London, March 2016
I worked with Aleksandra for my solo exhibition ‘Before We Fall Again’ at the Manggha Museum of Japanese Art and Technology where she works as a curator. Aleksandra is the one of the best curators I have ever worked with, has an ability to pay attention to detail and is a very good judge of what is necessary to be done as a priory and also very good at time management.
She is a great person to collaborate with. She understands the true meaning of cooperation and has patience to oversee that everything goes smoothly. I remember feeling the sense of awe to have found out she stays very humble, calm and fair even under the huge pressure. She is always happy to go for the extra mile to make something possible.
But the best quality I think she has to make her the one of the best curators I have worked with is her strength to stick to what she thinks is good throughly and her courage to say ‘no’ to what is not working. She possesses a rare quality to be able to explain reasons of affirmation/negation articulately without being lost in a game of word play.
Over a few years of correspondences, planning and working together to materialize an exhibition, we have gained bond and trust. Her honesty and passion for art are something remarkable and rare to see nowadays.
I would not hesitate to recommend her to any institutions or galleries and I will be ecstatic to work with her again.
Krakow, March 2016
Stokholm, February 2016
I came in professional contact with Aleksandra Görlich year 2010 when, as an artist interested in Japanese fashion design in particular, I started work on the Kimono Reconstruction Project. This project initiated a conversation with Manggha Museum of Japanese Art and Technology in Krakow (Poland) where Aleksandra became my contact person for the next 5 years. Since then we have been involved in a dialogue about the art and process of my work for several years and I find her vast knowledge on subject of Japan has been the most valuable support in general and in description of my own work and processes in particular. I greatly value her opinion and her knowledge. As well as Aleksandras excellent ability to reflect, from the point of her expertise, on the artistic work of others like myself, in a independent but highly knowledgeable and supportive way. My discussions with her about Japanese art, aesthetics and dress intensified while preparing for my exhibition, Kimono Un-perfect exhibition which was held in the Manggha Museum of Japanese Art and Technology in Krakow (Poland) from 18th June till 13th September 2015.
I have found Aleksandra to be a highly recommendable specialist of the Japanese culture and art as well a great writer-storyteller who was able to translate ideas and thoughts into informative and very well written texts.
I can nothing but highly prized her input as a curator for my exhibition Kimono Un-perfect as being throughout professional. Aleksandra is a person with a remarkable ability to turn many potentially charged situations to a mutual win win situations keeping balance and good mood in challenging times all the projects goes trough. This I believe is also one of her great assets.
I can recommend her wholeheartedly, wishing Aleksandra the very best of luck in her future career.
(Czarne, MCK, Manggha, NCK, Agora, BOSZ Publishers)
Kraków, December 2015
About Ola Görlich
It is with growing admiration that I have followed, now for ten years, Ola’s professional development as a curator, working on a sequence of challenging and complex exhibitions at the Manggha Museum; I have also had the opportunity to work with her on several projects where she was a writer and a proofreader.
I would recommend her professional qualities, such as well-founded and constantly-expanded knowledge in the areas of art history and exhibition practice, diligence and timeliness at work, ability to conduct extensive research, commitment to continued improvement of her qualifications, and also her personal characteristics: enthusiasm and passion, sense of duty and organizational skills, readiness to take up new challenges, diverse (and original) interests, and – last but not least – teamwork skills, but also creativity in organizing her own individual work.
From my profession’s perspective, a gift that is most valuable in research and curatorial work is ease of writing.
As an author and writer, Ola also has a good understanding of responsibility for the written word and style, continues to develop her skills and willingly – as well as effectively – learn from experienced writers.
[translated by Jerzy Juruś]
Teresa worked with me on the following publications: Ichigo ichie. Wchodząc na drogę herbaty (Ichigo ichie. Entering te way of tea), „Skarbiec wiernych wasali”. Dramat 47 roninów / The Treasury of Loyal retainers. The Drama of the 47 Ronin, Parawan japoński. Sosna, żuraw i góra Fuji / The Japanese Screen. Pines, Cranes and Mount Fuji, Wielowątkowe piękno. Techniki dekoracyjne tkanin japońskich (A Beauty of Many Weaves. Japanese Textile Design Techniques) and on much more small texts accompanying every exhibition.
Co-Founder & Head of Client Relations at Arteia
London, 28th February 2013
Aleksandra is a great specialist with broad horizons and impressive knowledge of her field. Her calm and professional manner and experience is invaluable and helps in smooth proceeding of work. She is flexible and accommodating.
I cooperated with Aleksandra on ‘Japan facing West’ exhibition in 2011 and since then continued a friendly relation. We currently work on an exhibition of Japanese screens due to open next year.
Marta worked directly with me at Manggha Museum of Japanese Art & Technology preparing two exhibitions: Japonia patrzy na Zachód / Japan Facing West (2011) and Parawan japoński. Sosna, żuraw i góra Fuji / The Japanese Screen. Pines, Cranes and Mount Fuji (2014).