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Miros³aw Baca |
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ISBN 978-83-943521-3-4
ISBN 978-83-943521-0-3
Online exhibition 27.11.2020 Butohsfera, Warsaw, Poland
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Exhibition
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Born in 1974 in Zakopane, Poland Studies at Academy of Fine Arts in Cracow, Faculty of Sculpture 1994-1999 Jagiellonian University in Cracow, Faculty of Philosophy 1997-1998
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Since years he realizes sculpture projects - both individual exhibitions and public commissions. Lecturer of Hokkaido University of Education in Japan. 2003 Government Scholarship in Mexico, Universidad Veracruzana, Xalapa, Ver. 2009-2011 grantee of Japanese Government Scholarship (MEXT) on Hokkaido University in Sapporo. From 2005 member of The Royal British Society of Sculptors in London. Permanently he lives in Cracow, Poland. He works both in the USA and Japan. He co-operates with galleries, cultural and artistic organizations and academical institutuions. He works with artists of many disciplines realizing artistic projects, joint exhibitions and publications. Founder and president of the board of the Fort Kosocice Foundation established in 2023 to create an International Art Residency Center in the fields of visual arts in Cracow, a cultural institution for artists, residents and visitors to the city. Support for artists, cooperation with renowned cultural institutions, cultural events with the participation of Polish and foreign artists are the key tasks and goals of the Foundation.
Solo
exhibitions: 2024 Ticino Duetto, Centro Internazionale di Scultura, Peccia, Switzerland 2024 Rondo Kraków, Muzeum Sztuki i Techniki Japoñskiej Manggha, Cracow, Poland 2024 + Spil / Play, Centrum Kultury Podgórza - Fort Borek, Cracow, Poland 2021 In Cahoots, Butohsfera, Warsaw, Poland 2020/2021 Interval, Butohsfera, Warsaw, Poland
2020 + Muslim World,
Dom Pod Jedlami (proj. S. Witkiewicz), Zakopane, Poland 2018 Evaporation Point: Sculpture & Prints, The Cochran Gallery, LaGrange, GA, USA 2016 BACA先生と学生の交流 記, Iwamizawa JR Station, Hokkaido, Japan
2016 Evaporation Point: In Wood and Stone,
Margaret Thatcher Projects, New York, NY, USA 2015 The Dance in Sculpture, Lamar Dodd Art Center, LaGrange, GA, USA 2011 Kanji Class, Sapporo Clock Tower Gallery, Sapporo, Japan 2007 Miros³aw Baca – Sculpture, R. MacNamara Foundation, Westport Island, ME, USA 2005 Miros³aw Baca – Escultura, Galería Marie-Louise Ferrari, Xalapa, Veracruz, Mexico 2003 La Junta, Jardín de las Esculturas, Xalapa, Veracruz, Mexico 1999 Muslim World, Jagiellonian University - Collegium Brosccianum, Cracow, Poland 1998 Folk People, Wall mural painting, Imilchil, Morrocco
Selected group exhibitions / Public Display :
2021 Brydnings tid / Time of Change, SkulpturOdense'21, Hollufgård Skulpturpark, Odense, Denmark 2020 16th Kajima Sculpture Competition, Kajima KI Bldg. (Tokyo), Asto Hall (Osaka), Japan 2019 I-Park Foundation, Inc. East Haddam, Connecticut, USA 2019/2020 Cotswold Sculpture Park, Cirencester, United Kingdom 2017 Serendipity Arts Festival, Craft Béton Gallery, Panjim, Goa, India 2017 Craft Béton, Rethinking Art, Bikaner House, India Gate, New Delhi, India 2015 The 26th UBE Biennale, UBE Tokiwa Museum, Ube City, Japan 2015 MECENAVIE, Galerie Thuillier, Paris, France 2014 Trofeo Il Tempio, Monreale ex Monasterio dei Benedettini, Palermo, Italy 2014 1° Biennale Della Creativita, Palaexpo Verona, Italy 2010 Fryderic Chopin Statue, Sapporo Snow Festival, Sapporo, Japan 2005 The Royal British Society of Sculptors, London, United Kingdom 2004 Artist Open,Leeds City Art Gallery, Leeds, United Kingdom 2003 Galería de Coatepec, Coatepec, Veracruz, Mexico
Artist-in-Residence:
2024 Centro Internazionale di Scultura, Peccia, Switzerland 2020/2021 Hollufgård, Artist Residence – Skulpturpark, Odense, Denmark 2019 I-Park Foundation, Inc. East Haddam, Connecticut, USA 2018 Kingsbrae International Residencies for the Arts, New Brunswick, Canada 2016 Cement Can Be Sexy, Craft Village, New Delhi, India 2014 Butterfly House, The Cochran Collection, LaGrange, Georgia, USA 2007 Robert M. MacNamara Foundation, Westport Island, Maine, USA
Public and private collections:
Fort Kosocice Foundation, Cracow, Poland Centro Internazionale di Scultura, Peccia, Switzerland Dom Pod Jedlami (proj. S. Witkiewicz), Zakopane, Poland I-Park Foundation, Inc. East Haddam, CT, USA Kingsbrae Gardens, Saint Andrews by the Sea, New Brunswick, Canada Robert M. MacNamara Foundation, Westport Island, ME, USA Lamar Dodd Art Center, LaGrange College, GA, USA The Cochran Collection, LaGrange, GA, USA Mikasa Modern Art Museum, Mikasa, Hokkaido, Japan Instituto Veracruzano de la Cultura, Jardín de las Esculturas, Xalapa, Veracruz, Mexico Galería Marie-Louise Ferrari, Xalapa, Veracruz, Mexico Hokkaido University of Education, Sapporo, Japan Thomas Anthony Mike III Collection, New York, NY, USA Craft Béton Collection 2017, Dalmia Bharat, New Delhi, India
Awards: Cracow City Bursary for Artists 2020, President of Cracow, Poland 1° Premio Trinacria, Trofeo Il Tempio, Premio Conca D’Oro, Palermo, Italy, 2014 Published articles:
Implied Movement: The Dance of Sculpture (with Tad Mike), University of Nevada, Las Vegas, 2015
Publications (catalogues, art books):
2021 Brydningstid, Published by Kunsterne og Hollufgård Skulpturpark, Odense, Denmark, 188, ISBN 978-87-981665-3-5
2017 Evaporation Point: Sculpture & Prints, Miros³aw Baca, Published by The Cochran Gallery, LaGrange, GA, USA, ISBN 978-83-943521-3-4
2015 The Dance in Sculpture, Miroslaw Baca, Tad Mike, Published by Lamar Dodd Art Center of LaGrange College, LaGrange, GA, USA, ISBN 978-83943521-0-3
2014 International Contemporary Artists vol. VIII, ICA Publishing, New York, Athens, 403 ISBN 978-61880007-4-2
2014 1a Biennale Internazionale della Creativa, Paolo Levi, EA Editore, Palermo, 540, ISBN 978-88-908587-0-3
2014 Trofeo Il Tempio – Premio Conca d’oro, Sandro Serradifalco, EA Editore, Palermo, 170 |
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Why sculpture? There is not any clear-cut answer. It is a means of expression, among others. This one, however, is difficult and specific. For me, it is the one that has appealed to me the most, not as a result of a deep thinking, but intuitively - language, form of communication, way of life. I am at the beginning of my way, struggling to learn about the chosen form. My sculptures are to express ideas, but very often, they are simply forms of expression, work over the material, the form, rather than the content. These are the equivalent elements for me, essential and complementing one another. I hardly ever work conceptually, starting with an idea and making a form out of it. Sometimes it is the opposite- it is the wood or the stone that suggests the final shape and the ideological 'casing' is thought of later, should the need arise.
As an artist I mainly work in traditional sculpture materials as wood, stone, ceramics and metal, also willingly making experiments and applying new technologies in my works. Travelling and working in different countries, beside finding new inspirations and possibilities of artistic collaboration, gives me an opportunity to work in new materials that are not accessible in other places.
I am interested in abstract form in relation with surrounding space and the receiver as a part of this zone. As the sculptor Isamu Noguchi understood the garden space: “I think of gardens as sculpturing of space. A man may enter such a space. It is in scale with him. It is real”.[1]
The size of my works and dimensions of each part of the suites are not random. They must correspond to human size and the surrounding area. The sculpture remains in correlation with the viewer who apparently becomes a part of the space surrounding the figure. Three-dimensionality of the sculptures, as well as the perforations and openings in the form imply the ambient air and surrounding space to become component element of the artwork itself. The artist Lee Ufan, the master of re-creating the space says: “Sculpture should create a zone of expression that includes the surrounding space”.[2] [1] Noguchi, Isamu. Isamu Noguchi: Stone and Paper. Dir. Narita Hiro. 1997, American Masters PBS Series, 56 Min. [2] Ufan, Lee. The Art of Encounter. Trans. Stanley N. Anderson. London: Lisson Gallery publications no. 42,2004 Links: Fort Kosocice Foundation - https://fortkosocice.pl/ The Royal Society of Sculptors, London - https://sculptors.org.uk/artists/miroslaw-baca
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The process of creation is open. It is an experiment. The result is impossible to be predicted. The only thing one can choose is the direction. This is exactly what I like about it -uncertainty and surprises. At the same time, I want to have the power over the process of creation to give it a sense, using the most adequate sources which hit the heart of the matter, to create the general character. It is the receiver that matters, who should make his/her own judgement or even spell it out.