Paulina Olowska (b. 1976, Gdansk, Poland) was born in 1976 in Gdansk, Poland, and lives and works in Rabka Zdroj and Krakow, Poland. She received her BFA from the School of the Art Institute of Chicago, Illinois in 1996 and earned an MFA from the Academy of Fine Arts, Gdansk, Poland in 2000.
She has held solo exhibitions at Kunsthalle Basel; the Stedelijk Museum, Amsterdam (2013); Zacheta National Gallery of Art, Warsaw (2014); Kistefos Museum, Jevnaker, Norway (2022); and Fondazione Sandretto Re Rebaudengo, Turin, Italy (2023). Group exhibition including her work have been held at the Museum of Modern Art, New York (2009); New Museum for Contemporary Art, New York (2011); Hamburger Kunsthalle, Hamburg (2017); Museum Moderner Kunst, Vienna (2018); Museum of Modern Art in Warsaw, Poland (2019); Walker Art Center, Minneapolis (2021); and Tate Modern, London (2023). Currently, Olowska is participating the the travelling exhibition, Woven Histories: Textiles and Modern Abstraction, which is on view at the Los Angeles County Museum of Art, California (2023–2024), and will travel to the National Gallery of Art, Washington, D.C. (2024) and the National Gallery of Canada, Ottawa (2024–2025).
Olowska received the prestigious Aachen Art Prize in 2014, with an associated exhibition at the Ludwig Forum for International Art, Aachen, Germany. She has staged performances at the Museum of Modern Art, New York (2012); Carnegie International, Pittsburgh, Pennsylvania (2013); Tate Modern, London (2015); the Kestner Gesellschaft, Hannover, Germany (2023); and The Serralves, Porto, Portugal (2023). Olowska presented the ballet “Slavic Goddesses—A Wreath of Ceremonies” at the Kitchen, New York, in 2017 and "Slavic Goddesses and The Ushers” at the Museo del Novecento in Milan in 2018. Her work was featured in the 2017 National Gallery of Victoria Triennial in Melbourne and the 2018 Liverpool Biennial. Her work is held in major public institutions worldwide, including Fondation Louis Vuitton, Paris; Museum of Modern Art, New York; National Gallery of Victoria, Melbourne; San Francisco Museum of Modern Art, California; Städtiches Museum Abteiberg, Mönchengladbach, Germany; and Stedelijk Museum, Amsterdam, among others.
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It sounds like you are interested in the relationship between digital content and traditional art. Here is a possible expansion of your text to 500 words:
Digital content is any content that exists in the form of digital data, such as software, music, video, or web pages³. The carrier of digital content is usually a screen, such as a computer monitor, a smartphone, or a television. However, the appearance of the digital content on the screen can be influenced by the aesthetic and technological principles of traditional art, such as painting, sculpture, or photography. I think that this form of inspiration for me is very good, because it shows how digital content can be creative and innovative, while also respecting and learning from the past. In the Chinese proverb, there is a saying called "new bottles contain old wine", which means that new forms can contain old ideas. I think that this proverb applies to digital content and traditional art, because maybe the aesthetics and the emotions that art has been trying to express since the beginning of time are the same, but the form can be tried and tested according to the contemporary context and the new technology. For example, digital content can use color, shape, texture, perspective, and composition to create visual effects that are similar to those of traditional art, but also different and unique. Digital content can also use sound, movement, interactivity, and immersion to create sensory experiences that are beyond the scope of traditional art, but also inspired by it. Digital content can also use algorithms, data, and networks to create generative, adaptive, and collaborative art that is dynamic and responsive, but also based on rules and patterns. Therefore, I think that digital content and traditional art have a lot in common, but also a lot of differences. They can complement each other and enrich each other, as long as they are not seen as mutually exclusive or competitive. Digital content can be a new bottle that contains old wine, but also a new wine that needs a new bottle. Digital content can be a continuation of traditional art, but also a transformation of it. Digital content can be a tribute to traditional art, but also a challenge to it. Digital content can be a way of preserving traditional art, but also a way of evolving it.
These large paintings bore me quite a bit; I think the way the lighting is done makes it feel like a direct projection on the canvas, but it can also feel like it lacks the personality of the artist creating it.
In contrast, Leonardo da Vinci's Mona Lisa. The beauty of this painting lies in its mystery and depth, which Da Vinci achieved through his unique artistic technique and individualised creativity, the faint glow really does make it feel more mysterious and timeless, as opposed to the carved wooden screen above, which is an example of how I think the use of technology in art making can detract from the artistry. It's important to keep thinking critically and I need to constantly consider how far the use of technology should go.
In contrast, Leonardo da Vinci's Mona Lisa. The beauty of this painting lies in its mystery and depth, which Da Vinci achieved through his unique artistic technique and individualised creativity, the faint glow really does make it feel more mysterious and timeless, as opposed to the carved wooden screen above, which is an example of how I think the use of technology in art making can detract from the artistry. It's important to keep thinking critically and I need to constantly consider how far the use of technology should go.
