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hasalsopresenteduswiththedrawingsfor
Journey
from1967(thesculptureitselfisnowattheMuzeum
SztukiinŁódź).Theseworkscomefromthelate
periodoftheartist’scareer,whenSzapocznikowhad
alreadymovedtoFranceandparticipated,ifonly
toalimiteddegree,intheworldartcircuit,fromthe
mid-1960suntilherdeathin1973.Inherworkfrom
thattimewefindmotifsofutmostinterest
toustoday:theexposedbody,tracesofillness,and
recollectionsoftheHolocaust,plusanextremely
intenseflirtationwithpopularculture.Theseallhave
becomeimportantthemesexposedinthe“Awkward
Objects”exhibition.Alsoquitesignificantwasthe
proto-feministdimensionofSzapocznikow’sart,which
wasexplicitlyaccentuatedinthepresentation
byjuxtaposingtheartist’spieceswithothersbyMaria
Bartuszova,PaulineBoty,LouiseBourgeois,andEva
Hesse.
Bycallingour2009exhibition“Awkward
Objects,”wesoughttoproposeanewtake
onSzapocznikow’swork.“Awkwardobjects”are
wordstakenfromoneofthebestknowntextsbythe
artist—anoteshemadein1972,whichisnowseen
asherartisticmanifestoofsorts,writtenclosetothe
endofherlife.Themostfrequentlyquotedfragment
istheoneinwhichthesculptorwrites,
Mygestureisaddressedtothehumanbody,
“thatcompleteerogenouszone”
…Iamconvincedthatofallthe
manifestationsoftheephemeralthehuman
bodyisthemostvulnerable,theonlysource
ofalljoy,allsufferingandalltruth.
Thesetwosentenceshavealwaysbeenofkey
importancetointerpretingtheartofSzapocznikow
as,firstofall,beingpredominantlyfocusedonthe
bodyanditssensations,andsecondly,serving
asanautobiographicalrecordofboththeharsh
experiencestheartisthadlivedthrough,aswell
asherunfalteringenchantmentwiththeworld
