Alicja Rogalska is an artist living in London and working internationally. Her practice is research-led, interdisciplinary, collaborative and focuses on social structures and the political subtext of the everyday. She mostly works in specific contexts creating situations, performances, videos and installations.
Alicja graduated with an MFA in Fine Art from Goldsmiths College and an MA in Cultural Studies from the University of Warsaw. She was artist in residence at Museums Quartier in Vienna (2018), IASPIS in Stockholm (2017), MeetFactory in Prague (2016), National University of Colombia in Bogota (2014) and Tate Britain (2011-12), attended the Home Workspace programme at Ashkal Alwan in Beirut (2013-14) and was an Artsadmin Bursary recipient in London (2016-17).
Selected exhibitions include: New Poetics of Labour, Teatro Lido & Grafiformas (Medellín, 2018); Productive Work – what is that supposed to be?, frei_raum Q21, Museums Quartier (Vienna, 2018); For Beyond That Horizon Lies Another Horizon, Edith-Russ-Haus für Medienkunst (Oldenburg, 2017-18); Gotong Royong. Things We Do Together, CCA U-jazdowski (Warsaw, 2017), Free Play, Västerås Konstmuseum (Västerås, 2017), Dreams and Dramas. Law as Literature, NGBK (Berlin, 2017); Social Design for Social Living, National Gallery (Jakarta, 2016); All Men Become Sisters, Muzeum Sztuki (Łódź, 2016-17); No Need For References, Kunsthalle Exnergasse (Vienna, 2015); Critical Juncture, Kochi-Muziris Biennale (Kochi, 2014); A Museum of Immortality, Ashkal Alwan (Beirut, 2014); IMS Project, Flat Time House (London, 2013); Melancholy In Progress, Hong-Gah Museum (Taipei, 2012); Jour de Fête, The Private Space Gallery / LOOP Festival (Barcelona, 2011); To Look is to Labour, Laden Für Nichts (Leipzig, 2010) and No Soul For Sale, Tate Modern (London, 2010).
A contemporary folk-song on the socio-economic situation of the rural area of Masovia, Poland, known for its rich folk music traditions and the highest unemployment in the country at the time. The song, written in collaboration with villagers and the folk singing group Broniowianki, was presented locally in a series of performances and documented on video, contrasting ethnographic representation (the image) with the peopleʼs own view of their situation (the lyrics). The tune was appropriated from a local love song.
Commissioned by Museum of Modern Art in Warsaw for Cięcie/Cut project.
The work was presented, amongst others, at the following screenings and exhibitions:
2018 Call for Morning/Cradle to the Floating World, aCinema, Milwaukee, USA
2017 Harvest Film Festival, Lower Hewood Farm, UK
2016 The Hop Project, touring exhibition, 15 venues across West Midlands, UK
2014 Exuberant Politics, Legion Arts, Cedar Rapids, Iowa, USA
2014 Boom Bang, NN Contemporary, Northampton, UK
2014 Cairo Video Festival, Medrar & Elhadara Cinema, Cairo Opera House, Cairo, Egypt
2013 Now & After Festival, Moscow Museum of Modern Art, Russia
2013 Sheffield Fringe, Bloc Projects, Sheffield, UK
2013 X Marks the Bokship, London, UK
2013 Creekside Open, APT Gallery, London, UK
2013 Now Wakes The Sea, Kinsale Arts Festival, The Mill, Kinsale, Ireland
2013 Pump House Open, Pump House Gallery, London, UK
2013 Homing Instinct, The Lab Film Festival, Mother Studios, London, UK
2012 99%, Festival Miden, Kalamata, Greece
2012 25th Festival Les Instants Vidéo, VisualcontainerTV, Milan, Italy
2013 We Were Trying to Make Sense, 1Shanthiroad, Bangalore, India
2013 Melancholy in Progress, Hong-Gah Museum, Taipei City, Taiwan
2012 Drop After Drop, Galeria AS, Kraków, Poland