Author Description

Zamosc is an extraordinary treasure of late Renaissance architecture singular in its urban conception, located near the Polish-Ukrainian border, on route between Lublin and Lwow. The never destroyed city will host the works of contemporary artists from twelve European and six non-European countries amidst its traces of a once truly multicultural society, the former orthodox churches, the cathedral, the synagogue as well as the Armenian houses. Only few ideal cities were ever partially or completely built. In particular, the ideal city plannings that were closely tied to societal utopias usually remained unrealized. Zamosc, conceived by Count Jan Zamoyski and built between 1580 1605 by Italian architect Bernardo Morando, is one of the rare existing examples of an ideal city. Today Zamosc is included in the UNESCO list of World Heritage. The artists working site-specifically will react to the given architecture and insert their work in public spaces and buildings, hidden courtyards or squares. Lawrence Weiner enfolds the arcades at the main square with one of his word sculptures. Monika Sosnowska composed a fountain while Miroslaw Balka sculpture relates to wounds, deeply cut during the second World War. Daniela Brahm, Colin Ardley, Kai Schiemenz determine squares and public spaces anew, Franka Hoernschemeyer reflects with her installation the clear gridding of the citys layout and Lucas Lenglet drafted a columbarium for one of the courtyards. Les Schliesser sets up a museum for a fictive architect born in Zamosc, Jakob Kolding investigates functional city planning with a poster project and Craigie Horsfield introduces a sound installation. David Tremlett inserted pastel wall drawings into the cartouches of the Renaissance synagogue, while the structural works of Katarzyna Jozefowicz and Pedro Cabrita Reis dialogue across its naves and Sol Lewitt inhabits its courtyard temporarily. Tilman Wendlands installation in the historical museum will integrate documentation on