As a Holocaust survivor who began working in the post-war period in a rather classical, figurative manner, Szapocznikow’s experimentation and re-conception of sculpture left behind a legacy of provocative objects – at once sexualized, visceral, humorous, and political – that sit uneasily between Surrealism, Nouveau Réalisme, and Pop Art. 
Alina Szapocznikow at WIELS (Brussels, Belgium).

As a Holocaust survivor who began working in the post-war period in a rather classical, figurative manner, Szapocznikow’s experimentation and re-conception of sculpture left behind a legacy of provocative objects – at once sexualized, visceral, humorous, and political – that sit uneasily between Surrealism, Nouveau Réalisme, and Pop Art. 

Alina Szapocznikow at WIELS (Brussels, Belgium).

As a Holocaust survivor who began working in the post-war period in a rather classical, figurative manner, Szapocznikow’s experimentation and re-conception of sculpture left behind a legacy of provocative objects – at once sexualized, visceral, humorous, and political – that sit uneasily between Surrealism, Nouveau Réalisme, and Pop Art. 
Alina Szapocznikow at WIELS (Brussels, Belgium).

As a Holocaust survivor who began working in the post-war period in a rather classical, figurative manner, Szapocznikow’s experimentation and re-conception of sculpture left behind a legacy of provocative objects – at once sexualized, visceral, humorous, and political – that sit uneasily between Surrealism, Nouveau Réalisme, and Pop Art. 

Alina Szapocznikow at WIELS (Brussels, Belgium).

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Selected exhibitions.