‘I am a sculptor, not a sculptress,’ artist Wanda Czełkowska told gallerist Ewa Opalka in an unpublished interview conducted between 2014–19. ‘I am beyond male and female. [Being a sculptor is] a form of existence.’ Working largely during the second half of the 20th century in an era dominated by monumental public sculpture designed by men – whether in socialist Poland, where she was based, or in the West – defining herself as an artist living outside of the patriarchy might seem like wishful thinking. Yet, this show, deftly curated by Matylda Taszycka at Muzeum Susch, reveals Czełkowska to be a larger-than-life character who consistently punctured expectations.
As the feminist revaluation of the art-historical canon continues – it’s worth noting that this is the first exhibition dedicated to Czełkowska’s work outside of Poland – the question arises as to how to frame the work of ‘woman artists’ who rejected this category, often to avoid limiting their options. Czełkowska’s fear of being marginalized was not without reason: she repeatedly had to answer questions about whether the themes and materiality of her work were suitable choices for a woman. Thankfully, ‘Art Is Not Rest’ avoids viewing Czełkowska’s many accomplishments through the lens of her gender alone, respecting her belief that she was, first and foremost, a sculptor.
Wanda Czełkowska’s ‘Art Is Not Rest’ is on view at Muzeum Susch, Zernez, until 26 November.
