¬ Engaging History to create dialogues
Grażyna Kulczyk sets great store by her role as an ambassador for contemporary Polish and Middle Eastern European art, which has long been omitted from the canon and tended to be overlooked by the majority of Western critics and collectors, due to the particular political environment of the former Eastern bloc states. Beyond this general ambition, her collecting strategy also reflects two key interests: International artists have joined the collection, opening up new perspectives and highlighting contrasts between works but also hinting to parallels and raising questions about the multifarious and complex relations between East and West in general. These expanded perspectives and contrasts within the collection provide the basis for commentary on complex and timely global concerns. The women’s perspective in the collection adds a clear feminist mission to the endeavours of Grażyna Kulczyk, whose own history as an independent, creative entrepreneur is at the root of a deep understanding and emotional connection to issues women face in their artistic practice. Her collection reflects this interest, inviting and encouraging participation, contributing to the recognition and greater visibility of women — as artists and elsewhere.

Muzeum Susch - Grażyna Kulczyk

by Grażyna Kulczyk

¬ Opening Perspectives
Established in 2004, as the Kulczyk Foundation, the ART STATIONS FOUNDATION by Grażyna Kulczyk is to support innovative developments of culture and art and to provide artists with opportunities to engage with local communities. The mission of popularising culture and art, in addition to facilitating and increasing their availability to a broader public, was consistently accomplished through the foundation’s various exhibition projects and grants focusing on innovative juxtapositions of Polish and international contemporary art. Taking up new artistic trends, as well as engaging in aesthetic and theoretic exploration, the activities of the foundation are providing fresh perspectives for viewing the collection and beyond. Since 2017 the Foundation operates both from Poland and from Switzerland.

ASF website


Promise No Promises!

ı ≈ μ

10 – 11 October 2018

With Stefanie Hessler, Natasha Sadr, Hannah Weinberger, Alexandra Navratil, Julieta Aranda, Elise Lammer, Emily Ding, Laura Miriam Leonardi, Selina Grüter & Michèle Graf, Camille Aleña, Axels Stiefel, Katharina Brandl and Mareike Dittmer. Moderated by Chus Martínez and Quinn Latimer.

A two-day meeting among artists and practitioners to pose questions on the position of women in the arts, moderated by Quinn Latimer and Chus Martinez, this symposium inaugurates a long-term research collaboration with Instituto Susch / Art Stations Foundation CH, brainchild of Grażyna Kulczyk and the Art Institute in Basel.

Is there any beginning that can proceed without questions? We don’t think so. And yet: Should the queries concern gender, the question of women, and transgender issues? Should questions of masculinityalso be asked? And are these general enquiries similar to those queries that follow us to work, within (and without) the arts? Are practical questions relevant, those that redefine our thinking on the matter? Are old and new feminist concerns—arising from a spectrum of feminisms—adequate to cover the entire spectrum of questions that we may need to ask? Are these queriesan exercise we may desire as well as a protocol we may embark on to test the “equality health” of specific (professional and personal) situations? Do you think you can avoid having to deal with all these issues? Are you afraid of talking? Does the sound of your own voice give you pleasure or make you wince? How much money do you want to earn? Do you think your career will continue to rise in the near future? Are you afraid of your own desires? Is it better to remain mute or to disclose your ambition, even if, many times, you seem to not find the words to express it?

Promise No Promises! begins with a short performance, an impulse or “input” of sorts, performed by Natasha Sadr on the first day; Quinn Latimer offers this “input” on the second, and Chus Martinez offers it sometime (and somewhere) in the middle. The two days of the symposium will oscillate between the multiple questions and answers we ask and receive, as well as those testimonies and additional queries and demands of all the participants and the audience, including new questions that we will be generating in real time. This is a symposium that hopes to perform all those relevant matters to a specific context (at once geographic and emotional, professional and personal), and to those forming a community, to those missing more care… The answers we receive may revolve around the circumstances of the place, Switzerland, where many of the guests come from or work, but they may not remainthere long, since artists do not only practice in “their”place. Indeed, our aim is not to represent age or place or medium, but to place certain artists in conversation witheach other, and with the attendant audience, so as to start a process of inquiry into gender, power, language, and artistic practice that will continue in the form of similar meetings, seminars, research, publications,exhibitions, and a podcast series, to come.



10. – 11. October 2018, 10 am, open to the public
12. October 2018, Master students only

Campus of the Arts HGK FHNW, Aula D 1.04
Freilager-Platz 1
4002 Basel


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