Magdalena Abakanowicz: Crossing Boundaries

Magdalena Abakanowicz emerged as a pioneer in creating organic, fibre-based sculptures and installations in the 1960s and 1970s. Her large woven sculptures became known as Abakans after her surname. The artist removed them from the wall and placed her ever more three-dimensional works in the open space, creating comprehensive installations. By doing so, she challenged the boundaries of textile art and sculpture. She wanted to be seen, above all, as a contemporary sculptor.

The impressive exhibition is divided into HAM’s two grand arched halls. The first one features the artist’s fibre works from the late 1950s to the late 1970s: early woven pieces, rope works and Abakans, which have been installed as spatial environments according to the artist’s original instructions, forming a spatial unity, a kind of textile forest.

The second part of the exhibition focuses on burlap sculptures, which the artist began making in the early 1970s. The sculptures consist of a series of similar forms, depicting groups of people and various forms from nature. They continue Abakanowicz’s lifelong interest in humanity, nature and all organic matter.

“The Abakans were a kind of bridge between me and the outside world. I could surround myself with them; I could create an atmosphere in which I somehow felt safe because they were my world.” (On Abakans: From interview conducted by Barbara Rose, 1988-91)

The exhibition is curated by Eulalia Domanowska, Director of the State Gallery of Art in Sopot.

The exhibition is organized in cooperation with the Marta Magdalena Abakanowicz Kosmowska and Jan Kosmowski Foundation, Warsaw, Poland and is supported by the Adam Mickiewicz Institute.