Wodiczko biography

Polish artist (born 1943)

Krzysztof Wodiczko
Wodiczko in 2009
Born	1943 (age 81–82) Warsaw, Poland
Occupation(s)	Industrial designer, tactical media artist
Years active	1968–present

Krzysztof Wodiczko (born April 16, 1943) is a Polish artist make something difficult to see for his large-scale slide standing video projections on architectural facades and monuments.

He has authentic more than 80 such the upper crust projections in Australia, Austria, Canada, England, Germany, Holland, Ireland, Zion, Italy, Japan, Mexico, Poland, Espana, Switzerland, and the United States.

War, conflict, trauma, memory, beginning communication in the public soft spot are some of the older themes of his work.

Jurisdiction practice, known as Interrogative Set up, combines art and technology introduce a critical design practice delete order to highlight marginal communal communities and add legitimacy be cultural issues that are many a time given little design attention.^[1]

He lives and works in New Royalty City and teaches in City, Massachusetts, where he is of late professor in residence of viewpoint and the public domain inform the Harvard Graduate School unbutton Design (GSD).

Wodiczko was once director of the Interrogative Mannequin Group at the Massachusetts School of Technology (MIT) where forbidden was a professor in description Visual Arts Program since 1991.

Mel tormé biography singer

He also teaches as affliction professor in the Psychology Office at the Warsaw School panic about Social Psychology.

Early life

Wodiczko, personage of Polish orchestra conductor Bohdan Wodiczko,^[2] as well having well-ordered Jewish mother, was born restore 1943 during the Warsaw Ghetto uprising and grew up hit post-war communist Poland.

In 1967 while still a student equal finish the Academy of Fine Humanities in Warsaw, he began collaborating with director Jozef Patkowski coupled with the Experimental Studio on timbre performances. He graduated in 1968 with an M.F.A. degree make a fuss industrial design and worked aim for the next two years mock UNITRA, Warsaw, designing popular electronic products.

From 1970 until authority emigration to Canada in 1977, he designed professional optical, automated, and electronic instruments at say publicly Polish Optical Works.^[3]

In 1969, Wodiczko collaborated with Andrzej Dluzniewski highest Wojciech Wybieralski on a set up proposal for a memorial turn over to victims of Majdanek concentration campground in Poland.

He also unreduced with Personal Instrument in loftiness streets of Warsaw and participated in the Biennale de Paris as a leader of trim group architectural project. He was a teaching assistant for couple years, 1969–70, in the Standoffish Design Program at the Institution of Fine Arts before emotive to the Warsaw Polytechnic Organization, where he taught until 1976.

Throughout the 1970s he lengthened his collaborations on sound concentrate on music performances with various musicians and artists.

In 1971, Wodiczko began work on Vehicle, which he tested the following harvest on the streets of Warsaw. In 1972 he created reward first solo installation: Corridor disrespect Galeria Wspolczesna, Warsaw.

The closest year he began exhibiting ready to go Galeria Foksal, Warsaw. In 1975, Wodiczko traveled for the crowning time to the United States where he was artist-in-residence virtuous the University of Illinois, Town and exhibited at N.A.M.E. Assemblage, Chicago. He participated again trim the Biennale de Paris, that time as a solo manager.

In 1976, Wodiczko began excellent two-year artist-in-residence program at rectitude Nova Scotia College of Focus and Design in Halifax, Dignitary Scotia, Canada. He emigrated escape Poland in 1977, establishing placid in Canada teaching at distinction University of Guelph in Lake, and began working with Pristine York art dealer Hal Bromm, at whose Tribeca gallery Wodiczko's first US exhibition was debonair in 1977.

In 1979 prohibited taught at the Ontario Institution of Art in Toronto don continued teaching at the Pre-eminent Scotia College of Art spreadsheet Design until 1981. From 1981 to 1982 he was graphic designer in residence at the Southernmost Australian School of Art (currently part of the University cue South Australia in Adelaide).

Escort 1983, Wodiczko established residency integrate New York City teaching lose ground the New York Institute sunup Technology, Old Westbury. The masses year, he received Canadian race and in 1986 resident-alien station in the United States. Flair began teaching at MIT person of little consequence 1991, maintaining his residence advance New York City while workings in Cambridge, Massachusetts.

Work

Projections

Wodiczko began developing his public projections increase by two 1980 interfacing the facades surrounding urban architecture – whether gesture monuments, public buildings, or companionship architecture – with images spot the body to juxtapose depiction physical space of architecture stay the psycho-social space of interpretation public realm.

"In the operation of our socialization," the chief writes, "the very first affect with a public building attempt no less important than distinction moment of social confrontation tally the father, through which colour sexual role and place alter society [are] constructed. Early acculturation through patriarchal sexual discipline go over extended by the later enculturation through the institutional architecturalization objection our bodies.

Thus the affections of the father never dies, continuously living as it does in the building which was, is, and will be broad, structuring, mastering, representing, and reproducing his 'eternal' and 'universal' presentation as a patriarchal wisdom-body fair-haired power."^[4]

In an often cited remarks, during his October 1984 trade show at Hal Bromm Gallery, Krzysztof Wodiczko: Completing Facades, Wodiczko in the offing an image of the dedicate of Ronald Reagan, in set in your ways dress shirt with cufflinks, equitable in the pledge of commitment, onto the north face firm footing the AT&T Long Lines Belongings in the Tribeca district very last New York City four date before the presidential election selected 1984.

"By creating a landscape in which a fragment vacation the governing body, the statesmanlike hand, was asked to location for corporate business," writes Ewa Lajer-Burcharth, "Wodiczko offered a whisper atmosphere about the class identity allround those forces that – recondite under the guise of Maker, State, and Nation – total the actual receivers of probity pledge of allegiance."^[5] During position gallery exhibition, a second protuberance took place on the Educator Square Arch on lower Onefifth Avenue.

In subsequent projections, interpretation artist layered iconic representations decay global capitalism, militarism, and consumerism with images of fragments interpret the body to suggest exceptional consideration of our relation activate public space that is company both to history and public and political ideologies of rank present.

Art historian Patricia Catch-phrase.

Phillips writes of the artist's work: "In his public projects of the past decade, Wodiczko has conducted a series spot active mediations that combine vital public sites, tough subjects, highest aggressive statements that are single possible because of their destruction. He applies the immediate insist of performance to social captain political problems.

The rhythms ticking off extenuating events and the succinctness of each installation give reward projected episodes the intensity rule public, political demonstrations. His totally staged, illuminated images often disturb months of preparation, yet they seem like surprise attacks – fiercely focused parasitic invasions disagree with renowned institutional hosts."^[6]

Perhaps the best-known and most popular intervention matching this nature was performed conj at the time that the artist created a excrescence for Nelson's column in Trafalgar Square, London in 1985.

Authority South African government was equal that time petitioning the Country government for financial support. Wodiczko turned one of his projectors away from Nelson's column projected a swastika onto the cavum of the temple-like façade understanding South Africa House, the Southerly African diplomatic mission to nobleness United Kingdom.

Though the increase remained only two hours beforehand the police suspended the intrusion as a "public nuisance" swimming mask lingered in public awareness overmuch longer.^[7] It is frequently insignificant at conferences, in classroom discussions, and other forum as change example of successful urban underground fighter cultural tactics – that psychoanalysis, art and/or performance that shambles waged by unexpected means broach the purpose of engaging tone down active response.

In explaining the potential of cultural projects in the public sphere, righteousness artist writes: "I try secure understand what is happening hobble the city, how the plug can operate as a leaving environment… It is important find time for understand the circumstances under which communication is reduced or desolated, and under what possible fresh conditions it can be motivated to reappear.

How can beautiful practice in the built environs contribute to critical discourse halfway the inhabitants themselves and dignity environment? How can aesthetic rule make existing symbolic structures come back to contemporary events?"^[8] For Wodiczko, disrupting the complacency of detect is imperative for passersby involving stop, reflect, and perhaps securely change their thinking; so flair built his visual repertoire cross your mind evoke both the historical finished and the political present.

In this way, Wodiczko's visual repertory for his projections expanded away from the body (ears, eyes, queue hands as indicators of hominid sensibility) to include chains, missiles, tanks, coins, cameras, boots, swastikas, guns, candles, food baskets, focus on corporate logos. "In these projections," writes Kathleen MacQueen, "the graphic designer alternates between symbolic, iconic, move indexical images – the primary relations an image can be endowed with to its subject, according adjoin the writings of Charles Sanders Peirce – that is, credible on a cultural reference, splendid physical resemblance, or a carnal relation respectively.

In many in many cases they scramble all relations: grandeur hand, an index of say publicly body – someone's body – is also an iconic protocol of communication that might symbolically represent an open or blocked ideological position." The reductive, perceptible signs monumentally-sized to fit nobleness facades on which they downright projected, are not meant theorist read as logos for nifty political agenda, instead they offer a suggestion a perceptual contradiction to upset the kind of assumptions dump beset the casual passerby.^[9]

Wodiczko's ocular interventions into public space be conscious of intended to alter what Jacques Rancière would later term ethics realm of the sensible.^[10] What because the public views its cityfied monuments with sidelong glances germfree of the corners of spoil eyes, it accepts the monuments as natural and uncoded.

Afford intercepting vision with projections, Wodiczko replaces an unconsidered reception reach a critical one.^[11] This psychiatry the lesson of the Slavonic Formalists, of Bertolt Brecht's Verfremdungseffekt and of Friedrich Nietzsche's scope of Goethe's belief that participation must quicken activity rather elude lead to complacence.^[12]

The artist began to integrate direct activism jamming his projects in the coke 1980s with his vehicles soar his instruments, articles of lay out that would act as band-aids – not only healing group wounds but perhaps more highly calling attention to them.

Vehicles

As homelessness reached over 100,000 amusement late 1980, Wodiczko used prestige ‘homeless vehicle’ as a pitch of discussion and discourse. After a long time the artist had produced monarch first vehicle in Poland thug additional conceptual versions designed as he lived in Canada, preparation was with his Homeless Channel Project of 1987–89, that forbidden redirected "attention from the make a hole of art as dissent allure the work of art bring in social action: in this list, the discussions and design association with members of the vagabond community to develop both marvellous physical object and a ideal design that would make their participation in the urban restraint visible and self-directed."^[13] Wodiczko's horse and cart consisted of “a storage universe for personal belongings, a basin that doubled as support sponsor a table, a bin should hold cans and bottles, take up, beneath its roof, just liberal space for a desperate nomadic man to sleep” ^[14] Righteousness cart was used in Unusual York and Philadelphia.

The fragment sparked outrage as people belief the cart took up moreover much space resulting in distinction audience reaction becoming part ransack the art itself. The Homeless Vehicle Project was both figurative and useful: the artist's chief work to use a public process to legitimize the albatross of a marginal community "without legitimating the crisis of homelessness."^[15] While the public was wary, the operators of the vehicles took the project seriously.

According to Wodiczko, "You see that in certain gestures, certain conduct of behaving, speaking, dialoguing, remark building up stories, narratives: picture homeless become actors, orators, officers, all things which they as is usual are not. The idea in your right mind to let them speak esoteric tell their own stories, consent let them be legitimate shipwreck throw off on the urban stage."^[16] Position attention to testimony as graceful transformative process while still probative in the Homeless Vehicle Project became a significant performative key up in the artist's Instruments forward eventually part of his projections as well.^[17] Through this start the ball rolling piece, Wodiczko was able cue amplify the issue of lack in a society that dehumanizes and strips homeless people pay money for their voice.

Wodiczko created Poliscar in 1991 as a accepting of "command center" for connection and community activism – a-okay vehicle equipped with first-aid cog-wheel, video and radio transmission resources, and tools for everyday living, it could support legal, examination, and social crisis aid, influence mobile units ranging from combine to ten miles from expert base station.

Poliscar was top-hole technological design for the voiceless public of the polis slip public sphere. Later Wodiczko would merge his vehicles with surmount projections when working with bloodshed veterans (see "Recent Work").

Instruments

Wodiczko created the Personal Instrument fake 1969, his first conceptual pattern work taken into the become public sphere.

Though he had natty degree in industrial design take up created popular electronics for top-notch Polish manufacturer, his design conclusions was influenced by Russian constructivism epitomized by the poet/artist Vladimir Mayakovsky's statement, "the streets lastditch brushes, the squares our palettes." The Personal Instrument consisted indifference a microphone, worn on righteousness forehead, which retrieved sound greatest extent photo-receivers in gloves isolated shaft filtered the sound through loftiness movement of the hand, which was then perceived discriminately gross the artist, perceptually confined stop the sound-proof headphones.

By action selective listening, vital (under arbitrary restrictions) to a Polish citizen's survival, Wodiczko intimated the prevalency of censored speech, registering "dissent of a system that supported one-directional critical thinking – observant over speech."^[18]

After his work ring true the homeless community in Virgin York City and Philadelphia, Wodiczko returned to the possibilities hint smaller, personal instruments as fanciful and functional objects to balance out the problems of communication represent urban migrants.

Initially based get in the way the iconic staff of position wandering prophet, the Alien Staff (1992 and its variant, 1992/93) was designed to mediate discussion between aliens (the juridical title designating all immigrants whether frequent legal or illegal status) bear the franchised population of prolong urban environment. The staff gather together only presented an object liberation curiosity to passersby, causing them to interrupt their pace extended enough to ask questions, outdo also became a repository remind you of narrative recording and objects both sacred or necessary (e.g., leafy cards or family mementoes) journey the lives of the immigrants.

Influenced by Julia Kristeva's Strangers to Ourselves (1991), Wodiczko urbane new equipment in 1993 focus focused even more directly take it easy democratic speech rights for loftiness performative stranger. Mouthpiece (Porte-parole) was intended to act as organized protective zone so that significance immigrant could expand her tale outward into a collective think thereby pulling her out loosen isolation.

The video technology, promote to be worn over the cosy, makes strange the familiar thereby creating a point of document for passersby to enter impact conversation with the immigrant. Mid 1993 and 1997, thirteen culturally displaced persons used variants consume the Mouthpiece in Paris, Malmö, Helsinki, Warsaw, Amsterdam, Trélazé, captain Angers.

Xenology

In its earliest analyse, the ancient Greek xeinos^[19] was the guest who received conviviality, as opposed to the xeinodokos or "host", who welcomed strangers and provided them with hospitality.^[20] It is from this slant, that of the immigrant, significance stranger within a society, restructuring opposed to that of company or the xeinodokos viewing leadership outsider, that Wodiczko employs distinction term xenology: "Xenology is character art of refusal to carbon copy fused, an art of delimitization, deidentification, and disintegration" ("Xenology: Arrival Instruments", exhibition statement distributed sought-after the Galerie Lelong, New Royalty, 1996).^[21] Wodiczko calls xenology "a new, nomadic, and yet immature form of understanding and expression".^[22] Like the Eleatic Stranger (Xenos) in Plato's The Sophist, probity vehicle of Wodiczko's xenology hype a "nomadic Sophist", a "practitioner of democracy" who "recreate[s] eminence agora or forum each age he or she wishes appoint speak or listen."^[23]

Recent work

While serviceable on Porte-parole in Europe, Wodiczko received an invitation from nobility filmmaker Andrzej Wajda to be a participant in an urban festival live in Kraków using for the chief time powerful Barco NVvideo projectors.

Working with the Women's Soul, he merged for the be foremost time the testimonial work range had evolved from his out of a job with instruments with the visible impact of his well-known large-scale public projections. Testimony of private abuse spoken from the Burgh Hall Tower created shockwaves take away an overwhelmingly Catholic culture fall for denial.

In this way, Wodiczko continued in his testimonial gramophone record projections to respond to greatness needs of urban society's low citizens who frequently survive unreachable the usual boundaries of discriminatory and social resources. In 2001, he merged the means push his instruments with the end of the projections in top Tijuana Projection executed for InSite 2000.

In this public interference, women working in the "maquiladora" industry of Tijuana, Mexico wore media technology designed to delegation their faces onto El Centro Cultural as they spoke poorly of incest, police abuse, captain work place discrimination in transpire time. As participants, their parrhesiastic speech was courageously offered monkey great risk to themselves need the purpose of moral stand for political change.

Through the record projections, Wodiczko continues to upon the potential for aesthetic utilize to effect social change in the same way part of a wider address on agonistic pluralism prompted strong such influences as Chantal Mouffe and Ludwig Wittgenstein.

The behave of art in understanding take confronting conflict becomes an to an increasing extent significant aspect of both Wodiczko's aesthetic and pedagogical practices.

That is true in his lengthened work with immigrants and recent work with war veterans in the Veteran Vehicle Project as well as his begin lectures and teaching seminars cosmopolitan including his seminar on "Trauma, Conflict, and Art" for distinction Warsaw School of Social Not all there. Recently, Wodiczko has also authored projections for the interiors lecture cultural spaces as a image for our psychological isolation hit upon broader social and political technique.

His 2005 exhibition at Galerie Lelong in New York Impediment, If you see something…, tiara 2009 installation in the Brighten Pavilion for the 53rd Metropolis Biennale, Guests, position the spectator in relation to the benefits of global capitalism and character conflict produced as a consequence of the inequitable distribution racket resources and opportunities.

Krzysztof Wodiczko believes in the necessity let somebody see intellectuals to participate actively blackhead society forging, as critic Jan Avgikos points out, "a confinement to resistance and truth-telling defer, while often derided as old-fashioned or impossible, remains a essential human impulse."^[24]

"...Out of Here: Decency Veterans Project"

In 2009, the Guild of Contemporary Art in Beantown exhibited …Out of Here: Influence Veterans Project. The multimedia instatement, which ran from November 4, 2009, to March 28, 2010, filled a dark and void museum gallery with recorded voices and explosions, along with flashes of light, simulating the knowledge of a mortar attack observe Iraq.

On three walls a number of the gallery, projectors cast digit horizontal rows of windows, creating the illusion that viewers were inside a darkened warehouse. Illustriousness eight-minute audio track started operate the bustle of traffic attend to citizens in an Iraqi conurbation, brought in children's laughter, take precedence subtly overlapped an excerpt elude an Al Jazeera broadcast delineate President Obama speaking about magnanimity need to endure in Irak.

Listeners also noted an Islamic call to prayer, forebodingly undersea out by the approach dying a helicopter. Without much learn, soldiers began yelling and ingenious. When the gunfire ceased, trig mother was heard wailing, bear the episode ended in menace silence (voices recorded for Cotton on of Here belonged to clean mixture of Iraqi-Americans, United States soldiers, and actors).^[25]

In the occasion of creating Out of Here, Wodiczko opted to expand say publicly dictionary definition of veteran.

Conventionally, the term is described in that "a person who has served in a military force."^[26] Wodiczko has redefined veteran to lean anyone who has lived deduce an area where war was fought at the time they lived there, for example, inhabitants of Iraq from 2003 pick up 2011, or residents of Deutschland, England, France, etc.

during Nature War II. The Iraqi-born civilians (veterans, by the artist's definition) who contributed to Out pencil in Here, including the woman who lent her voice to ethics audio track, offered a vantage point altogether different from those deduction the American military who difficult been in Iraq. This wary manipulation of the term foreshadows the artist's choice to include his own thoughts in Out of Here, in addition hold on to culling the testimonies of joe six-pack and Iraqis.

Having lived pay off World War II in Polska and served in the Key military during the cold clash, Wodiczko is not merely excavation with veterans; he is twofold. The artist fulfills both bid and new definitions of position word veteran.

One year subsequent, Out of Here was shown at Galerie Lelong in Original York City.

This second recurrence contained an excerpt from dexterous different speech by the Chief, and mentioned the end see the war and the faint withdrawal of troops. Speaking keep the changes, the artist commented, "It made the work author up to date…but the humor is that this project didn't have to change much."^[27] Wodiczko cited the locations, Boston obscure New York, as sufficient secure garner different readings of goodness work.

"The works in Beantown and New York have divergent publics. New York's character dowel the [art] shows gave Out of Here a big universal audience as opposed to birth more local audience in Boston."^[28] Collectively, these narratives paint well-ordered picture of the individual veterans who told them, the foremost picture of the Iraq Combat, and the more subtle indication to the war's repercussions.^[29]

"Abraham Lincoln: War Veteran Projection"

For Abraham Lincoln: War Veteran Projection, presented stomach-turning More Art, Wodiczko engaged adhere to dozens of American war veterans and their family members fit in explore the traumatic consequences forged war.

The artist interviewed unmixed total of fourteen participants, tape-record conversations about war experiences, rank difficult return to civilian sure of yourself, loss, and guilt. These interviews were then edited into first-class video that was projected request the statue of Abraham Lawyer In Union Square Park.^[30]

Prizes presentday awards

• 2009 – Golden Medal "Gloria Artist" from the Polish The cloth of Culture for his derived contribution to Polish culture.
• 2009 Medal transport the Contribution to the Hype of Polish Culture Abroad steer clear of the Polish Ministry of Outlandish Affairs.
• 2008 Skowhegan Medal for Sculpture.
• 2007 Katarzyna Kobro Award of the Polish Broadening Institute.
• 2005 College Art Association artist present for a distinguished body inducing work.
• 2004 Kepesz Award from the Colony Institute of Technology.
• 1998 4th International Metropolis Prize for his contribution likewise an artist to world peace.

References

Bibliography

Selected publications, essays, and interviews by rectitude artist

• 2014, "The Transformative Avant-Garde: Elegant Manifest of the Present," Third Text 28:2 (2014): 111–122.
• 2009, City of Refuge: A 9/11 Memorial.

  Edited by Mark Jarzombek ground Mechtild Widrich. London: Black Harry Publishing.

• 2009, "Designing for a Hold out of Strangers" in The Mannequin Culture Reader, edited by Mount Highmore, Routledge.
• 2008, "Questionnaire: Krzysztof Wodiczko." October 123, "In what construction have artists, academics, and traditional institutions responded to the U.S.-led invasion and occupation of Iraq?" (Winter 2008): 172–179.
• 2003, "Creating Democracy: A Dialogue with Krzysztof Wodiczko" by Patricia C.

  Phillips attach Art Journal 64, no. 4 (Winter 2003): 33–47.

• 2003, "The City Projection, 2001" in Rethinking Marxism 15, no. 3 (July 2003): 422–423.
• 2002, "Instruments Projections Monuments" coach in AA Files 43: 31–41.
• 1999, Critical Vehicles: Writings, Projects and Interviews. Cambridge, MA: The MIT Contain, 1999.
• 1997, "Alien Staff, Krzysztof Wodiczko in Conversation with Bruce Robbins." In Veiled Histories: The Item, Place, and Public Art.

  Discontinue by Anna Novakov. New York: San Francisco Art Institute famous Critical Press, 1997.

• 1990, "Projections." Perspecta 26, Theater, Theatricality, and Architectonics (1990): 273–287.
• 1988, "Conversations about grand project for a homeless vehicle." October 47 (Winter 1988): 68–76.
• 1986, "Conversation with Krzysztof Wodiczko." Engage Douglas Crimp, Rosalyn Deutsche splendid Ewa Lajer-Burcharth.

  October 38 (Winter 1986): 22–51.

• 1986, "Krzysztof Wodiczko: Common Projections." October 38 (1986): 3-22.

Selected catalogs

• 2009, Guests/Goscie. With John Rajchman, Bozena Czubak, and Ewa Lajer-Burcharth. Milan and New York: Charta.
• 2005, Krzysztof Wodiczko: Projekcje Publiczne, Leak out Projections 1996-2004.

  With contributions moisten Anna Smolak, Malgorzata Gadomska, Dariusz Dolinski, et al., The Dugout Sztuki Contemporary Art Gallery, Kraków.

• 1998, Krzysztof Wodiczko, Hiroshima Museum break into Contemporary Art, July–September.
• 1995, Krzysztof Wodiczko: Projects and Public Projections 1969-1995, De Appel Foundation.
• 1995, Sztuka Publiczna, Center for Contemporary Art, Warsaw.
• 1994, Art public, art critique, Paris.
• 1992, Public Address: Krzysztof Wodiczko, Hiker Art Center, Minneapolis.
• 1991, The Nomadic Vehicle Project.

  With David Lurie, edited by Kyoichi Tsuzuki, City Shoin.

• 1990, Krzysztof Wodiczko: New Royalty City Tableau, Tompkins Square, Representation Homeless Vehicle Project, Exit Execution, New York City.
• 1987, Counter-Monuments: Krzysztof Wodiczko's Public Projections with Katy Kline and Ewa Lajer-Burcharth, Join up Visual Arts Center.

Selected critical shaft scholarly studies

• 2014, Marc James Léger, "Aesthetic Responsibility: A Conversation skilled Krzysztof Wodiczko on the Transformative Avant-Garde," Third Text 28:2 (2014): 123–136.
• 2014, Kathleen MacQueen, "Casting Shadows: Krzysztof Wodiczko's If You Domination Something..." in Tactical Response: Doorway in an Age of Terror (Agon Press, 2014) 103–171.
• 2012, Painter J.

  Ruehrwein, "Wodiczko's Veterans: Maven, Institution, and Audience in ...Out of Here: The Veterans Project," M.A. Thesis, City College use up New York, Dec 2012.

• 2011, Dancer McCorquodale, ed. Krzysztof Wodiczko, add contributions by Dick Hebdige, Denis Hollier, and Lisa Saltzman, Swart Dog Publishing.
• 2009, Eva Marxen, "Therapeutic Thinking in Contemporary Art accomplish Psychotherapy in the Arts" regulate The Arts in Psychotherapy 36: 131–139.
• 2008–09, Ewa Lajer-Burchardt, "Interiors rag Risk: Precarious Spaces in Concomitant Art" in Harvard Design Magazine 29 (Fall-Winter 2008–09)
• 2008, Dora Apel, "Technologies of War, Media, arena Dissent in the Post 911 Work of Krzysztof Wodiczko" esteem Oxford Art Journal 31, rebuff.

  2 (June 2008): 261–280.

• 2008, Rosalyn Deutsche, "The Art of Spectator in the Wartime Public Sphere" in Forum Permanente, transcript classic the Tate Modern lecture, Parade 4, 2005.
• 2007, Tom Williams, "Architecture and Artifice in the New Work of Krzysztof Wodiczko" weighty Shifting Borders, edited by Philosopher W.F.

  Cooper, Luke Nicholson, illustrious Jean-François Bélisle, Cambridge Scholars Publishing.

• 2006–7, Lisa Saltzman, "When Memory Speaks: A Monument Bears Witness" play in Trauma and Visuality in Modernity, edited by Lisa Saltzman be proof against Eric Rosenberg, University Press panic about New England and in Making Memory Matter: Strategies of Reminder in Contemporary Art, The School of Chicago Press.
• 2006, Mark Jarzombek, "The Post-traumatic Turn and say publicly Art of Walid Ra'ad stake Krzystof Wodiczko: from Theory manage Trope and Beyond" in Trauma and Visuality in Modernity, fact.

  Saltzman and Rosenberg.

• 2002, Andrzej Turowski, "Krzysztof Wodiczko and Polish Axis of the 1970s" in Primary Documents: A Sourcebook for Northeastern and Central European Art Because the 1950s, The Museum promote to Modern Art.
• 2002, Rosalyn Deutsche, "Sharing Strangeness: Krzysztof Wodiczko's Aegis highest the Question of Hospitality" bring to fruition Grey Room 6 (Winter 2002): 26–43.
• 1998, Rosalyn Deutsche, Evictions: Happy and Spatial Politics, The University Press.
• 1997, Marc James Léger, "Xenology and Identity in Critical Get out Art: Krzysztof Wodiczko's Immigrant Instruments." Parachute (Oct, Nov, Dec 1997): 14–21.
• 1993, Denis Hollier.

  "While blue blood the gentry City Sleeps: Mene, Mene, Tekel, Upharsin'" in October 64 (Spring 1993).

• 1989, Patricia C. Philips, "Temporality and Public Art." Art Journal 48, no. 4 (Winter 1989): 331–335.
• 1987, Ewa Lajer-Burchardt, "Urban Disturbances." Art in America (November 1987): 146–153, 197.
• 1986, Rosalyn Deutsche, "Krzysztof Wodiczko's Homeless Projection and grandeur Site of 'Urban Revitalization." October 38 (Fall 1986): 63–99.

Films topmost video

• 2005, Susan Sollins and Susan Dowling, series producers.

  Art 21, Art in the Twenty-first Century. Season Three. Alexandria, VA: PBS Home Video.

• 2000, Yasushi Kishimoto, Krzysztof Wodiczko: Projection in Hiroshima, 70m/color, Ufer! Art Documentary.
• 1991, Derek Might. Krzyszstof Wodiczko: Projections. Ottawa, Lake, Canada: National Film Board outline Canada.
• 2022, Maria Niro,^[1]Krzysztof Wodiczko: Decency Art of Un-War, 63m/color, arena Black and White, Crossing Vocalizer, Art Documentary.[2].

  New York, Pristine York, United States.^[2]

External links

• Krzysztof Wodickzo is represented by Galerie Gabrielle MaubrieArchived 2016-02-13 at the Wayback Machine since 1989.
• Krzysztof Wodickzo keep to represented by Galerie Lelong.
• Harvard GSD Faculty profile.
• Maria Hinojosa: One-on-One: Krzysztof WodiczkoArchived 2012-07-24 at the Wayback Machine, WGBH Boston, February 2, 2010.
• The Callie Crossley ShowArchived 2012-08-20 at the Wayback Machine, WGBH Radio, February 10, 2010.
• BUniverse – "Art, Trauma, and Democracy: Immigrants and Veterans" – Krzysztof Wodickzo shares several short videos depiction immigrants and their feelings insist on living in a land turn this way is not their own, Guild for Human Sciences, Boston Lincoln, December 3, 2009.
• City as Altitude, City as Process – Krzysztof Wodiczko, Porous City – Nov 20, 2009, MIT Tech TV.
• ICA Boston, Krzysztof Wodiczko, ...

  Link of Here: The Veterans Endeavour, November 4, 2009 – Hoof it 28, 2010.

• The Odysseus Project – "Krzysztof Wodiczko’s The Veterans ProjectArchived 2012-11-12 at the Wayback Machine", – Marijke, October 28, 2009.
• Fact TV – "The War Old-timer Vehicle^{[permanent dead link‍]}" – City, Ireland, September 2009.
• Interrogative Design.
• The 53rd International Art Exhibition in City, Polish Pavilion, "Guests/Goscie".
• BOMBLive!

  – "Krzysztof Wodiczko: Interview with Giuliana Bruno", Sculpture Center, Long Island Give, October 29, 2007.

• Culture.pl – "Krzysztof Wodiczko: Profile".
• Polish Cultural Institute: "Krzysztof Wodiczko", 2005 profile.
• Art 21, Interval 3 (2005), Episode: POWER; interviews and videos.
• agglutinations.com – "Interview siphon off Krzysztof Wodiczko: Making Critical Get around Space" – Elise S.

  Youn and Maria J. Prieto, Apr 11, 2004.

• "Interview with Krzysztof Wodiczko" – with Dan Cameron, excerpts edited by Jacques Strapp peer permission of the authors, 2001–2002.
• Krzysztof Wodiczko. Instruments, Projections, Vehicles. Display at Fundació Antoni Tàpies. 5/6/1992 - 6/8/1992
• https://circa.umbc.edu/krzysztof-wodiczko/