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Goshka Macuga was born in 1967 in Warsaw, Poland and lives and works in London. Her practice is based on historical and archival research, which informs her installations, sculptures, tapestries, and collages. As an artist she simultaneously assumes the role of a curator, historian, and designer. Macuga questions historiography, political structures, and the pressing issues of our time. Over the past years, Macuga has created a series of large-scale tapestries that weave her ideas in assembly mind maps, presentations, and panoramic scenes. Macuga takes up the historical medium of Gobelin tapestries, a portable textile often emblazoned with political messages. Her new series of tapestries are woven in 3-D so that the viewers themselves become part of the scenario.

 

In 2019, Macuga conceived What Was I? a post-apocalyptic exhibition at Prada Rong Zhai, Shanghai. She was also commissioned to make a large-scale tapestry for the Museum of Modern Art, New York in 2019. The work re-stages a well-known photograph of Andre Malraux taken in 1954 by Maurice Jarnoux for the magazine Paris Match, featuring Macuga surrounded by images that are intrinsically linked to MoMA’s history and collection. Solo exhibitions include In Flux, Fundació Antoni Tàpies, Barcelona, Spain (2022) and  MUSAC, León, Spain (2021); Stairway to NowhereKestnergesselchaft, Hannover, Germany (2019); Intellectual Co-operation, Neues Museum, Nüremberg, Germany (2018); To the Son of Man Who Ate the Scroll, Fondazione Prada, Milan, Italy (2016); Now this, is this the end... the end of the beginning or the beginning of the end? (part 1), Schinkel Pavilion, Berlin, Germany (2016); Time as Fabric, New Museum, New York, USA (2016); Exhibit A, MCA Chicago, USA (2012); Zachęta National Gallery of Art, Warsaw, Poland (2011); It Broke from Within, Walker Arts Centre, Minneapolis, USA (2011); The Bloomberg Commission, Whitechapel Gallery, London, UK (2009); Objects in Relation, Tate Britain, London, UK (2007); Kunsthalle Basel, Basel, Switzerland (2009).  She was included in Documenta 2012 and nominated for the Turner Prize in 2008.

 

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