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sculptures,andasksabouttherelationsbetweenthe
artist’sworkandherdramaticbiography.Ernstvan
Alphen,ontheotherhand,triestoanalyzethe
sculptureswhichwerecreatedbeginningofthe
1960’s,applying,inhisattempt,theconceptof“
skin
ego
”coinedbytheFrenchpsychoanalystDidier
Anzieu.Thenextfourtextsaredevotedtoanalyzing
thelaterworkofSzapocznikow.TheessaybyAgata
Jakubowskaisanefforttointerpretthefirstworks
inwhichSzapocznikowusedcastsofafemalebody
—
Leg
and
Goldfinger
.Thetwotextswhichfolloware
aimedattracingtheconceptualmotifsintheartist’s
œuvre.ManuelaAmmerproposesanin-depth
interpretationofthetwoprojects
MyAmerican
Dream
and
Photoscultures
,whileAnkeKempkes
drawsabroaderpictureoftheconnectionsbetween
theseandotherconceptualworksbySzapocznikow
withtheartofhercontemporaries.PawełLeszkowicz
offersaninterpretationoftheworktitled
Piotr
,which
isexceptionalnotonlybecauseinmostofherworks
Szapocznikowfocusedonthefemalebodybutalso,
asLeszkowiczpointsout,itwastheartist’sson,Piotr,
whowasthemodelhere—justasinthecaseofone
ofherlastworks,
HerbariumXII
(
Head
ofChrist
),whichisthefocalpointinthepaper
presentedbySarahWilson(whoalsoconsidersthe
posthumousreceptionofSzapocznikow’sartinthe
Parismilieu,comparingittotheplaceoccupiedthere
byotherfemaleartists).
Thecollectionofviewspresentedatthe
conferenceendswithatextbyTomášPospiszyl.The
Czechresearchertriestoprovideananswertothe
followingquestion:howdidSzapocznikowbecome
asculptor?Here,Pospiszylfocusesontheearlyyears
theartistspentinPragueafterWorldWarII.Heuses
bothmaterialsgatheredfromtheartist’sarchives,
aswellasdocumentsfromothersources—and
showinghowmanyquestionmarksthereare
inregardtoseeminglyestablishedfactsintheartist’s
