White Gallery celebrates the 25th anniversary of their business. Jubilee exhibition, which will be held in 2010 in some way an aspect on this anniversary - White invites artists are important for its history - as Leon Tarasewicz, which inaugurated the exhibition gallery in 1985 and Robert Kuśmirowski, who in the White debuted, it copied for a variety of things, from stamps on the wagon. The current exhibition at the Art Forum of Young also fits into a quarter-century celebration of the gallery.
Year 2010 White inaugurated two exhibitions - art exhibitions were held on January 22, almost in parallel. First - is an exhibition of photographs from recovery Irena Nawrot renovated, white spaces, galleries and other - Arts hidden in the basement of Krzysztof Bryla underground Young Art Forum.
Irena Nawrot, artist, photographer, presented a collage of works from different periods. Operations in the past made with surgical precision suturing memories - faces, figures, snapshots of events - captured in photographs. A monumental photo collage reminds me From Siberia to Cyberia Zofia Kulik (thousands of black and white photographs of images from the TV screen.) Irena Nawrot not arranged his work into a compact structure, rozczłonkowuje them away into separate entities. Mandala created from the face (young, old, twins), a series of large-format photographs with the theme - yellow dress with black dots. In an oval frame conceals a small, Coloring the head (do not know why wake me quite ghostly associations are like the little faces of the dead). Photos from the past a kind of recovery, recycling, served as a medium and as a tool for the construction of a new medium. So the medium is viable, photo's not dead. And if you run out the visual possibilities of photography, always remains the treatment manual.
White Gallery is constructed so that the next large room is a small, separated by a wall. The place in which to hide something unexpected happens. I looked there, with interest, hoping that I see something that really surprised me. And there - yellow roses in varying stages of development. ...
construction of the exhibition is a clear, structured, the apparent chaos of hundreds of photos and stitch bonded precision cold immobilizes plexiglass. Portions of the face, body, flowers are under a spell in compact forms - circle, rectangle, square. It seems that the artist embraced the chaos of memories, to give them a specific rhythm and speed.
After visiting the sterile, white interiors are entering a basement chaos of history.
in the basement of the White Gallery Young emerges Art Forum.
Chris lump is a third year student of painting at the College of Fine Arts University in Kazimierz Dolny. The basis for his paintings, old posters were White. As reported in the January Zoom announcement of the exhibition: "The logo and address of the gallery were made by screen printing, while the information Reprinting of specific exhibitions using a template and manually harvested sponges soaked with paint. After 25 years they are in themselves value as a technology and typographic masterpiece. " Lump them recreated with photographic accuracy, checking on canvas blur, cracks, scratches, spider's web in the corners of smartness stretchers gave them homes.
What may be the value of that proposal is a reminder of past events in the history of the White 25letniej, which hardly anyone remembers today, a generation born in 80 + actually do not know. One such important events in the calendar of the gallery is an exhibition bab Tower in 1985 - one of the first highly successful initiatives of the White - featuring the art of women - Natalia LL, Bozena mushroom, Anna and Irena Nawrot and other artists. But painting simulation Lumps strengthens forgotten events? I think not. I will venture a statement that the intention of the young artist did not refresh the story. And even if only in passing.
Lumps exhibition is flatter me for the White stated in a post-modern veil. There is a quote, remake, recycling, irony, a form of entertainment, etc. All these terms, already heavily exploited, cling like a glove here. Falling plaster in the basement reveals the previous layer - a dream, metaphorical background.
You can write about perpetuating the memory of a fragile, volatile matter, a poster on canvas. The attempt to revive the glorious, slightly musty history of White. You can, but why.
images and actually does not install the painting Lumps threw me on the shoulder or even led to reflection. It could be summed up in one of my favorite phrases (quote from Closer ): everything is a version of something else - but in this case is a shallow and trivial statement. Old poster repainted the canvas - not matter and proves nothing, as soon as the conversion medium (following a similar trail could be engraved gems in typographic pavement slabs like stars in the avenue of stars). Artistic composing the present lump-based tools and hackneyed old aesthetics. Painting reflections leaflets left in deliberate disorder, highlighting the conditions of the cellar space (on your way to show the mess in the mess unless it is not hard). The exhibition will therefore be in dialogue with the place. The viewer enters into a "white untidy" mysteries of history gallery full of old posters, zsuwających with dilapidated walls, lying on the floor among the debris.
use more or less obvious realizmów lies in the tradition of Lublin art school and has his followers. Lumps painting fits perfectly into it. It is hard to find here any appearance of individualism. By the way, native holds a great hyper-realism.
artist uses a quote and it seems that it comes too easily. Was this information faded traces, traces the history, yet have a specific gravity of today? What do they bring? Note the Zooma suggests that the painting Lumps "even more impact on the imagination when we see [Posters] as the transfer of images from the other side of the stamp of censorship and traces of linseed oil." There is an echo of old times. The artist used the painting as a magnifying glass for the difficult topics of the past, in which the censor's stamp exhibition meant to be or not to be. A lump of producing illusions. But for the meticulous restoration of a censor stamp hides some deeper thought? I sincerely doubt it.
hidden Arts gives me something completely opposite manifesto - art shamelessly exposed, looking out of the basement walls and demanding attention. Arts lurks everywhere, eats like gangrene and the reality of a dangerous rate processes it by producing new works and the more enigmatic designs or concepts. There is therefore no question of any concealment. Arts persistently manifests itself. It turns out that it is enough to look around, open the drawer to see the old signs or splashes of beauty that can be surprisingly easy to translate a work of art. Similarly, cutting-edge strategies easily ia are commercializing their extermination as the blade frequency of use.
