustice, and aggression… I feel an affinity for art when it was made a form of existence, like when shamans worked in the territory between men and unknown powers… I try to bewitch the crowd”.

Her work is made by a complex and metaphorical language that is focused on “The countless”. The countless is a series of sculptures representing crowds of headless people. This project is one of the most representative of the work of Magdalena Abakanowicz. The figures are once beautiful and unsettling, the sexual characteristics are not important. The viewer must focus on the humanity of the figures rather than their gender. These sculptures reminders of the fragile nature of the human condition. Feelings like the difficulties of Soviet occupation, the growing instability, that she put into her great sculptures. Her art has always represented themes like dignity and courage.

The Starmach Gallery was one of the few galleries that presented a personal exhibition in Art Basel 2017. The exhibition was dedicated to the work of Abakanowicz that represent the artist for the past 30 years.

In the last years Abakanowicz created a lot of large-scale outdoor works. She has produced works for the Metropolitan Museum of Art’s rooftop, Chicago’s Grant Park, Washington, D.C.’s New York Avenue, among other sites.


To see more works:

FRIEBE Cornelia, Magdalena Abakanowicz. The splendid artist of the 1960’s, GRIN Publishing, 2014
ABAKANOWICZ Magdalena, Fate and Art: Monologue, Skira, 2008



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