Anna Jochymek

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Works at: Seoul Art Space_GeumCheon
Stays in: 2014
born at 1988
daughter of soldier and physiotherapist
lives and works in Warszawa, Poland

2011 - 2013 M.A. Diploma, Miroslaw Balka Studio of Spatial Activities, Faculty of Media Art, Academy of Fine Arts in Warszawa
2008 - 2011 B.A. Diploma, Faculty of of Multimedia Communication, University of Arts in Poznań
2007 - 2008 Academy of Photography in Warszawa
2004 - 2007 II High School im.Wł. Broniewskiego in Koszalin, biol – med class

2014 MASTERMIND, New Curatorial Power Festival - Malta. Sunken memory, Poznań, PL
2014 - INVADE THE SPACE!, Redutowa 50 str., Warszawa, PL
2013 - BÂTONE FLEURDELISÉ, Spokojna 15, Warszawa, PL

2014 ARTE LAGUNA PRIZE 13.14, , Arsenale di Venezia, Venice, IT
2013 COMING OUT, Sinfonia Varsovia, Warszawa, PL
2013 HOLE/DZIURA, Trafostacja Sztuki, Szczecin, PL
2013 THE BEST DIPLOMAS, Great Armoury, Gdańsk, PL

2013 COHESION Teatr Nowy, Warszawa, PL

2012 ACTION 27. NEW YOUNG PERFORMANCE ART, Labirynt Gallery, Łódź, PL
2012 MASQUERADE, Centrumförfotografi, Stockholm, SE
2012 VIEWS!, Nowa Przestrzeń Gallery, International Festival of Photography, Łódź, PL
2012 REWOLTA/REBELIA, ]Performance Space[, London, UK
2012 HYGIENE, Spokojna 15, Warszawa, PL
2011 GENERATION AFTER..., 7th Biennale of Photography: Margins, Jewish Commune, Poznań, PL
2010 GALLERY NIGHT, Modelarnia, Gdańsk, PL


2014 Nominated to ARTE LAGUNA PRIZE 13.14, , Arsenale di Venezia, Venice, IT
2013 - Honourable Mention from the Rector for M.A. Diploma BÂTONE FLEURDELISÉ, Miroslaw Balka Studio of Spatial Activities, Academy of Fine Arts Warsaw, PL

2012 - Scholarship of The Ministry of Science and Higher Education

2012 - Art Residency, studio ]Performance Space[ , London, UK

2011 - Scholarship of The Ministry of Culture and National Heritage

2012 - monthly Art Residency, studio ]Performance Space[ , London, UK

2011 – participation in grant project N.A.T.U.R.E. (New Art Tours Undergraduate Researchers Experience). Polish – Norwegian workshops resulted in the exhibition. Poznań, Kabelvåg, PL / N

2014 – ARTE LAGUNA PRIZE 13.14 exhibition catalogue
2013 – COMING OUT. exhibition catalogue
2013 –TIME OUT LONDON, magazin, presentation of documentation from TRIBUTE TO 1963 action
2013 – NOTES NA 6 TYGODNI, magazin, presentation of documentation from HEXAGON action
Mastermind 2014

Mastermind 2014

Invade the Space! 2014

Invade the Space! 2014

Invade the Space! 2014

Bâton fleurdelisé 2013

Hexagon 2013

Hexagon 2013

project title: Hypothecality 
made in 2014
more info:


scientific lecture in a form of a package containing:

an official letter
a set of notes – copies of the manuscript
a lecture in three language versions on DVD (duration ~ 12 min)
The project was based on a cooperation between a Polish artist and a Korean physicist, Prof. Han Myung-Woo from the Department of Physics and Astronomy at the Seoul National University. The scientist agreed to present his new experimental theory of an alternative energy source that can be extracted from the process of human death. 
The lecture was distributed as a multi-language DVD and sent via post. 
The lecture was an effect of artistic and research work during a residency program at the Geumcheon Art Factory in Seoul, South Korea.
This term was invented by prof. Wolf Häfele named “ the father of the fast-breeder reactor” from the International Institute for Applied Systems Analysis in Laxenburg, Austria as a way to create scientific appearance for risky conjectures that have unreliable theoretical and practical bases. 

commentary to project Hypothecality
Project based on cooperation between Polish artist and Korean physicist, Prof. Han Myung-Woo, Department of Physics and Astronomy at Seoul National University who consented to present his new and experimental theory about alternative energy source which is taken form process of human dying.
Lecture was distributed as multi-language DVD and sent via post.
Shipment consisted:
- official letter
- set of notes
- manuscript’s copies
- 3-language lecture DVD
duration ~ 12 min
In fact this Professor does not exist and artist itself worked out the theory. Conception was consulted with Polish, Korean and British physics and translators to make it reliable. Project based at individual artist experience and each measurement based on real examples.
This term was invented by prof. Wolf Häfele named “father of the fast-breeder reactor” from International Institute for Applied Systems Analysis in Laxenburg, Austria as a way to create scientific appearance for risky conjectures and unreliable theoretical and practical bases. 

"What we see depends mainly on what we look for"
~ John Lubbock
"Amongst the humans, is there a human?"
~ Jonathan Lear, A Case for Irony
art critic, curator
As a young child, and into a nylon track-suite adolescence, I shared a lot of time in the municipal parks of a comfortable, yet claustrophobic, art-deco seaside town, with the company of swans. Of course, as would be expected, at that time and of that age, being a typical teenager caught in a mid-90s glaze, the bold white wings of regional modernist architecture did not quite exist for me. And, it is fair to say, neither did the metronomic swing of the sea's tide, the local plan and politics of the town's park, or even the regal ballet of a swan pertain to anything that I might now consider to be a vessel carrying expression. As is youth. As are locations.
Yet, in those formative coming-of-age summers, dossing in the cut-grass hours of a small town park, I can vividly remember the slow, luxuriant, almost arrogant drift of swans demure in occupation of what came to be known, in a townie's accented vernacular, as Swan Tower.
Swan Tower, if it can be called a 'tower', was not so much an emblem of anything towering, as it was a degraded, osmotic stack of old bricks, left without reproach, on a man-made pond, a park, a town, whose surface had been invaded by the hush and clamour of white swans. Nevertheless, despite its obvious visual depravity and general lack, the site prevailed and still remains a popular feature in two of the town's more collective commodities: that of storytelling, and giving directions.
Today, and within this paradox of silent interlocutor, of the totemic, of fixture, it is with Swan Tower as place that I can pin-point my first sense of artistic subject and what I have since come to know as subconscious duality.
Not being involved in art criticism, would I be able to perceive the <<art field>> with the technical clout that the work deserves? Would I be able to adequately express the many latent and subtle channels of communication captured within each image, each object or each artistic intention? Would I be able to go that step further and detect something definitive, something extraordinary, perceived between the demarcations?
It was then, in an act of stoppage, that I allowed myself a brief tautology, and recounted: art is what art does. Simple. Feeling generally relieved something like a coloratura came to mind: visions of Swan Tower.
But why? As previously mentioned, it was not the location that carried any sense of expression for me, but, still, something about the place: its explicit and implicit rhythmic tensions, the palpable border of now and then, its deadpan gaze of the non-subject.
This place of being thirteen, fourteen was a time in my life when things really began to take shape; when something of the creative self began to take notice; when, perhaps, the filters of perception were being constructed. Becoming. Undoubtedly this was a significant portion of my life; yet, its experience in itself, I must admit, back then, felt like a physical 'meantime'. A not-here-nor-there. An intervening. A cusp.
As onlookers we are confronted with the artless surface, absent of human hand, and an image that we know, subconsciously, is replica. Thus, it falls to the viewer to steer their way of seeing within the force and charge of the artist's photographic frame, or, instead, allow themselves to be guided as guest. By acknowledging this duality, both artist and viewer are able to strengthen their responses, address themself as participant in the 'conversation', and then reach and develop together new tools for discovering a perceptive depth.
We learn by seeing, and what we learn and how it is learnt influences our vision.