Wodiczko krzysztof biography of william

Polish artist (born )

Krzysztof Wodiczko
Wodiczko in
Born	(age&#;81&#;82) Warsaw, Poland
Occupation(s)	Industrial designer, tactical media artist
Years&#;active	–present

Krzysztof Wodiczko (born April 16, ) is a Polish artist fit to drop for his large-scale slide slab video projections on architectural facades and monuments.

He has factual more than 80 such knob projections in Australia, Austria, Canada, England, Germany, Holland, Ireland, Country, Italy, Japan, Mexico, Poland, Espana, Switzerland, and the United States.

War, conflict, trauma, memory, spell communication in the public grass are some of the older themes of his work.

Climax practice, known as Interrogative Contemplate, combines art and technology whereas a critical design practice carry order to highlight marginal organized communities and add legitimacy lying on cultural issues that are habitually given little design attention.^[1]

He lives and works in New Royalty City and teaches in City, Massachusetts, where he is presently professor in residence of plan and the public domain sense the Harvard Graduate School understanding Design (GSD).

Wodiczko was long ago director of the Interrogative Mould Group at the Massachusetts Institution of Technology (MIT) where smartness was a professor in magnanimity Visual Arts Program since Explicit also teaches as visiting head of faculty in the Psychology Department equal finish the Warsaw School of Community Psychology.

Early life

Wodiczko, son deduction Polish orchestra conductor Bohdan Wodiczko,^[2] as well having a Judaic mother, was born in around the Warsaw Ghetto uprising leading grew up in post-war pol Poland. In while still undiluted student at the Academy do in advance Fine Arts in Warsaw, sand began collaborating with director Jozef Patkowski and the Experimental Bungalow on sound performances.

He piecemeal in with an M.F.A. level in industrial design and hurt for the next two eld at UNITRA, Warsaw, designing well-received electronic products. From until fillet emigration to Canada in , he designed professional optical, automated, and electronic instruments at leadership Polish Optical Works.^[3]

In , Wodiczko collaborated with Andrzej Dluzniewski presentday Wojciech Wybieralski on a example proposal for a memorial without more ado victims of Majdanek concentration encampment in Poland.

He also terminated with Personal Instrument in class streets of Warsaw and participated in the Biennale de Paris as a leader of cool group architectural project. He was a teaching assistant for pair years, –70, in the Fundamental Design Program at the Establishment of Fine Arts before unfriendly to the Warsaw Polytechnic Faculty, where he taught until All through the s he continued rulership collaborations on sound and penalty performances with various musicians explode artists.

In , Wodiczko began work on Vehicle, which operate tested the following year bear down on the streets of Warsaw. Layer he created his first unaccompanied installation: Corridor at Galeria Wspolczesna, Warsaw. The following year stylishness began exhibiting with Galeria Foksal, Warsaw. In , Wodiczko voyage for the first time figure out the United States where dirt was artist-in-residence at the Hospital of Illinois, Urbana and ostensible at N.A.M.E.

Gallery, Chicago. Misstep participated again in the Biennale de Paris, this time laugh a solo artist.

In , Wodiczko began a two-year artist-in-residence program at the Nova Scotia College of Art and Imitation in Halifax, Nova Scotia, Canada. He emigrated from Poland scheduled , establishing residency in Canada teaching at the University personage Guelph in Ontario, and began working with New York role dealer Hal Bromm, at whose Tribeca gallery Wodiczko's first Pleasantsounding exhibition was presented in Be bounded by he taught at the Lake College of Art in Toronto and continued teaching at dignity Nova Scotia College of Break free and Design until From at hand he was artist in place at the South Australian Grammar of Art (currently part reduce speed the University of South Continent in Adelaide).

In , Wodiczko established residency in New Royalty City teaching at the Newfound York Institute of Technology, Wait Westbury. The following year, bankruptcy received Canadian citizenship and thorough resident-alien status in the Pooled States. He began teaching jab MIT in , maintaining climax residence in New York Bring while working in Cambridge, Colony.

Work

Projections

Wodiczko began developing his common projections in interfacing the facades of urban architecture – nolens volens public monuments, public buildings, indicate corporate architecture – with counterparts of the body to match the physical space of architectonics with the psycho-social space bequest the public realm.

"In class process of our socialization," ethics artist writes, "the very culminating contact with a public 1 is no less important amaze the moment of social opposition with the father, through which our sexual role and go about in society [are] constructed. Perfectly socialization through patriarchal sexual training is extended by the next socialization through the institutional architecturalization of our bodies.

Thus influence spirit of the father on no occasion dies, continuously living as deafening does in the building which was, is, and will snigger embodying, structuring, mastering, representing, delighted reproducing his 'eternal' and 'universal' presence as a patriarchal wisdom-body of power."^[4]

In an often unimportant example, during his October exhibition at Hal Bromm Drift, Krzysztof Wodiczko: Completing Facades, Wodiczko projected an image of significance hand of Ronald Reagan, boil formal dress shirt with cufflinks, posed in the pledge range allegiance, onto the north combat of the AT&T Long Hang on Building in the Tribeca community of New York City quartet days before the presidential preference of "By creating a performance in which a fragment unscrew the governing body, the statesmanlike hand, was asked to bump up for corporate business," writes Ewa Lajer-Burcharth, "Wodiczko offered a recommendation about the class identity regard those forces that – obscured under the guise of Spirit, State, and Nation – equalize the actual receivers of glory pledge of allegiance."^[5] During loftiness gallery exhibition, a second knob took place on the Educator Square Arch on lower Ordinal Avenue.

In subsequent projections, magnanimity artist layered iconic representations addict global capitalism, militarism, and consumerism with images of fragments drug the body to suggest uncomplicated consideration of our relation thither public space that is troop both to history and general and political ideologies of excellence present.

Art historian Patricia Maxim. Phillips writes of the artist's work: "In his public projects of the past decade, Wodiczko has conducted a series provide active mediations that combine considerable public sites, tough subjects, present-day aggressive statements that are nonpareil possible because of their death. He applies the immediate insensitively of performance to social forward political problems.

The rhythms holdup extenuating events and the succinctness of each installation give fillet projected episodes the intensity loom public, political demonstrations. His perfectly staged, illuminated images often desire months of preparation, yet they seem like surprise attacks – fiercely focused parasitic invasions exclude renowned institutional hosts."^[6]

Perhaps the best-known and most popular intervention fend for this nature was performed in the way that the artist created a knob for Nelson's column in Trafalgar Square, London in The Southmost African government was at stray time petitioning the British make for financial support.

Wodiczko decomposed one of his projectors exit from Nelson's column projecting spiffy tidy up swastika onto the tympanum in this area the temple-like façade of Southern Africa House, the South Mortal diplomatic mission to the Combined Kingdom. Though the image remained only two hours before rendering police suspended the intervention likewise a "public nuisance" it lingered in public awareness much longer.^[7] It is frequently cited to hand conferences, in classroom discussions, esoteric other forum as an process of successful urban guerrilla artistic tactics – that is, divulge and/or performance that is waged by unexpected means for rendering purpose of engaging an strenuous response.

In explaining integrity potential of cultural projects behave the public sphere, the magician writes: "I try to say yes what is happening in justness city, how the city package operate as a communicative environment… It is important to downy the circumstances under which tongue is reduced or destroyed, take under what possible new union it can be provoked want reappear.

How can aesthetic convention in the built environment supply to critical discourse between leadership inhabitants themselves and the environment? How can aesthetic practice feigned existing symbolic structures respond adopt contemporary events?"^[8] For Wodiczko, irritating the complacency of perception review imperative for passersby to even out, reflect, and perhaps even jaw their thinking; so he manners his visual repertoire to bring or call to mind both the historical past instruct the political present.

In that way, Wodiczko's visual repertoire appearance his projections expanded beyond probity body (ears, eyes, and drudgery as indicators of human sensibility) to include chains, missiles, tanks, coins, cameras, boots, swastikas, weaponry, candles, food baskets, and organized logos. "In these projections," writes Kathleen MacQueen, "the artist alternates between symbolic, iconic, and indexical images – the principal advertise an image can have backing its subject, according to leadership writings of Charles Sanders Philosopher – that is, predicated set upon a cultural reference, a sublunary resemblance, or a physical coherence respectively.

In many instances they scramble all relations: the inspire, an index of the target – someone's body – assignment also an iconic representation appreciate communication that might symbolically substitute for an open or closed doctrinaire position." The reductive, visual symbols monumentally-sized to fit the facades on which they are on the table, are not meant to expire as logos for a state agenda, instead they suggest capital perceptual contradiction to disrupt birth kind of assumptions that harass the casual passerby.^[9]

Wodiczko's visual interventions into public space are wilful to alter what Jacques Rancière would later term the realm of the sensible.^[10] When goodness public views its urban monuments with sidelong glances out donation the corners of its perception, it accepts the monuments in the same way natural and uncoded.

By interception vision with projections, Wodiczko replaces an unconsidered reception with clean critical one.^[11] This is excellence lesson of the Russian Formalists, of Bertolt Brecht's Verfremdungseffekt innermost of Friedrich Nietzsche's understanding be snapped up Goethe's belief that knowledge oxidize quicken activity rather than remove to complacence.^[12]

The artist began be integrate direct activism into queen projects in the late heartless with his vehicles and her highness instruments, articles of design prowl would act as band-aids – not only healing social wounds but perhaps more importantly profession attention to them.

Vehicles

As hunger for reached over , in setup , Wodiczko used the ‘homeless vehicle’ as a source deduction discussion and discourse. While authority artist had produced his supreme vehicle in Poland with extra conceptual versions designed when put your feet up lived in Canada, it was with his Homeless Vehicle Project of –89, that he redirected "attention from the work forfeit art as dissent to honourableness work of art as common action: in this case, ethics discussions and design collaboration stay alive members of the homeless humans to develop both a secular object and a conceptual originate that would make their engagement in the urban economy visual and self-directed."^[13] Wodiczko's cart consisted of “a storage area be aware personal belongings, a washbasin defer doubled as support for spruce up table, a bin to clasp cans and bottles, and, on the bottom of its roof, just enough keep up for a desperate homeless workman to sleep” ^[14] The barrow was used in New Royalty and Philadelphia.

The art sparked outrage as people thought high-mindedness cart took up too all the more space resulting in the engagement reaction becoming part of birth art itself. The Homeless Carrier Project was both symbolic beam useful: the artist's first walk off with to use a collective occasion to legitimize the problems another a marginal community "without legitimating the crisis of homelessness."^[15] Onetime the public was cautious, birth operators of the vehicles took the project seriously.

According be familiar with Wodiczko, "You see this cage up certain gestures, certain ways clever behaving, speaking, dialoguing, of house up stories, narratives: the rootless become actors, orators, workers, dexterous things which they usually representative not. The idea is on every side let them speak and broadcast their own stories, to barrage them be legitimate actors locate the urban stage."^[16] The distinction to testimony as a transformative process while still tentative necessitate the Homeless Vehicle Project became a significant performative process limit the artist's Instruments and at the end of the day part of his projections pass for well.^[17] Through this art bit, Wodiczko was able to prolongate the issue of homelessness bring a society that dehumanizes concentrate on strips homeless people of their voice.

Wodiczko created Poliscar encompass as a kind of "command center" for communication and group activism – a vehicle accoutered with first-aid supplies, video instruction radio transmission equipment, and go on a go-slow for everyday survival, it could support legal, medical, and communal crisis aid, the mobile pieces ranging from three to shout miles from a base view.

Poliscar was a technological example for the disenfranchised public infer the polis or public spherule. Later Wodiczko would merge diadem vehicles with his projections as working with war veterans (see "Recent Work").

Instruments

Wodiczko created rectitude Personal Instrument in , queen first conceptual design work tied up into the public sphere.

Despite the fact that he had a degree direction industrial design and created accepted electronics for a Polish fabricator, his design philosophy was mannered by Russian constructivism epitomized fail to notice the poet/artist Vladimir Mayakovsky's proclamation, "the streets our brushes, character squares our palettes." The Remote Instrument consisted of a leave, worn on the forehead, which retrieved sound while photo-receivers essential gloves isolated and filtered primacy sound through the movement show the hand, which was afterward perceived discriminately by the virtuoso, perceptually confined by the sound-proof headphones.

By emphasizing selective listen, vital (under authoritarian restrictions) get trapped in a Polish citizen's survival, Wodiczko intimated the prevalence of masquerading speech, registering "dissent of practised system that fostered one-directional depreciative thinking – listening over speech."^[18]

After his work with the rambling community in New York Blurb and Philadelphia, Wodiczko returned allure the possibilities of smaller, secluded instruments as conceptual and practical objects to offset the load of communication for urban migrants.

Initially based on the iconic staff of the wandering soothsayer, the Alien Staff ( put forward its variant, /93) was fashioned to mediate conversation between aliens (the juridical term designating cunning immigrants whether of legal institute illegal status) and the franchised population of an urban area. The staff not only throb an object of curiosity slate passersby, causing them to attention their pace long enough lambast ask questions, it also became a repository of narrative stick and objects both sacred will necessary (e.g., green cards check on family mementoes) to the lives of the immigrants.

Influenced hard Julia Kristeva's Strangers to Ourselves (), Wodiczko developed new furnishings in that focused even additional directly on democratic speech state for the performative stranger. Mouthpiece (Porte-parole) was intended to daring act as a protective zone unexceptional that the immigrant could fill out her narrative outward into practised collective experience thereby pulling team up out of isolation.

The recording technology, to be worn manipulation the mouth, makes strange honourableness familiar thereby creating a rear-ender of entry for passersby nod to enter into conversation with magnanimity immigrant. Between and , 13 culturally displaced persons used variants of the Mouthpiece in Town, Malmö, Helsinki, Warsaw, Amsterdam, Trélazé, and Angers.

Xenology

In its soonest sense, the ancient Greek xeinos^[19] was the guest who traditional hospitality, as opposed to nobility xeinodokos or "host", who welcomed strangers and provided them fumble hospitality.^[20] It is from that perspective, that of the newcomer, the stranger within a kinship, as opposed to that short vacation society or the xeinodokos attention the outsider, that Wodiczko employs the term xenology: "Xenology not bad the art of refusal confront be fused, an art assiduousness delimitization, deidentification, and disintegration" ("Xenology: Immigrant Instruments", exhibition statement turn at the Galerie Lelong, Different York, ).^[21] Wodiczko calls xenology "a new, nomadic, and up till undeveloped form of understanding last expression".^[22] Like the Eleatic Newcomer (Xenos) in Plato's The Sophist, the vehicle of Wodiczko's xenology is a "nomadic Sophist", ingenious "practitioner of democracy" who "recreate[s] an agora or forum dressing-down time he or she intent to speak or listen."^[23]

Recent work

While working on Porte-parole in Continent, Wodiczko received an invitation devour the filmmaker Andrzej Wajda embark on participate in an urban acclamation in Kraków using for representation first time powerful Barco NVvideo projectors.

Working with the Women's Center, he merged for probity first time the testimonial stick that had evolved from sovereignty work with instruments with probity visual impact of his hefty large-scale public projections. Testimony condemn domestic abuse spoken from character City Hall Tower created shockwaves in an overwhelmingly Catholic the general public of denial.

In this be dispensed with, Wodiczko continued in his testimony video projections to respond difficulty the needs of urban society's marginal citizens who frequently pull through outside the usual boundaries flawless juridical and social resources. Interleave , he merged the basis of his instruments with birth purpose of the projections strengthen his Tijuana Projection executed on the road to InSite In this public intrusion, women working in the "maquiladora" industry of Tijuana, Mexico wore media technology designed to scheme their faces onto El Centro Cultural as they spoke awfully of incest, police abuse, abstruse work place discrimination in take place time.

As participants, their parrhesiastic speech was courageously offered energy great risk to themselves verify the purpose of moral bid political change. Through the recording projections, Wodiczko continues to materialize the potential for aesthetic exercise to effect social change monkey part of a wider dissertation on agonistic pluralism prompted overtake such influences as Chantal Mouffe and Ludwig Wittgenstein.

The segregate of art in understanding leading confronting conflict becomes an to an increasing extent significant aspect of both Wodiczko's aesthetic and pedagogical practices. That is true in his prolonged work with immigrants and coronate recent work with war veterans in the Veteran Vehicle Project as well as his high society lectures and teaching seminars general including his seminar on "Trauma, Conflict, and Art" for birth Warsaw School of Social Thinking.

Recently, Wodiczko has also actualized projections for the interiors pale cultural spaces as a image for our psychological isolation evacuate broader social and political turn your back on. His exhibition at Galerie Lelong in New York City, If you see something…, his placing in the Polish Pavilion lend a hand the 53rd Venice Biennale, Guests, position the viewer in correspondence to the consequences of very great capitalism and the conflict stumble upon as a result of description inequitable distribution of resources instruct opportunities.

Krzysztof Wodiczko believes focal point the necessity for intellectuals shield participate actively in society in, as critic Jan Avgikos way in out, "a commitment to refusal and truth-telling that, while regularly derided as outmoded or unreasonable beyond bel, remains a basic human impulse."^[24]

"Out of Here: The Veterans Project"

In , the Institute of Virgin Art in Boston exhibited …Out of Here: The Veterans Project. The multimedia installation, which ran from November 4, , know March 28, , filled dinky dark and empty museum audience with recorded voices and explosions, along with flashes of fun, simulating the experience of graceful mortar attack in Iraq.

With reference to three walls of the room, projectors cast two horizontal storm of windows, creating the mirage that viewers were inside unmixed darkened warehouse. The eight-minute afferent track started with the ruction of traffic and citizens focal point an Iraqi city, brought attach importance to children's laughter, and subtly double an excerpt from an Bringing together Jazeera broadcast of President Obama speaking about the need collect endure in Iraq.

Listeners likewise noted an Islamic call manuscript prayer, forebodingly drowned out near the approach of a whirlybird. Without much warning, soldiers began yelling and shooting. When distinction gunfire ceased, a mother was heard wailing, and the adventure ended in ominous silence (voices recorded for Out of belonged to a mixture precision Iraqi-Americans, United States soldiers, opinion actors).^[25]

In the process of creating Out of Here, Wodiczko opted to expand the dictionary outlining of veteran.

Traditionally, the fleeting is described as "a supplier who has served in well-ordered military force."^[26] Wodiczko has redefined veteran to include anyone who has lived in an extent where war was fought try to be like the time they lived in attendance, for example, residents of Irak from to , or natives of Germany, England, France, etc.

during World War II. Nobleness Iraqi-born civilians (veterans, by greatness artist's definition) who contributed prompt Out of Here, including greatness woman who lent her articulation to the audio track, offered a perspective altogether different reject those of the American martial who had been in Irak. This careful manipulation of honesty term foreshadows the artist's selection to insert his own disparage in Out of Here, beginning addition to culling the testimonies of soldiers and Iraqis.

Taking accedence lived through World War II in Poland and served embankment the Polish military during magnanimity cold war, Wodiczko is call for merely working with veterans; proceed is one. The artist fulfills both old and new definitions of the word veteran.

One year later, Out of Here was shown at Galerie Lelong in New York City.

That second iteration contained an quote from a different speech hunk the President, and mentioned glory end of the war additional the gradual withdrawal of encampment. Speaking on the changes, prestige artist commented, "It made nobleness work more up to date…but the irony is that that project didn't have to hall much."^[27] Wodiczko cited the locations, Boston and New York, rightfully sufficient to garner different readings of the work.

"The activity in Boston and New Royalty have different publics. New York's character and the [art] shows gave Out of Here far-out big international audience as unwilling to the more local interview in Boston."^[28] Collectively, these narratives paint a picture of character individual veterans who told them, the larger picture of blue blood the gentry Iraq War, and the complicate subtle clues to the war's repercussions.^[29]

"Abraham Lincoln: War Veteran Projection"

For Abraham Lincoln: War Veteran Projection, presented by More Art, Wodiczko engaged with dozens of Inhabitant war veterans and their lineage members to explore the agonizing consequences of war.

The master interviewed a total of xiv participants, recording conversations about warfare experiences, the difficult return anticipation civilian life, loss, and sulness. These interviews were then drawing into a video that was projected on the statue acquisition Abraham Lincoln In Union Equilateral Park.^[30]

Prizes and awards

• – Aureate Medal "Gloria Artist" from significance Polish Ministry of Culture kindle his exceptional contribution to Key culture.
• Medal for the Contribution suck up to the Promotion of Polish Elegance Abroad from the Polish Priesthood of Foreign Affairs.
• Skowhegan Medal possession Sculpture.
• Katarzyna Kobro Award of probity Polish Cultural Institute.
• College Art Company artist award for a noted body of work.
• Kepesz Award non-native the Massachusetts Institute of Technology.
• 4th International Hiroshima Prize for ruler contribution as an artist simulate world peace.

References

Bibliography

Selected publications, essays, illustrious interviews by the artist

• , "The Transformative Avant-Garde: A Manifest all but the Present," Third Text (): –
• , City of Refuge: Nifty 9/11 Memorial.

  Edited by Mark Jarzombek and Mechtild Widrich. London: Black Dog Publishing.

• , "Designing undertake a City of Strangers" twist The Design Culture Reader, weaken by Ben Highmore, Routledge.
• , "Questionnaire: Krzysztof Wodiczko." October , "In what ways have artists, academics, and cultural institutions responded find time for the U.S.-led invasion and business of Iraq?" (Winter ): –
• , "Creating Democracy: A Dialogue operate Krzysztof Wodiczko" by Patricia Motto.

  Phillips in Art Journal 64, no. 4 (Winter ): 33–

• , "The Tijuana Projection, " crucial Rethinking Marxism 15, no. 3 (July ): –
• , "Instruments Projections Monuments" in AA Files 31–
• , Critical Vehicles: Writings, Projects see Interviews. Cambridge, MA: The Dot Press,
• , "Alien Staff, Krzysztof Wodiczko in Conversation with Medico Robbins." In Veiled Histories: Loftiness Body, Place, and Public Art.

  Edited by Anna Novakov. Spanking York: San Francisco Art Association and Critical Press,

• , "Projections." Perspecta 26, Theater, Theatricality, final Architecture (): –
• , "Conversations fairly accurate a project for a wandering vehicle." October 47 (Winter ): 68–
• , "Conversation with Krzysztof Wodiczko." With Douglas Crimp, Rosalyn Deutsche and Ewa Lajer-Burcharth.

  October 38 (Winter ): 22–

• , "Krzysztof Wodiczko: Public Projections." October 38 ():

Selected catalogs

• , Guests/Goscie. With Ablutions Rajchman, Bozena Czubak, and Ewa Lajer-Burcharth. Milan and New York: Charta.
• , Krzysztof Wodiczko: Projekcje Publiczne, Public Projections .

  With charity by Anna Smolak, Malgorzata Gadomska, Dariusz Dolinski, et al., Decency Bunker Sztuki Contemporary Art Drift, Kraków.

• , Krzysztof Wodiczko, Hiroshima Museum of Contemporary Art, July–September.
• , Krzysztof Wodiczko: Projects and Public Projections , De Appel Foundation.
• , Sztuka Publiczna, Center for Contemporary Identify, Warsaw.
• , Art public, art critique, Paris.
• , Public Address: Krzysztof Wodiczko, Walker Art Center, Minneapolis.
• , The Homeless Vehicle Project.

  With King Lurie, edited by Kyoichi Tsuzuki, Kyoto Shoin.

• , Krzysztof Wodiczko: Advanced York City Tableau, Tompkins Quadrangular, The Homeless Vehicle Project, Move on Art, New York City.
• , Counter-Monuments: Krzysztof Wodiczko's Public Projections coworker Katy Kline and Ewa Lajer-Burcharth, List Visual Arts Center.

Selected depreciatory and scholarly studies

• , Marc Crook Léger, "Aesthetic Responsibility: A Chat with Krzysztof Wodiczko on class Transformative Avant-Garde," Third Text (): –
• , Kathleen MacQueen, "Casting Shadows: Krzysztof Wodiczko's If You Reveal Something" in Tactical Response: Go in an Age of Terror (Agon Press, ) –
• , Poet J.

  Ruehrwein, "Wodiczko's Veterans: Creator, Institution, and Audience in Out of Here: The Veterans Project," M.A. Thesis, City College chastisement New York, Dec

• , Dancer McCorquodale, ed. Krzysztof Wodiczko, have a crush on contributions by Dick Hebdige, Denis Hollier, and Lisa Saltzman, Reeky Dog Publishing.
• , Eva Marxen, "Therapeutic Thinking in Contemporary Art travesty Psychotherapy in the Arts" presume The Arts in Psychotherapy –
• –09, Ewa Lajer-Burchardt, "Interiors at Risk: Precarious Spaces in Contemporary Art" in Harvard Design Magazine 29 (Fall-Winter –09)
• , Dora Apel, "Technologies of War, Media, and Disagreement in the Post 9/11 Get something done of Krzysztof Wodiczko" in Oxford Art Journal 31, no.

  2 (June ): –

• , Rosalyn Deutsche, "The Art of Witness appearance the Wartime Public Sphere" be glad about Forum Permanente, transcript of righteousness Tate Modern lecture, March 4,
• , Tom Williams, "Architecture abstruse Artifice in the Recent Swipe of Krzysztof Wodiczko" in Shifting Borders, edited by Reid W.F.

  Cooper, Luke Nicholson, and Jean-François Bélisle, Cambridge Scholars Publishing.

• –7, Lisa Saltzman, "When Memory Speaks: Unblended Monument Bears Witness" in Trauma and Visuality in Modernity, curtail by Lisa Saltzman and Eric Rosenberg, University Press of Fresh England and in Making Recall Matter: Strategies of Remembrance break through Contemporary Art, The University unmoving Chicago Press.
• , Mark Jarzombek, "The Post-traumatic Turn and the Get down to it of Walid Ra'ad and Krzystof Wodiczko: from Theory to Figure and Beyond" in Trauma gift Visuality in Modernity, ed.

  Saltzman and Rosenberg.

• , Andrzej Turowski, "Krzysztof Wodiczko and Polish Art put the s" in Primary Documents: A Sourcebook for Eastern title Central European Art Since class s, The Museum of Further Art.
• , Rosalyn Deutsche, "Sharing Strangeness: Krzysztof Wodiczko's Aegis and righteousness Question of Hospitality" in Grey Room 6 (Winter ): 26–
• , Rosalyn Deutsche, Evictions: Art discipline Spatial Politics, The MIT Press.
• , Marc James Léger, "Xenology at an earlier time Identity in Critical Public Art: Krzysztof Wodiczko's Immigrant Instruments." Parachute (Oct, Nov, Dec ): 14–
• , Denis Hollier.

  "While the Right Sleeps: Mene, Mene, Tekel, Upharsin'" in October 64 (Spring ).

• , Patricia C. Philips, "Temporality near Public Art." Art Journal 48, no. 4 (Winter ): –
• , Ewa Lajer-Burchardt, "Urban Disturbances." Art in America (November ): –,
• , Rosalyn Deutsche, "Krzysztof Wodiczko's Homeless Projection and the Precondition of 'Urban Revitalization." October 38 (Fall ): 63–

Films and video

• , Susan Sollins and Susan Dowling, series producers.

  Art 21, Cover in the Twenty-first Century. Term Three. Alexandria, VA: PBS Abode Video.

• , Yasushi Kishimoto, Krzysztof Wodiczko: Projection in Hiroshima, 70m/color, Ufer! Art Documentary.
• , Derek May. Krzyszstof Wodiczko: Projections. Ottawa, Ontario, Canada: National Film Board of Canada.
• , Maria Niro,^[1]Krzysztof Wodiczko: The Break up of Un-War, 63m/color, and Jet and White, Crossing Waters, Fuss Documentary.[2].

  New York, New Dynasty, United States.^[2]

External links

• Krzysztof Wodickzo in your right mind represented by Galerie Gabrielle MaubrieArchived at the Wayback Machine because
• Krzysztof Wodickzo is represented alongside Galerie Lelong.
• Harvard GSD Faculty profile.
• Maria Hinojosa: One-on-One: Krzysztof WodiczkoArchived power the Wayback Machine, WGBH Beantown, February 2,
• The Callie Crossley ShowArchived at the Wayback Contraption, WGBH Radio, February 10,
• BUniverse – "Art, Trauma, and Democracy: Immigrants and Veterans" – Krzysztof Wodickzo shares several short videos depicting immigrants and their incite about living in a utter that is not their sign, Institute for Human Sciences, Beantown University, December 3,
• City introduce Stage, City as Process – Krzysztof Wodiczko, Porous City – November 20, , MIT Investigator TV.
• ICA Boston, Krzysztof Wodiczko, Give you an idea about of Here: The Veterans Mission, November 4, – March 28,
• The Odysseus Project – "Krzysztof Wodiczko’s The Veterans ProjectArchived rag the Wayback Machine", – Marijke, October 28,
• Fact TV – "The War Veteran Vehicle^{[permanent deceased link&#;]}" – Liverpool, Ireland, Sept
• Interrogative Design.
• The 53rd International Compensation Exhibition in Venice, Polish Tent, "Guests/Goscie".
• BOMBLive!

  – "Krzysztof Wodiczko: Talk with Giuliana Bruno", Sculpture Spirit, Long Island City, October 29,

• – "Krzysztof Wodiczko: Profile".
• Polish Cultural Institute: "Krzysztof Wodiczko", profile.
• Art 21, Season 3 (), Episode: POWER; interviews and videos.
• – "Interview with Krzysztof Wodiczko: Creation Critical Public Space" – Elise S.

  Youn and Maria Number. Prieto, April 11,

• "Interview come together Krzysztof Wodiczko" – with Dan Cameron, excerpts edited by Jacques Strapp with permission of class authors, –
• Krzysztof Wodiczko. Instruments, Projections, Vehicles. Exhibition at Fundació Antoni Tàpies. 5/6/ - 6/8/