MUZEUM SUSCH: ART IS NOT REST

Cradled in the Engadine, one of the world's most picturesque valleys, Susch sits between St. Moritz and Davos. Here we find one of the most interesting and evocative spaces for art that has been built in recent years: Muzeum Suseb.

Thanks to the brainchild of collector and philanthropist Grazuna, Kulczyk, Muzeum Susch is one of Switzerland's most special hidden gems for the exploration of the relationship between artworks and the spaces in which they are housed.

We had the opportunity to converse with both Grazyna Kulczyk, the founder of the museum, as well as with Matylda Taszycka, the curator of the exhibition "Artis not Rest," currently on view at Muzeum Susch, until the end of November 2023.

Q: Dear Grazyna and Matylda, I would like to focus first on some questions for Matyda concerning the Wanda Szetkowska exhibition, "Art is not Rest." First at all, can you please give us some background to the curatorial process you followed for this exhibition and your study on Wanda Szetkowska practice? Is there something that particularly attracted you about her works?

M: When I received the invitation from Museum susch, I realized that my role would be to translate Wanda Gzetkewska's complex work for an audience that was not necessarily familiar with it, nor with the specific context in which it was created. However, I wanted to avoid the easy, and in my opinion mistaken, trap of a narrative built around the figure of a beautiful, forgotten women artist, finally rediscovered by international curators and institutions. The exhibition was conceived in parallel with the book we devoted to the artist, to offer an in-depth study of her work. I took a great deal of interest in her writings and in the very few interviews she gave during her lifetime, and I realized that she did not want to be seen as a victim of an unfair and patriarchal art world. On the contrary, she asserted her ambition and her individualism. This is what I wanted to demonstrate through my exhibition, by placing particular emphasis on her most monumental works. It was also a way for me to engage with the architecture of the museum, its incredible surroundings and the site-specific works displayed in its galleries.

Q: Some of Wanda Gzetkowska's most famous quotes are: "I am beyond male and female," "I am a sculptor, not a sculptress," "Being a sculptor is a form of existence." How much of Wanda Szetkewska's poetics are included in these quotes?

M: It is true that Getkowska wanted to be seen beyond her gender. For her, as for many artists of her generation, women artists were a false category. She wanted to be seen as an artist, that's all. Szetkewska placed thought at the center of her work and believed that it was neither masculine nor feminine. We can wonder today if she simply integrated the patriarchal value system, or if she wanted to place herself and her work beyond binary divisions. This would place her at the forefront of queer theory. As with many great artists, her work reveals a great complexity which does not call for rapid or unequivocal answers. She once told the exhibition curator Anke Kempkes that her head sculptures represented "a third gender."

Q: How much of Wanda Szetkowska's practices were influenced by the Socialist context of Poland?

M: Getkowska never believed in the social involvement of art, saying that "the attempt to exploit art as a tool for social change offends both art and society." Perhaps this was due to the fact that her studies at the Academy of Fine Arts in Krakow took place during the Stalinist period and coincided with the imposition of Socialist Realism, which takored idealized figurative works, in keeping with the party line. This made her suspicious of politics. As a sculptor she was on the front line: the new regime placed many orders for statues, but Gzetkowska didn't produce that kind of work. From the mid-1950s, as the political situation in Poland began to ease, the artist subverted what was deemed politically acceptable in art through radical work. She also temporarily retired from artistic life for political reasons in 1981 (she officially resigned from the Second Gruna Krakewska in 1982, which she judged too accommodating with the regime) to 1990.

Q: What were the references / artists that Wanda Gzetkewska followed most during her life and that impacted her poetics? We noticed some influences of abstract art in her output during the 1950s, while from the late 1960s there was a more closed approach to Minimalism and Conceptual art. Is that correct?

M: This question is on my mind right now. It is always difficult to talk about influences because artists use numerous references, sometimes even contradictory ones, to produce their work.

Gzetkowska was part of the Krakow avant-garde circles where abstraction was one of the major trends. She was a member of the Second Grupa Krakowska from 1968. Her work was often compared by her contemporaries to the oeuvre of Maria Jarema, a Polish woman artist from the previous generation. In the late 1960s and early 1970s Gzelkowska's work showed strong similarities with Western Conceptual art. However, / would rather speak of resonances than of direct influences on her work. It is unlikely that she was familiar with the work of North American Conceptualists such as Sol Lewitt or Robert Barry.

Q: The title of the exhibition is "Art Is Not Rest." Where does it come from?

M: "Art Is Not Rest" is a quote from the artist and my curatorial statement. Gzelkowska wrote in her notes 'Art is not rest for the viewer.' Nor was it for the artist herself. This quote sounds like a warning, especially today when art exhibitions are often perceived as pleasant entertainment. In her notes, the artist stresses the fundamental role that art plays in her life and society in general: it is not a pastime, it is a commitment and a struggle. It also reflects my own experience as curator of Cze kowska's retrospective. Her oeuvre is demanding for everyone who engages with it. I'm sure the museum's team would agree with me on this!

Q: One of the central artworks of the exhibition is Absolute Elimination of Sculpture as a Notion of Shape, a monumental floor consisting of 66 concrete plates illuminated by 66 lightbulbs on the ceiling above. From a curatorial standpoint, why did you decide to give such a central role to this masterpiece?

M: This installation is Wanda Gzetkowska's most radical piece. The artist worked on the project from 1972 and presented the model for the first time in 1973. It was not produced on a 1:1 scale until 1995, when Szetkewska presented the work in a collective exhibition at the Centrum Bzeby Sreiska. Since this exhibition in 1995 the work has not been presented true to scale, making its presentation at Muzeur Susch a historic event. Sculpted forms disappear, replaced by the bodies of the spectators moving inside the work. This piece is the epitome of the artist's research on the sculptural medium and confirms her interest in public perception and participation.

Q: This is the last question for Matylda on the exhibition: is there a particular emotion you would like the visitor to have during the visit?

M: 1 leave it to the viewer. Art is an open form and each visitor engages with it in their own manner. I am confident that Gzetkowska's work doesn't leave anybody indifferent.

Q: Focusing now on the museum and Grazyna's great vision. First at all, can you please give us a bit of background concerning your love for art and how you started collecting artworks?

How did you start to collecting artworks?

Was there a specific event or a specific person you met during your life that significantly impacted you from an artistic standpoint?

G: My passion for art started while pursuing my university studies in law, in my hometown of Paznan, Poland. It was the individuals immersed in the art world, such as artists and art historians, who truly captivated me. I actively engaged in Poland's vibrant art community during this period, delving into various art-related subjects. I took on volunteer roles, teaching classes at local cultural hubs and community centers, forming lasting connections with artists and educators. These relationships ultimately guided me toward the path of collecting, as I was driven by a deep desire to inspire and enlighten others through art. This ethos continues to shape my values and remains my primary mission at Muzeum susco.

Q: In one interview, you said that "Most of the collectors as well as the advisors of the collectors are men. And artworks are mainly realized by men." As a woman, how did you manage to carve out such an important role in the world of collecting artworks?

G: With my collection I aim to be in contact with the work of unique and intriguing women artists who paved a historically important path of art. The focus of my collection is especially on the avant-garde and heroic period of the 1960s and '70s, as it's very important for me to cast light on those who have been overlooked or misread and need to be properly researched and advocated for in the art world. What distinguishes my collection is its narrative, which captures a dialogue between artistic movements situated on the peripheries and those firmly established in the canonical mainstream. This dialogue not only introduces fresh perspectives but also raises critical questions about the experiences of marginalized artists versus those at the center of the art world, and it provides commentary on complex and timely global concerns.

Q: If I am not mistaken, most of your collection is dedicated to works created by women.

Over the past few years, we've been noticing particular attention to the female creative process - sometimes we face exhibition projects that highlight the existence of women in art. Do you think there is a need to affirm the role of women in this area as well?

G: I have been collecting art for over five decades. As the years pass, one naturally evolves, gaining more life experience and growing in self-confidence, which in turn raises one's expectations of oneself. Throughout these many years, I have been an active entrepreneur, collector, and supporter of art initiatives. In my entrepreneurial endeavours, I took on the role of a trailblazer, disrupting the 'brotopian' boys-club culture by actively participating in traditionally male-dominated industries such as automotive and construction. My own journey illustrated just how challenging it can be to forge a path for women in such a macho world.

After years of developing my art collection across various themes, it became evident to me, about fifteen years ago, how unjustly women artists had been treated by art history.

Pioneering figures like Linda Nochlin or Judy Chicago had the ability to channel their passion for gender equality into influential books and art projects. In my case, as a collector, my weapon of choice was to concentrate on acquiring works from Avant-garde women artists who had been either overlooked or misunderstood in history books and on the art market.

As the founder of a cultural institution, I made a deliberate decision to orient our research and exhibition efforts to rigorously establish a matrilineage in art history. I believe my collection could be regarded as one of the pioneering private collections paying homage to women artists. It has been a fulfilling journey to support these remarkable artists and bring their contributions to the forefront.

Q: I imagine that the process of acquiring works has evolved over time, especially as regards the possibility of commissioning a new work rather than acquiring something that already exists. What interests you the most in this process?

G: Given that the primary mission of my collection is to promote the work of international Avant-garde women artists who have been overlooked or misread and therefore not been positioned on equal footing with their male counterparts across art institutions all over the world, I found it necessary to adopt a traditional approach.

This approach relies on rigorous research followed by acquisitions from the secondary market. The reason behind this choice is quite straightforward: many of the artists I typically champion have already passed away.

As a result, my acquisitions rarely involve active artists, and it naturally follows that I do not engage in commissioning artworks, in contrast to some other collectors.

Q: The idea of collecting has evolved a lot since the 1990s. There is often a preference to buy works from an artist who is more protected by the system rather than to buy something you instinctively like, thus curbing the collector's genuine impulse. What do you think about that?

G: I consider myself an old-school collector who places immense trust in my instincts, my eye and expertise. The true beauty of a private collection lies in preserving a deeply personal connection to the artworks. This approach engages all the emotions of the collector, rather than relying solely on the impersonal interpretation of art algorithms or expert knowledge. As a result, this approach does carry the inherent risk of making mistakes and experiencing occasional setbacks. However, it is precisely this aspect that makes the entire process so invaluable for the field of art history. It underscores the genuine passion and dedication of the collector, leaving a lasting mark on the narrative of art.

Q: What is your most recent acquisition?

G: Among the recent artworks l've acquired, l'd like to highlight a large painting by Pat Passlot, a significant yet often underrated figure in American Abstract Expressionism. I firmly believe that her work holds the potential to contribute significantly to a more comprehensive understanding of this artistic movement.

Q: In recent years, the Engadine has positioned itself as an important destination for art lovers. Contemporary dealers - i.e., Hauser & Wurth, Vito Schnabel - have galleries sprinkled throughout the valley, important events such as Nomad are established manifestations. Moreover, since its opening in 2019, Muzeum Susch has become one of the most unusual and evocative spaces for art built in recent years. Could you please give us a bit of background or tell us about the idea to develop such a project in Engagine and in a village like susch in particular?

G: My discovery of the location in Susch was a stroke of serendipity. I had been a frequent visitor to Switzerland's Engadine region for several years when I stumbled upon the brewery that now houses Muzeum Susch. Prior to this, I had spent a decade pursuing my dream of establishing a museum in my home country, Poland. Despite my extensive track re cord, having organized and financed over 1,500 cultural projects over several years, my proposal for a private-public initiative was re jected twice by the local authorities. Ive always been drawn to utilitarian architecture, so I began delving into the history ofthe cluster of buildings in Susct Switzerland presented an ambitious and challenging opportunity to establish another cultural venue at the heart of the 'art world cake,' and I was eager to embrace that challenge.

Q: From an architectural standpoint, the original building was part of a rural monastery founded in 1157 on the pilgrim's route to Rome and Santiago de Compostela. In the nineteenth century, a brewery building was added, located above a naturally-occurring mountain water source. How did you identify this location and how was the project for the museum (in particular, combining both the preservation of the original structures, as well as being able to connect everything by a tunnel) then developed?

G: It was fascinating to discover that the location existed along the ancient pilgrimage of St.

Jacob's route to Santiago de Compostela. The fact that ithad also served as a brewery held a unique re sonance for me. Ironically, despite not being a fan of beer myself, beer production had played a significant role in some of my most notable achievements, such as the transformation of a post-industrial urban block, formerly a brewery, into the commercial and art complex known as Stary Brawar in Poznan. Additionally, beer production had been one of the core businesses my family ventured into. All of these elements felt like good omens. The structure itself comprises two distinct sections: an ancient monastery dating back to the twelfth century, which is conjoined with a nineteenth-century brewery. We took great care to work with the local artisans and materials, paying homage to the historical legacy of the building, particularly its monastic and pilgrimage past, as well as the region's local history.

While faithfully restoring the protected facades and exteriors, we undertook an ambitious interior transformation that involved going underground and carving into the rock. This endeavor re sulted in twenty-seven highly unique galle ry spaces, ranging from a grotto-like cave carved from stone, to expansive, lumin ous white galle ries.

Q: The museum is certainly the ideal place for anyone interested in history, natural beauty, contemporary art, and the exploration of the relationship between artworks and the spaces in which they are housed. In your view, what are the main aspects that differentiate Muzeum Susch from other institutions focused on contemporary art?

G: Muzeum Susch's secluded location steeped in cultural heritage challenges conventions and paves the way for forward-thinking.

Its program promotes the work of international Avant-garde women artists.

Its exhibition program also sets it apart from other art institutions, promoting the work of international Avant-garde women artists. Instituto Susch, the research program at Muzeum Susch, plays an active and key role as our research programme to advance the recognition of women's achievements and their legacy in the history of art.

Q: Looking at the annual program of the museum, since the beginning you have focused on pioneering women artists with strong differentiations one from another in terms of their manner of expression, their backgrounds, etc. For example, in 2023 visitors were given the chance to see exhibitions of the works of Hannah Villiget and Wanda Gzetkowska, Can you please give us some highlights on the re search you and your team do for the preparation of a new exhibition.

Can you also give us a preview of the exhibitions being plannedfor 2024?

G: 1 am thrilled to announce that in January 2024 we are opening an exhibition of Anu Pãder, who has never had a retrospective outside her native country, Estonia. The exhibition will be curated by Cecilia Alemani.

Q: In terms of the museum's future activities, how do you plan to further develop it? How do you envision Muzeum Susch in ten years' time?

G: I take great pride in the achievements of our museum team thus far, and we are committed to building upon this success. Our goal is to further solidify the museum's position as one of the foremost institutions dedicated to showcasing Avant-garde women artists.

Q: To conclude, as you know, one of Stella's missions is sustainability: in this re spect, how can art raise as well as the role of a museum / artistic institution raise awareness on this subject?

G: Art, as a powerful medium of expression, has the potential to play a significant role in raising awareness about sustainability, and museums and artistic institutions can act as catalysts for this important mission. Sustainability has many more facets than one usually perceives, for example, the reusage of forgotten materials, structure symbols and narrations are important ways of supporting sustainability.