Photography Classics and Avant-garde (results)
2 April 2020 7 PM CET

Ewa Partum (b. 1945)
From the series: 'Self-Identification', photo Marek Grygiel, 1980/1989
Hammer price: 55,000 PLN
LOT number
111
Ewa Partum (b. 1945)
From the series: 'Self-Identification', photo Marek Grygiel, 1980/1989

Hammer price: 55,000 PLN

gelatin-silver print/baryta paper, 39 x 57.5 cm (sheet)
signed and dated with pencil lower right: 'Ewa Partum 1989'
signed, dated and described in pencil on the reverse: 'EDYCJA 2/4 1989 Ewa Partum 1989'
ed. 2/4

another copy of the object in the collection:
- Museum of Art, Lodz
- "Subjects of Gender and Desire" Photographic Collection of Joanna and Krzysztof Madelski


ID: 82928
Taxes and fees
- In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer price of each lot sold. On all lots we charge 18 % of the hammer price.
Exhibited
  • The Incarnated. Exhibition of works from The Zacheta Lower Silesian Society for the Encouragement of Fine Arts, Wroclaw Contemporary Museum, Wroclaw, 2018
  • Self-Identyfication. Photographs from the collection of Joanna and Krzysztof Madelski, Fort Institute of Photography, Warsaw, 2017
  • Tree women. Maria Pininska-Beres, Natalia Lach-Lachowicz, Ewa Partum, Zacheta National Gallery of Art, Warsaw, 2011
  • Self-Identyfication, Xawery Dunikowski Museum of Sculpture "Krolikarnia", Warsaw, 2006
More information
‘This is difficult, feminist art, but not “feminine” art. Now that is a feat – to create feminist performances in Poland at the beginning of the ‘80s.(...) Back then, in the ‘70s, people were still discussing whether a woman is capable of analytical activities or whether she is only driven by emotion and impulse. With Partum, there is no impulse and there never was. It is purely the work of the mind and a question of how to use what is commonly perceived as femininity and body in her art.’

Dorota Jarecka (Hit, ”Wysokie Obcasy”, 28.10.2006)

The series titled ‘Samoidentyfikacja’ [Self-identification], which the presented work is part of, is Ewa Partum’s most recognizable work. Its loudness and force of expression has placed it in the canon of international feminist art. However, Partum’s work is distinguished from many iconic works of feminist artists around the world by the fact that the concept of ‘feminism’ was not only little known in Poland in 1980 but also recognized as a trivial and completely unnecessary import from the West. Despite this, one should remember that Partum did not base her photomontages on Western theories but rather on critical observation of the reality in the country – the artist was driven by the need for systemic change and total transformation of the Polish society. ‘Samoidentyfikacja’ was accompanied by a manifest that forthrightly rejected the status quo – expressing dissent against the set of roles and tasks determined by patriarchal culture that women must be subordinate to without question. During the 1980 vernissage of the exhibition of the same title at the Mala Galeria in Warsaw, artist left the gallery, naked, and entered a crowd that had gathered near the Palace of Weddings, which the newlyweds were just exiting. After some time, forced by the militia’s intervention, the artist hurriedly returned to the gallery.