Maria Bartuszová is the subject of a major solo exhibition at MoMA Warsaw. Titled ‘Provisional Forms’ and curated by Marta Dziewańska and Gabriela Garlatyová, the exhibition runs from 25 September 2015 – 4 January 2015.
Until now, Bartuszová has been regarded as a little-known Slovak sculptor. Since 2007, when she was included in Documenta 12 in Kassel, her work has begun to appear in international exhibitions and prestigious collections of contemporary art around the world. In spite of this, Bartuszová’s art is yet to achieve true recognition, with her sculptures often exhibited individually, without a broader context and with no reference to the broader dynamics of her work.
In this regard, the landmark exhibition ‘Maria Bartuszová: Provisional Forms’ at MoMA Warsaw attempts to write a history that has never been written. Neither has it ever been conveyed in any coherent way, whereas this work is built on a dense mesh of incredibly potent and dynamic references, reversions and unexpected new departures – a record of hesitation and the search for a new language.