Jarosław Suchan (1966, Cracow) – art historian, critic and curator. Since 2006 director of the Muzeum Sztuki in Lodz. Previously: deputy director and chief curator of the Centre for Contemporary Art Ujazdowski Castle in Warsaw (2002-2006), director of the Bunkier Sztuki Gallery in Cracow (1999-2002) and curator in the Starmach Gallery, Cracow (1991-1998). Curator and co-curator of many exhibitions of modern and contemporary art, to mention but a few: “Performer. Grotowski and Performance Art” (Zacheta Gallery, Warsaw 2009), “Katarzyna Kobro / Lygia Clark” (Muzeum Sztuki, Lodz 2008) “So ist es und anders” (Museum Abteiberg, Moenchengladbach 2008), “Delusive Orders” (Muzeum Sztuki Lodz 2007), “At The Very Center of Attention” (lead curator of the year-long multiple-exhibition program, CCA Ujazdowski Castle, Warsaw 2005-2006), “Tadeusz Kantor. Interior of Imagination” (Zacheta Gallery, Warsaw 2005), “4 rooms – gallery as a discursive space” (Bunkier Sztuki, Cracow 2002), “Tadeusz Kantor. Impossible” (Bunkier Sztuki Cracow 2000, CCA Ujazdowski Castle Warsaw 2001, Ludwig Museum Budapest 2001). Director of the 1st Festival of Young Polish Art “novart.pl” (Cracow 2002). Author of many texts about modern and contemporary art, editor of the book “Tadeusz Kantor. Impossible” (Cracow 2000).
In his lecture Suchan will talk about the methodology of museum’s collection. What an artwork in museum should do? How should it act? Should an artwork evidence, put in remembrance, commemorate the time it was made, or be a phenomenon that acts here and now – no matter how it was made? Is the museum of art an archive, or rather a happening? Or maybe – a “living archive”? In November 2008 the 20th / 21st century art collection of Muzeum Sztuki has been moved to the new space, called ms2, that was created in the revitalized 19th century factory building. Two years earlier we began a debate on the new installment of the collection. In the course of the debate all the questions put above have been asked. Simultaneously, we testified the possible solutions in the series of various events. The new display of the collection is the result of the theoretical discussions as well as the experiments held in a specific “laboratory of practices”. My lecture is devoted to this process of permanent recreation and re-actualization of the museum’s collection.