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© Page couverture l Book cover, Hanna Luczak : Inside Mount Kilimanjaro, 1991.

Hanna Luczak
From February 2nd 1991 to February 23rd 1991
Inside Mount Kilimanjaro

Having roused a sense of the familiar, Hanna Luczak’s work provokes an accustomed experience, yet seems to be based on a set of opposites – east / west, male / female, communist / capitalist, Polish / Canadian. What is my place within these antithetical sets? If anything, this association can only be understood through the structure of difference. I would say this difference is neither a structure of opposites nor complimentaries but an association and organisation of parts one paradoxically calls fragmentation. There is no logical way otherwise to deal with these differences as there is no programme which controls nor determines any of these above associations, except those that seem to govern the practice of art which makes this venture, this type of exchange legible. To make any sense at all out of this situation (without looking to causes as legitimation), the question posed by a different attitude in thinking about art, remains the most meaningful placement for any interpretation. This form of unconditional acceptance is an appropriate component in the formation of an affiliation with an « other ».
-Gould Trevor, Francesca Pensirini, Hanna Luczak : Inside Mount Kilimanjaro, "Preambule", Optica, Montréal, 1991.

Go to publications catalogue.

- Gravel, Claire, «La montagne sacrée d'Hanna Luczak», Le Devoir, samedi 9 février 1991, p. C-10.
- «Optica, Programmation actuelle», Parallelogramme, vol. 18., no. 3, hiver 1990-91, p. 90.
- Moreau, Yvan, «Hanna Luczak, Inside Mount Kilimandjaro, Galerie Optica», ETC Montréal, no. 14, printemps 1991, p. 73.
- Slejskova, Nadia, trad. de Clément Fontaine, «Hanna Luczak, a model of conceptual thought / un modèle de pensée conceptuelle», ESPACE 17, automne 1991, p. 44-46.