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Draft:Zofia Lipecka

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Zofia Lipecka

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Zofia Lipecka is a Polish-born artist based in Paris, working in painting, installation, photography and video. Drawing inspiration from the approaches of Pablo Picasso and Gerhard Richter, Lipecka explores various styles, languages, and media. She seeks to “grasp the madness of contemporary non-reality, moving as if through an endless labyrinth of images, meanings, and ideas”. Her work is characterized by uncertainty and disorientation, yet at the same time by a search for communication.

Early Life and Education

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Lipecka was born in 1957 in Łęczyca, Poland. She lost her mother when she was two years old. As a teenager she moved to France with the family of her school friend Ania Edelman, daughter of Alina Margolis and Marek Edelman – eminent figures of Jewish resistance during World War II. For years, because of the Iron Curtain, she was unable to see her father and her beloved sister, who had stayed behind in Poland. Later she married Ania’s brother -Aleksander Edelman. In Paris, she attended the Victor Duruy High School and Claude Bernard High School, where she passed her high school graduation exam. She earned a Ph.D. in art history at the Sorbonne and studied painting at the École Nationale Supérieure des Beaux-Arts in Paris. Her relationship with the Margolis-Edelman family significantly influenced her work. Later, her stays in Canada—where her sister Wanda had emigrated—and a two-year stay in New York also had a significant impact.

Artistic Development

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Early Work

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In the mid-1980s, drawing on her studies in art history, she explored archetypes and the origins of art. Her painting at that time was a spiritual quest, a search for meaning. It conveyed a sense of harmony between nature and human cultures.

In 1987, Lipecka received a Villa Medici “hors les murs” fellowship from the Ministry of Culture and the Ministry of Foreign Affairs to undertake a residency in New York. During her stay, she held her first solo exhibition at THE Gallery in Tribeca. Awareness of climate change, along with the discovery of petroglyphs left by First Nations peoples in the southwestern United States, profoundly influenced Zofia’s work. Back in France she deconstructed her harmonious vision inspired by ancient art and turned her attention to environmental issues and the darker aspects of civilization. She created optical installations using mirror effects, which revealed dehumanized and unsettling world.

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The year 2001 marked a turning point. Lipecka was deeply shaken to learn that Poles had participated in the extermination of Jews during World War II. From that moment on, keeping the memory of the Holocaust alive became her primary concern. She dedicated immersive video installations and series of drawings and paintings to this subject. The period’s most notable work was the video installation “After Jedwabne,” which examined Polish society’s response to the revelation of its guilt.

Recent Work

Following this period of intensive engagement, her work—profoundly shaped by the Holocaust—has broadened to address issues including war, the rise of authoritarian regimes, global warming, and environmental destruction. Zofia seeks “to address the diversity and complexity of today’s world by combining styles and images, signs and symbols—sometimes through wordplay or rebuses—thereby inviting viewers to construct their own narratives.”

Themes and Artistic Approach

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Lipecka’s work frequently engages with memory, trauma, and ethical responsibility. She uses landscape as a metaphorical witness to historical events and environmental degradation. Her practice incorporates painting, video, photography, and reflective surfaces to explore perception, absence, and the passage of time. Her work has also been influenced by Canadian landscapes and Indigenous–settler relations, reflecting her extended stays in British Columbia.

Canadian Influence

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Lipecka has spent significant time in Victoria, British Columbia, where the Pacific Northwest landscape has informed her recent paintings. Her work from this period addresses ecological stewardship, cultural memory, and the relationship between Western societies and First Nations communities.

Major Works

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Exhibitions

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Solo Exhibitions

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  • 2018 "Ci guardano". Museo del Presente. Rende. Italy
  • 2016 "Dans les yeux". Polish Library in Paris
  • 2014 "Online 2". Imaginary virtual exhibition. Tate Modern. London
  • 2013 Atlas Sztuki gallery. Lodz. Poland
  • 2012 "État des lieux". Musée Quesnel-Morinière. Coutances. France
  • 2011 "Online 1". Imaginary virtual exhibition. Musée d'Art Moderne de la Ville de Paris
  • 2010 "Treblinka Project". Maison des Arts de Malakoff. France
  • 2009 "Intérieur Témoin". ECLA. Saint-Cloud. France
  • 2008 "After Jedwabne". Zacheta National Gallery of Art. Warsaw  
  • 2002 "Vertiges". Maison des Arts. Malakoff. France
  • 1999 "Microespaces". Espace Huit Novembre. Paris
  • 1995 "Boîtes Noires". Sous Sol gallery. Paris
  • 1994 Starmach gallery. Cracow. Poland
  • 1991 "Nature réfléchie". Muzeum Sztuki. Lodz. Poland
  • 1990 Nicole Ferry gallery. Paris
  • 1989 THE Gallery. New York

​​​​​Group Exhibitions

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  • 2024 "OdlożONE NA POTEM". 31.01- 21.04.2024. Muzeum Szuki, Łódź. Poland
  • 2023 "Extra Muros". 22 avril-1 octobre 2023. Gare TGV LIège-Guillemins. Belgique
  • "Pamięć 1943" (Memory 1943). 03/30 - 05/07. 2023. Gallery Kordegarda. Warsaw
  • 2018 "Présence de femmes". Polish Library in Paris
  • 2015 “Après l’image”. FRAC Alsace. Sélestat; "L'humain, le développement durable". École Nationale d'Administration. Strasbourg
  • 2013 "Polish art and Holocaust". Jewish Historical Institute. Warsaw
  • 2010 "L'Art est un jeu. Tant pis pour celui qui s'en fait un devoir !". FRAC Alsace. Sélestat
  • 2007 "Mini micro nano". Galerie (...). Paris
  • 2004 "Fin des temps. L'histoire n'est plus". Hôtel des Arts. Toulon. France;
  • Vidéo séquence 1. Maison des Arts. Malakoff. France
  • 2003 Sélest'Art. Sélestat. Alsace
  • 2000 Art Paris. Galerie Corinne Caminade; 9.0. Web Bar. Paris
  • 1999 Galerie Aréa. Paris
  • 1998 CREDAC. Ivry-sur-Seine. France

PUBLIC COLLECTIONS

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Critical Reception

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Critical commentary on Lipecka’s work has appeared in exhibition catalogues, museum publications, and art journals[1][2][3]. Her Holocaust-related projects have been discussed in the context of memory studies and contemporary art addressing historical trauma.

  • Sophie Wahnich. HAL science ouverte, 2023. "Le temps contemporain comme le temps de l'après-coup." https://hal.science/hal-04361606
  • E. Jedlinska. "Zofia Lipecka, Labirynty sztuki". Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2023.
  • D.Łarionow. "Artists talk about war. An analysis using examples." Art Inquiry. Recherches sur les arts, 2023, vol. XXV, p.331-333.
  • ​N. Rera. Les champs musicaux et sonores de la barbarie moderne. Editions Aedam Musicae. 2022.
  • D. Łarionow. "Biotopie Zofii Lipeckiej". Powidoki n°06. 2022. p. 115-121.
  • D.Łarionow. "A performative concept of the artist – unmatricized actions exemplified by the works of Zofia Lipecka".  Art Inquiry. Recherches sur les arts 2021, vol. XXIII
  • E. Jedlinska. "Ksztalty pamieci". Wydawnictwo Uniwersytetu Lodzkiego. Lodz 2019. p. 219-247.
  • E. Jedlinska. in "Paris and the polish artists 1945-1989". Wydawnictwo Naukowe Uniwersytetu Mikolaja Kopernika. Torun 2018. p 307-315.
  • E. Jedlińska, "Les regards du ghetto de Varsovie". Techne  n°2, Łódź 2018. p. 174.
  • E. Jedlińska, "Oczy warszawskiego getta". Zeszyty Literackie  n°1 (XXXXI), Warsaw 2018. p. 254.
  • http://www.freeebrei.com/anno-vii-numero-2-luglio-dicembre-2018/adele-valeria-messina-zofia-lipecka-je-devais-les-dessiner
  • Annarosa Macri. "Zofia, la Shoah et le lacrime che gli artisti vedono". Il Quotidiano del Sud. 24 février 2018. p. 32.
  • Francesca Pignataro. "Al Museo del Presente la Lipecka ritrae la Shoah. Mostra di umanità per ricordare". Il Quotidiano del Sud. 24 février 2018. p. 32.
  • Liliane-Carol Benoit. "Dans les yeux". Peintures et fusains de Zofia Lipecka. Cahiers Bernard Lazare. Janvier 2016. p 24.
  • G. Ranunkel. "Squat virtuel à la Tate Modern". Le Huffington Post. 17déc.2014.
  • Liliane-Carol Benoit. "Zofia Lipecka. La nécessité de l'art comme moyen de résistance à la barbarie". Cahiers Bernard Lazare. Janvier 2014. p 22.
  • G. Ranunkel. "Le Projet Treblinka de Zofia Lipecka".Le Huffington Pos t. 16 oct. 2013.
  • A. Turowski. "Jedyna droga". Catalogue d'exposition. 19 avril-26 juin 2013. Atlas Sztuki. Lodz
  • I. Kowalczyk. "Odpominanie przestrzeni u Zofii Lipeckiej". Catalogue d'exposition. 19 avril-26 juin 2013. Atlas Sztuki. Lodz
  • P. Kosiewski. "Ksztalt pamieci. Rozmowa z Zofia Lipecka". Catalogue d'exposition. 19 avril-26 juin 2013. Atlas Sztuki. Lodz
  • N. Rera. "Treblinka, 18 avril 2012, 14H10". Catalogue d'exposition "Projet Treblinka" 21 janv.-24 fév. 2013. Musée Quesnel-Morinière. Coutances
  • N. Rera. "L'art contemporain à l'épreuve de la destruction des Juifs d'Europe." in Perspective (revue de l'Institut National de l'Histoire de l'Art). Paris. 2009.
  • N. Rera. "De Paris à Drancy ou les possibilités de l'art après Auschwitz". Ed. Rouge Profond, 2009. p 73-84.
  • Catalogue d'exposition "Intérieur témoin". ECLA. Saint-Cloud. Janv. 2009; texte de M. Wuillemin
  • P. Kosiewski. "Artystyczna konfrontacja z tragedja w Jedwabnem" (Confrontation artistique avec la tragédie de Jedwabne). Dziennik. Varsovie. 31 mars 2008.
  • S. Szablowski. "Zaglada odbita w lustrze sztuki" (La Shoah reflétée dans le miroir de l'art). Dziennik. Varsovie. 28 mars 2008.
  • I. Kowalczyk. "Jacy jesteśmy (w) "Po Jedwabnem"?" (Comment sommes-nous dans "Après Jedwabne"?).19 mars 2008. Blog Straszna sztuka.
  • I. Kowalczyk. "Historia jako symulacje czy historia jako rana," (L'histoire comme simulation ou l'histoire comme blessure?). Obieg. Varsovie. Avril 2008.
  • Catalogue d'exposition "Après Jedwabne". Galerie Nationale d'Art Zacheta. Varsovie. 2008; textes de: A. Morawinska. Introduction; E. Janicka. "La confrontation. A propos de l'installation audiovisuelle de Zofia Lipecka Après Jedwabne"; P. Piguet. "Zofia Lipecka, éloge de la conscience".
  • A. Fau. "Les artistes et l'Holocauste". Art absolument n°16. Printemps 2006. p 65
  • C. Rossignol. Art Press n°296. Déc. 2003. p 86
  • Y. Baldeweck. Le Figaro. 21 oct. 2003. p 24
  • J.Amzallag. www.art-contemporain.com/magart/sélestat_biennale.htm
  • www.creativtv.net/v2/06/lipecka.html
  • Beaux Arts magazine n°220. Sept. 2002. p 109
  • E. Jouanno. Flash Art. Oct. 1999
  • H-F. Debailleux. "Sortie en boîtes". Libération. 29-30 mai 1999                            

    english

  • "L'infini mis en boîtes". La Nouvelle République du Centre-Ouest. 16 juillet 1994
  • Catalogue of the exhibition "Nature réfléchie". Muzeum Sztuki. Lodz. Pologne. Nov. 1991- Jan. 1992; textes by: A. Turowski  (français) , (polski); M. Le Bot; J.Jedlinski
  • P. Piotrowski. Arkusz. Poznan. Mars 1992
  • M. Maciejewski. Dziennik Lodzki. Lodz. 8 nov. 1991
  • P. Piotrowski. Zeszyty Literackie n°29. Paris. 1990  

External Links Official website: https://zofialipecka.fr

Selected filmography

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1. 2025 “Zofia Lipecka, L’ombre de la Shoah,“, 30 min (with Anne Agranat) A documentary on Zofia Lipecka’s art, specifically focused on her dialogue with the Shoah. (trailer)

2. 2024 “Zofia Lipecka, Profondeur de la surface (trailer)”, 50′ (with Anne Agranat). A documentary portrait of Zofia Lipecka, focusing on her artistic practice and creative process

3. Naissance d’in tableau, tableau jaune (1). Zofia Lipecka 10’, by Aleksander Edelman and Anne Agranat, 2024 A documentary that follows a painter at work (1). Zofia Lipecka works in her studio in Paris, seemingly unaware of the camera.

4. 2020 “Zofia Lipecka à Vierzon”, 7’54 by Aleksander Edelman A documentary that follows a painter at work.

References

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  1. ↑ Jedlinska, Eleonora (2023). Zofia Lipecka, Labirynty Sztuki [Zofia Lipecka, Labyrinths of Art] (in Polish) (1st ed.). Lodz, Poland: Wydawnictwo Uniwersytetu Lodzkiego. ISBN 978-83-8331-342-9.{{cite book}}: CS1 maint: date and year (link)
  2. ↑ Jedlinska, Eleonora (2019). Ksztalty Pamieci. Wybrane zagadnienia sztuki wspolczesnej [Shapes of Memory. Contemporary Art Selection] (in Polish). Lodz: Wydawnictwo Uniwersytetu Lodzkiego. pp. 1–18.{{cite book}}: CS1 maint: date and year (link)
  3. ↑ Larionow, Dominika (2021). "A PERFORMATIVE CONCEPT OF THE ARTIST – UNMATRICIZED ACTIONS EXEMPLIFIED BY THE WORKS OF ZOFIA LIPECKA". Art Inquiry. XXIII (1): , 18 – via DOI.
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