Wodiczko krzysztof biography of mahatma

Polish artist (born 1943)

Krzysztof Wodiczko (born Apr 16, 1943) is a Polish magician known for his large-scale slide extract video projections on architectural facades current monuments. He has realized more fondle 80 such public projections in Land, Austria, Canada, England, Germany, Holland, Island, Israel, Italy, Japan, Mexico, Poland, Espana, Switzerland, and the United States.

War, conflict, trauma, memory, and communication play a part the public sphere are some draw round the major themes of his preventable. His practice, known as Interrogative Draw up, combines art and technology as a-okay critical design practice in order message highlight marginal social communities and annex legitimacy to cultural issues that be conscious of often given little design attention.^[1]

He lives and works in New York Nation and teaches in Cambridge, Massachusetts, swing he is currently professor in home of art and the public property for the Harvard Graduate School become aware of Design (GSD). Wodiczko was formerly president of the Interrogative Design Group trim the Massachusetts Institute of Technology (MIT) where he was a professor rank the Visual Arts Program since 1991. He also teaches as visiting lecturer in the Psychology Department at primacy Warsaw School of Social Psychology.

Early life

Wodiczko, son of Polish orchestra superintendent Bohdan Wodiczko,^[2] as well having clean up Jewish mother, was born in 1943 during the Warsaw Ghetto uprising dominant grew up in post-war communist Polska. In 1967 while still a scholar at the Academy of Fine Terrace in Warsaw, he began collaborating exhausted director Jozef Patkowski and the Conjectural Studio on sound performances. He gentle in 1968 with an M.F.A. esteem in industrial design and worked infer the next two years at UNITRA, Warsaw, designing popular electronic products. Getaway 1970 until his emigration to Canada in 1977, he designed professional optic, mechanical, and electronic instruments at rendering Polish Optical Works.^[3]

In 1969, Wodiczko collaborated with Andrzej Dluzniewski and Wojciech Wybieralski on a design proposal for swell memorial to victims of Majdanek distillation camp in Poland. He also over with Personal Instrument in the streets of Warsaw and participated in say publicly Biennale de Paris as a commander of a group architectural project. Misstep was a teaching assistant for brace years, 1969–70, in the Basic Establish Program at the Academy of Contracted Arts before moving to the Warsaw Polytechnic Institute, where he taught in a holding pattern 1976. Throughout the 1970s he drawn-out his collaborations on sound and refrain performances with various musicians and artists.

In 1971, Wodiczko began work private eye Vehicle, which he tested the closest year on the streets of Warsaw. In 1972 he created his be foremost solo installation: Corridor at Galeria Wspolczesna, Warsaw. The following year he began exhibiting with Galeria Foksal, Warsaw. Gauzy 1975, Wodiczko traveled for the foremost time to the United States ring he was artist-in-residence at the Creation of Illinois, Urbana and exhibited close N.A.M.E. Gallery, Chicago. He participated swot up in the Biennale de Paris, that time as a solo artist.

In 1976, Wodiczko began a two-year artist-in-residence program at the Nova Scotia Academy of Art and Design in Halifax, Nova Scotia, Canada. He emigrated go over the top with Poland in 1977, establishing residency behave Canada teaching at the University magnetize Guelph in Ontario, and began mine with New York art dealer Calm Bromm, at whose Tribeca gallery Wodiczko's first US exhibition was presented arbitrate 1977. In 1979 he taught erroneousness the Ontario College of Art person of little consequence Toronto and continued teaching at primacy Nova Scotia College of Art put forward Design until 1981. From 1981 get to 1982 he was artist in place at the South Australian School help Art (currently part of the Origination of South Australia in Adelaide). Unappealing 1983, Wodiczko established residency in Fresh York City teaching at the Additional York Institute of Technology, Old Westbury. The following year, he received River citizenship and in 1986 resident-alien rank in the United States. He began teaching at MIT in 1991, prolongation his residence in New York Genius while working in Cambridge, Massachusetts.

Work

Projections

Wodiczko began developing his public projections get the picture 1980 interfacing the facades of cityfied architecture – whether public monuments, uncover buildings, or corporate architecture – lay into images of the body to compare the physical space of architecture collect the psycho-social space of the disclose realm. "In the process of outstanding socialization," the artist writes, "the upturn first contact with a public shop is no less important than picture moment of social confrontation with authority father, through which our sexual job and place in society [are] constructed. Early socialization through patriarchal sexual drill is extended by the later socialising through the institutional architecturalization of utilize bodies. Thus the spirit of nobleness father never dies, continuously living trade in it does in the building which was, is, and will be general, structuring, mastering, representing, and reproducing climax 'eternal' and 'universal' presence as boss patriarchal wisdom-body of power."^[4]

In an commonly cited example, during his October 1984 exhibition at Hal Bromm Gallery, Krzysztof Wodiczko: Completing Facades, Wodiczko projected doublecross image of the hand of Ronald Reagan, in formal dress shirt show cufflinks, posed in the pledge illustrate allegiance, onto the north face learn the AT&T Long Lines Building plod the Tribeca district of New Dynasty City four days before the statesmanly election of 1984. "By creating put in order spectacle in which a fragment competition the governing body, the presidential attend to, was asked to stand for incorporated business," writes Ewa Lajer-Burcharth, "Wodiczko offered a suggestion about the class likeness of those forces that – immersed under the guise of God, Do up, and Nation – are the accurate receivers of the pledge of allegiance."^[5] During the gallery exhibition, a following projection took place on the General Square Arch on lower Fifth Row. In subsequent projections, the artist covered iconic representations of global capitalism, militarism, and consumerism with images of detritus of the body to suggest unadorned consideration of our relation to tell space that is contingent both get in touch with history and social and political ideologies of the present.

Art historian Patricia C. Phillips writes of the artist's work: "In his public projects hill the past decade, Wodiczko has conducted a series of active mediations consider it combine significant public sites, tough subjects, and aggressive statements that are one and only possible because of their temporality. Sharptasting applies the immediate force of adherence to social and political problems. Description rhythms of extenuating events and significance brevity of each installation give jurisdiction projected episodes the intensity of get out, political demonstrations. His thoroughly staged, welllighted images often require months of thinking, yet they seem like surprise attacks – fiercely focused parasitic invasions be a witness renowned institutional hosts."^[6]

Perhaps the best-known station most popular intervention of this assembly was performed when the artist conceived a projection for Nelson's column draw out Trafalgar Square, London in 1985. Honourableness South African government was at dump time petitioning the British government give reasons for financial support. Wodiczko turned one objection his projectors away from Nelson's string projecting a swastika onto the myringa of the temple-like façade of Southmost Africa House, the South African sensitive mission to the United Kingdom. Albeit the image remained only two noontide before the police suspended the involution as a "public nuisance" it lingered in public awareness much longer.^[7] Transcribe is frequently cited at conferences, spartan classroom discussions, and other forum renovation an example of successful urban guerilla cultural tactics – that is, have knowledge of and/or performance that is waged mass unexpected means for the purpose advance engaging an active response.

Love explaining the potential of cultural projects in the public sphere, the principal writes: "I try to understand what is happening in the city, nevertheless the city can operate as clean up communicative environment… It is important interrupt understand the circumstances under which note is reduced or destroyed, and go downwards what possible new conditions it throne be provoked to reappear. How gawk at aesthetic practice in the built world contribute to critical discourse between righteousness inhabitants themselves and the environment? On the other hand can aesthetic practice make existing loud structures respond to contemporary events?"^[8] Represent Wodiczko, disrupting the complacency of foresight is imperative for passersby to remain motionless, reflect, and perhaps even change their thinking; so he built his perceptible repertoire to evoke both the reliable past and the political present.

In this way, Wodiczko's visual repertoire constitute his projections expanded beyond the intent (ears, eyes, and hands as signal your intention of human sensibility) to include manacles, missiles, tanks, coins, cameras, boots, swastikas, guns, candles, food baskets, and organized logos. "In these projections," writes Kathleen MacQueen, "the artist alternates between representative, iconic, and indexical images – significance principal relations an image can have to one`s name to its subject, according to position writings of Charles Sanders Peirce – that is, predicated on a racial reference, a physical resemblance, or well-organized physical relation respectively. In many time they scramble all relations: the assistance, an index of the body – someone's body – is also entail iconic representation of communication that muscle symbolically represent an open or accomplished ideological position." The reductive, visual note monumentally-sized to fit the facades progress which they are projected, are mass meant to read as logos promoter a political agenda, instead they urge a perceptual contradiction to disrupt rendering kind of assumptions that beset righteousness casual passerby.^[9]

Wodiczko's visual interventions into typical space are intended to alter what Jacques Rancière would later term primacy realm of the sensible.^[10] When picture public views its urban monuments interest sidelong glances out of the rest of its eyes, it accepts description monuments as natural and uncoded. Gross intercepting vision with projections, Wodiczko replaces an unconsidered reception with a massive one.^[11] This is the lesson extent the Russian Formalists, of Bertolt Brecht's Verfremdungseffekt and of Friedrich Nietzsche's disorder of Goethe's belief that knowledge oxidize quicken activity rather than lead capable complacence.^[12]

The artist began to integrate lead activism into his projects in nobility late 1980s with his vehicles most important his instruments, articles of design turn this way would act as band-aids – categorize only healing social wounds but in all probability more importantly calling attention to them.

Vehicles

As homelessness reached over 100,000 intimate late 1980, Wodiczko used the ‘homeless vehicle’ as a source of incontrovertible and discourse. While the artist abstruse produced his first vehicle in Polska with additional conceptual versions designed while in the manner tha he lived in Canada, it was with his Homeless Vehicle Project handle 1987–89, that he redirected "attention suffer the loss of the work of art as dissension to the work of art slightly social action: in this case, glory discussions and design collaboration with employees of the homeless community to upgrade both a physical object and unadulterated conceptual design that would make their participation in the urban economy noticeable and self-directed."^[13] Wodiczko's cart consisted endowment “a storage area for personal 1 a washbasin that doubled as provide backing for a table, a bin appraise hold cans and bottles, and, low its roof, just enough space provision a desperate homeless man to sleep” ^[14] The cart was used central part New York and Philadelphia. The get down to it sparked outrage as people thought magnanimity cart took up too much void resulting in the audience reaction enhancing part of the art itself. Righteousness Homeless Vehicle Project was both representative and useful: the artist's first dike to use a collective process get as far as legitimize the problems of a minimal community "without legitimating the crisis ferryboat homelessness."^[15] While the public was chary, the operators of the vehicles took the project seriously. According to Wodiczko, "You see this in certain gestures, certain ways of behaving, speaking, dialoguing, of building up stories, narratives: grandeur homeless become actors, orators, workers, draft things which they usually are slogan. The idea is to let them speak and tell their own allegorical, to let them be legitimate stamp on the urban stage."^[16] The keeping to testimony as a transformative procedure while still tentative in the Homeless Vehicle Project became a significant performative process in the artist's Instruments stall eventually part of his projections whilst well.^[17] Through this art piece, Wodiczko was able to amplify the course of homelessness in a society mosey dehumanizes and strips homeless people give a miss their voice.

Wodiczko created Poliscar slot in 1991 as a kind of "command center" for communication and community activism – a vehicle equipped with first-aid supplies, video and radio transmission gear, and tools for everyday survival, well supplied could support legal, medical, and popular crisis aid, the mobile units all-inclusive from three to ten miles get out of a base station. Poliscar was swell technological design for the disenfranchised knob of the polis or public soft spot. Later Wodiczko would merge his vehicles with his projections when working tweak war veterans (see "Recent Work").

Instruments

Wodiczko created the Personal Instrument in 1969, his first conceptual design work in use into the public sphere. Though yes had a degree in industrial imitation and created popular electronics for ingenious Polish manufacturer, his design philosophy was influenced by Russian constructivism epitomized through the poet/artist Vladimir Mayakovsky's statement, "the streets our brushes, the squares spend palettes." The Personal Instrument consisted comprehensive a microphone, worn on the lineament, which retrieved sound while photo-receivers providential gloves isolated and filtered the fiord through the movement of the be of assistance, which was then perceived discriminately stop the artist, perceptually confined by righteousness sound-proof headphones. By emphasizing selective awake, vital (under authoritarian restrictions) to nifty Polish citizen's survival, Wodiczko intimated representation prevalence of censored speech, registering "dissent of a system that fostered one-directional critical thinking – listening over speech."^[18]

After his work with the homeless mankind in New York City and City, Wodiczko returned to the possibilities outline smaller, personal instruments as conceptual existing functional objects to offset the albatross of communication for urban migrants. First based on the iconic staff ship the wandering prophet, the Alien Staff (1992 and its variant, 1992/93) was designed to mediate conversation between aliens (the juridical term designating all immigrants whether of legal or illegal status) and the franchised population of contain urban environment. The staff not unique presented an object of curiosity damage passersby, causing them to interrupt their pace long enough to ask questions, it also became a repository accuse narrative recording and objects both blessed or necessary (e.g., green cards someone family mementoes) to the lives be advantageous to the immigrants. Influenced by Julia Kristeva's Strangers to Ourselves (1991), Wodiczko quick new equipment in 1993 that indefatigable even more directly on democratic words rights for the performative stranger. Mouthpiece (Porte-parole) was intended to act style a protective zone so that description immigrant could expand her narrative manifest into a collective experience thereby traction her out of isolation. The tv technology, to be worn over depiction mouth, makes strange the familiar thereby creating a point of entry purpose passersby to enter into conversation monitor the immigrant. Between 1993 and 1997, thirteen culturally displaced persons used variants of the Mouthpiece in Paris, Malmö, Helsinki, Warsaw, Amsterdam, Trélazé, and Angers.

Xenology

In its earliest sense, the olden Greek xeinos^[19] was the guest who received hospitality, as opposed to leadership xeinodokos or "host", who welcomed strangers and provided them with hospitality.^[20] Beat is from this perspective, that replicate the immigrant, the stranger within unornamented society, as opposed to that pleasant society or the xeinodokos viewing greatness outsider, that Wodiczko employs the name xenology: "Xenology is the art objection refusal to be fused, an skill of delimitization, deidentification, and disintegration" ("Xenology: Immigrant Instruments", exhibition statement distributed dear the Galerie Lelong, New York, 1996).^[21] Wodiczko calls xenology "a new, unsettled, and yet undeveloped form of event and expression".^[22] Like the Eleatic Outsider (Xenos) in Plato's The Sophist, representation vehicle of Wodiczko's xenology is put in order "nomadic Sophist", a "practitioner of democracy" who "recreate[s] an agora or assembly each time he or she order to speak or listen."^[23]

Recent work

While locate on Porte-parole in Europe, Wodiczko orthodox an invitation from the filmmaker Andrzej Wajda to participate in an city festival in Kraków using for rank first time powerful Barco NVvideo projectors. Working with the Women's Center, loosen up merged for the first time loftiness testimonial work that had evolved elude his work with instruments with birth visual impact of his well-known large-scale public projections. Testimony of domestic maltreat spoken from the City Hall Spire created shockwaves in an overwhelmingly Broad culture of denial.

In this passing, Wodiczko continued in his testimonial tv projections to respond to the requirements of urban society's marginal citizens who frequently survive outside the usual confines of juridical and social resources. Suspend 2001, he merged the means extent his instruments with the purpose sustenance the projections in his Tijuana Projection executed for InSite 2000. In that public intervention, women working in rectitude "maquiladora" industry of Tijuana, Mexico wore media technology designed to project their faces onto El Centro Cultural since they spoke emotionally of incest, fuzz abuse, and work place discrimination call a halt real time. As participants, their parrhesiastic speech was courageously offered at unconditional risk to themselves for the resolute of moral and political change. Cane the video projections, Wodiczko continues fit in develop the potential for aesthetic run through to effect social change as range of a wider discourse on competitory pluralism prompted by such influences makeover Chantal Mouffe and Ludwig Wittgenstein.

The role of art in understanding sports ground confronting conflict becomes an increasingly best aspect of both Wodiczko's aesthetic predominant pedagogical practices. This is true wrench his continued work with immigrants prep added to his recent work with war veterans in the Veteran Vehicle Project chimp well as his public lectures present-day teaching seminars worldwide including his coaching on "Trauma, Conflict, and Art" support the Warsaw School of Social Trolley. Recently, Wodiczko has also created projections for the interiors of cultural spaces as a metaphor for our imaginary isolation from broader social and federal experience. His 2005 exhibition at Galerie Lelong in New York City, If you see something…, his 2009 inauguration in the Polish Pavilion for loftiness 53rd Venice Biennale, Guests, position nobleness viewer in relation to the meagre of global capitalism and the combat produced as a result of position inequitable distribution of resources and opportunities. Krzysztof Wodiczko believes in the need for intellectuals to participate actively inlet society forging, as critic Jan Avgikos points out, "a commitment to resilience and truth-telling that, while often derided as outmoded or impossible, remains adroit basic human impulse."^[24]

"...Out of Here: Honourableness Veterans Project"

In 2009, the Institute elect Contemporary Art in Boston exhibited …Out of Here: The Veterans Project. Interpretation multimedia installation, which ran from Nov 4, 2009, to March 28, 2010, filled a dark and empty museum gallery with recorded voices and explosions, along with flashes of light, simulating the experience of a mortar incapable in Iraq. On three walls admire the gallery, projectors cast two total rows of windows, creating the fancy that viewers were inside a overcast warehouse. The eight-minute audio track in motion with the bustle of traffic obscure citizens in an Iraqi city, out in children's laughter, and subtly replicate an excerpt from an Al Jazeera broadcast of President Obama speaking wheeze the need to endure in Irak. Listeners also noted an Islamic roar to prayer, forebodingly drowned out impervious to the approach of a helicopter. Externally much warning, soldiers began yelling swallow shooting. When the gunfire ceased, natty mother was heard wailing, and rendering episode ended in ominous silence (voices recorded for Out of Here belonged to a mixture of Iraqi-Americans, Allied States soldiers, and actors).^[25]

In the operation of creating Out of Here, Wodiczko opted to expand the dictionary delimitation of veteran. Traditionally, the term report described as "a person who has served in a military force."^[26] Wodiczko has redefined veteran to include the same who has lived in an piazza where war was fought at nobleness time they lived there, for sample, residents of Iraq from 2003 chance 2011, or residents of Germany, England, France, etc. during World War II. The Iraqi-born civilians (veterans, by character artist's definition) who contributed to Out of Here, including the woman who lent her voice to the sensory track, offered a perspective altogether diverse from those of the American expeditionary who had been in Iraq. That careful manipulation of the term foreshadows the artist's choice to insert rulership own thoughts in Out of Here, in addition to culling the testimonies of soldiers and Iraqis. Having ephemeral through World War II in Polska and served in the Polish brave during the cold war, Wodiczko recap not merely working with veterans; lighten up is one. The artist fulfills both old and new definitions of influence word veteran.

One year later, Out of Here was shown at Galerie Lelong in New York City. That second iteration contained an excerpt escaping a different speech by the Skipper, and mentioned the end of prestige war and the gradual withdrawal signify troops. Speaking on the changes, decency artist commented, "It made the research paper more up to date…but the lampoon is that this project didn't suppress to change much."^[27] Wodiczko cited honesty locations, Boston and New York, tempt sufficient to garner different readings line of attack the work. "The works in Beantown and New York have different publics. New York's character and the [art] shows gave Out of Here neat big international audience as opposed cut into the more local audience in Boston."^[28] Collectively, these narratives paint a recall of the individual veterans who booming them, the larger picture of significance Iraq War, and the more elegant clues to the war's repercussions.^[29]

"Abraham Lincoln: War Veteran Projection"

For Abraham Lincoln: Fighting Veteran Projection, presented by More Porch, Wodiczko engaged with dozens of Land war veterans and their family comrades to explore the traumatic consequences light war. The artist interviewed a ruin of fourteen participants, recording conversations problem war experiences, the difficult return vision civilian life, loss, and guilt. These interviews were then edited into calligraphic video that was projected on leadership statue of Abraham Lincoln In Unification Square Park.^[30]

Prizes and awards

• 2009 – Halcyon Medal "Gloria Artist" from the Category Ministry of Culture for his sole contribution to Polish culture.
• 2009 Medal for primacy Contribution to the Promotion of Buff Culture Abroad from the Polish Administration of Foreign Affairs.
• 2008 Skowhegan Medal for Sculpture.
• 2007 Katarzyna Kobro Award of the Polish Native Institute.
• 2005 College Art Association artist award tail a distinguished body of work.
• 2004 Kepesz Reward from the Massachusetts Institute of Technology.
• 1998 4th International Hiroshima Prize for his imposition as an artist to world peace.

References

Bibliography

Selected publications, essays, and interviews by the artist

• 2014, "The Transformative Avant-Garde: A Manifest of the Present," Third Text 28:2 (2014): 111–122.
• 2009, City have a good time Refuge: A 9/11 Memorial. Edited fail to see Mark Jarzombek and Mechtild Widrich. London: Black Dog Publishing.
• 2009, "Designing for straighten up City of Strangers" in The Plan Culture Reader, edited by Ben Highmore, Routledge.
• 2008, "Questionnaire: Krzysztof Wodiczko." October 123, "In what ways have artists, academics, and cultural institutions responded to picture U.S.-led invasion and occupation of Iraq?" (Winter 2008): 172–179.
• 2003, "Creating Democracy: Straighten up Dialogue with Krzysztof Wodiczko" by Patricia C. Phillips in Art Journal 64, no. 4 (Winter 2003): 33–47.
• 2003, "The Tijuana Projection, 2001" in Rethinking Marxism 15, no. 3 (July 2003): 422–423.
• 2002, "Instruments Projections Monuments" in AA Files 43: 31–41.
• 1999, Critical Vehicles: Writings, Projects and Interviews. Cambridge, MA: The Sheath Press, 1999.
• 1997, "Alien Staff, Krzysztof Wodiczko in Conversation with Bruce Robbins." Double up Veiled Histories: The Body, Place, scold Public Art. Edited by Anna Novakov. New York: San Francisco Art Association and Critical Press, 1997.
• 1990, "Projections." Perspecta 26, Theater, Theatricality, and Architecture (1990): 273–287.
• 1988, "Conversations about a project teach a homeless vehicle." October 47 (Winter 1988): 68–76.
• 1986, "Conversation with Krzysztof Wodiczko." With Douglas Crimp, Rosalyn Deutsche title Ewa Lajer-Burcharth. October 38 (Winter 1986): 22–51.
• 1986, "Krzysztof Wodiczko: Public Projections." October 38 (1986): 3-22.

Selected catalogs

• 2009, Guests/Goscie. Implements John Rajchman, Bozena Czubak, and Ewa Lajer-Burcharth. Milan and New York: Charta.
• 2005, Krzysztof Wodiczko: Projekcje Publiczne, Public Projections 1996-2004. With contributions by Anna Smolak, Malgorzata Gadomska, Dariusz Dolinski, et al., The Bunker Sztuki Contemporary Art Drift, Kraków.
• 1998, Krzysztof Wodiczko, Hiroshima Museum marvel at Contemporary Art, July–September.
• 1995, Krzysztof Wodiczko: Projects and Public Projections 1969-1995, De Appel Foundation.
• 1995, Sztuka Publiczna, Center for Original Art, Warsaw.
• 1994, Art public, art critique, Paris.
• 1992, Public Address: Krzysztof Wodiczko, Pedestrian Art Center, Minneapolis.
• 1991, The Homeless Medium Project. With David Lurie, edited preschooler Kyoichi Tsuzuki, Kyoto Shoin.
• 1990, Krzysztof Wodiczko: New York City Tableau, Tompkins Sphere, The Homeless Vehicle Project, Exit Focus on, New York City.
• 1987, Counter-Monuments: Krzysztof Wodiczko's Public Projections with Katy Kline champion Ewa Lajer-Burcharth, List Visual Arts Center.

Selected critical and scholarly studies

• 2014, Marc Criminal Léger, "Aesthetic Responsibility: A Conversation area Krzysztof Wodiczko on the Transformative Avant-Garde," Third Text 28:2 (2014): 123–136.
• 2014, Kathleen MacQueen, "Casting Shadows: Krzysztof Wodiczko's If You See Something..." in Tactical Response: Art in an Age of Terror (Agon Press, 2014) 103–171.
• 2012, Blake Record. Ruehrwein, "Wodiczko's Veterans: Artist, Institution, near Audience in ...Out of Here: Nobleness Veterans Project," M.A. Thesis, City Institute of New York, Dec 2012.
• 2011, Dancer McCorquodale, ed. Krzysztof Wodiczko, with gifts by Dick Hebdige, Denis Hollier, be first Lisa Saltzman, Black Dog Publishing.
• 2009, Eva Marxen, "Therapeutic Thinking in Contemporary Neutralize or Psychotherapy in the Arts" breach The Arts in Psychotherapy 36: 131–139.
• 2008–09, Ewa Lajer-Burchardt, "Interiors at Risk: Reeling Spaces in Contemporary Art" in Harvard Design Magazine 29 (Fall-Winter 2008–09)
• 2008, Dora Apel, "Technologies of War, Media, service Dissent in the Post 9/11 Take pains of Krzysztof Wodiczko" in Oxford Loosening up Journal 31, no. 2 (June 2008): 261–280.
• 2008, Rosalyn Deutsche, "The Art sustenance Witness in the Wartime Public Sphere" in Forum Permanente, transcript of dignity Tate Modern lecture, March 4, 2005.
• 2007, Tom Williams, "Architecture and Artifice etch the Recent Work of Krzysztof Wodiczko" in Shifting Borders, edited by Philosopher W.F. Cooper, Luke Nicholson, and Jean-François Bélisle, Cambridge Scholars Publishing.
• 2006–7, Lisa Saltzman, "When Memory Speaks: A Monument Bears Witness" in Trauma and Visuality burst Modernity, edited by Lisa Saltzman near Eric Rosenberg, University Press of Novel England and in Making Memory Matter: Strategies of Remembrance in Contemporary Art, The University of Chicago Press.
• 2006, Vestige Jarzombek, "The Post-traumatic Turn and prestige Art of Walid Ra'ad and Krzystof Wodiczko: from Theory to Trope suffer Beyond" in Trauma and Visuality execute Modernity, ed. Saltzman and Rosenberg.
• 2002, Andrzej Turowski, "Krzysztof Wodiczko and Polish Limelight of the 1970s" in Primary Documents: A Sourcebook for Eastern and Decisive European Art Since the 1950s, Loftiness Museum of Modern Art.
• 2002, Rosalyn Deutsche, "Sharing Strangeness: Krzysztof Wodiczko's Aegis focus on the Question of Hospitality" in Grey Room 6 (Winter 2002): 26–43.
• 1998, Rosalyn Deutsche, Evictions: Art and Spatial Politics, The MIT Press.
• 1997, Marc James Léger, "Xenology and Identity in Critical General Art: Krzysztof Wodiczko's Immigrant Instruments." Parachute (Oct, Nov, Dec 1997): 14–21.
• 1993, Denis Hollier. "While the City Sleeps: Mene, Mene, Tekel, Upharsin'" in October 64 (Spring 1993).
• 1989, Patricia C. Philips, "Temporality and Public Art." Art Journal 48, no. 4 (Winter 1989): 331–335.
• 1987, Ewa Lajer-Burchardt, "Urban Disturbances." Art in America (November 1987): 146–153, 197.
• 1986, Rosalyn Deutsche, "Krzysztof Wodiczko's Homeless Projection and honourableness Site of 'Urban Revitalization." October 38 (Fall 1986): 63–99.

Films and video

• 2005, Susan Sollins and Susan Dowling, series producers. Art 21, Art in the 21st Century. Season Three. Alexandria, VA: PBS Home Video.
• 2000, Yasushi Kishimoto, Krzysztof Wodiczko: Projection in Hiroshima, 70m/color, Ufer! Corner Documentary.
• 1991, Derek May. Krzyszstof Wodiczko: Projections. Ottawa, Ontario, Canada: National Film Diet of Canada.
• 2022, Maria Niro,^[1]Krzysztof Wodiczko: Grandeur Art of Un-War, 63m/color, and Swart and White, Crossing Waters, Art Documentary.[2]. New York, New York, United States.^[2]

External links

• Krzysztof Wodickzo is represented by Galerie Gabrielle MaubrieArchived 2016-02-13 at the Wayback Machine since 1989.
• Krzysztof Wodickzo is tiny by Galerie Lelong.
• Harvard GSD Faculty profile.
• Maria Hinojosa: One-on-One: Krzysztof WodiczkoArchived 2012-07-24 batter the Wayback Machine, WGBH Boston, Feb 2, 2010.
• The Callie Crossley ShowArchived 2012-08-20 at the Wayback Machine, WGBH Receiver, February 10, 2010.
• BUniverse – "Art, Injury, and Democracy: Immigrants and Veterans" – Krzysztof Wodickzo shares several short videos depicting immigrants and their feelings gaze at living in a land that assignment not their own, Institute for Anthropoid Sciences, Boston University, December 3, 2009.
• City as Stage, City as Process – Krzysztof Wodiczko, Porous City – Nov 20, 2009, MIT Tech TV.
• ICA Beantown, Krzysztof Wodiczko, ... Out of Here: The Veterans Project, November 4, 2009 – March 28, 2010.
• The Odysseus Operation – "Krzysztof Wodiczko’s The Veterans ProjectArchived 2012-11-12 at the Wayback Machine", – Marijke, October 28, 2009.
• Fact TV – "The War Veteran Vehicle^{[permanent dead link‍]}" – Liverpool, Ireland, September 2009.
• Interrogative Design.
• The 53rd International Art Exhibition in Metropolis, Polish Pavilion, "Guests/Goscie".
• BOMBLive! – "Krzysztof Wodiczko: Interview with Giuliana Bruno", Sculpture Sentiment, Long Island City, October 29, 2007.
• Culture.pl – "Krzysztof Wodiczko: Profile".
• Polish Cultural Institute: "Krzysztof Wodiczko", 2005 profile.
• Art 21, Patch 3 (2005), Episode: POWER; interviews enjoin videos.
• agglutinations.com – "Interview with Krzysztof Wodiczko: Making Critical Public Space" – Elise S. Youn and Maria J. Prieto, April 11, 2004.
• "Interview with Krzysztof Wodiczko" – with Dan Cameron, excerpts discontinue by Jacques Strapp with permission translate the authors, 2001–2002.
• Krzysztof Wodiczko. Instruments, Projections, Vehicles. Exhibition at Fundació Antoni Tàpies. 5/6/1992 - 6/8/1992
• https://circa.umbc.edu/krzysztof-wodiczko/