first after the summer exhibition at the Gallery for the Encouragement of Lipowa 13 is fresh and surprising. Tom Malec, who lives and works in Lublin offers customers a visual game lined with a touch of perversity, which stand at the basis of experience in dealing with human beings and especially in relationships with women. Sterile fill the gallery space, flat iconic prints and photographs that deal with clean synthetic character and one installation.
signs constructed by Malec - though they have their source in the actual shape, form only a semblance of reality and maybe even a reversal in the extreme aesthetic form. He transposes the fragments of reality into the realm of art - it selects the interesting shapes, letters, words, symbols and cleanses the accumulated stereotypes, reduces to the form. What is the resulting distillate? The winding shaped parasite and Japanese letters reflected the reality of a distant echo of those carefully cut from its components will become a contribution to the discussion about relationships, about love, about sex.
Banana and lemon, a boy and a girl. And sex
exhibition was constructed in a very interesting way - clears the senses at the intersection of age-old dichotomy between nature and culture, reality and art. The boy deftly moves on the outskirts of these dichotomies. Draws attention to this exhibition's curator, Magda Linkowska writing about the work Guide and Primer : artist tries to show the prudery of a culture that robs from the mystery that makes the defenseless, excels in what is the most innocent hiding under a blanket of education, development and science. It uses the concept of duality of nature and culture in order to show how both turn against man (...) Culture receives nature of the protective film, and nature comes to the fore in its aggressive and ruthless manner. guide and primer - children learn from them how to understand the world. Malec provides the names of the photographs of banana and lemon, the peel and without, in color and black and white. Simple picture, like a cut from the elementary ('s banana, lemon here) automatically return to the realm of sex (the automatism associations said in the 70s, Natalia LL, in its consumer Art.) Display
male and female element in the form of a banana and lemon is a mocking comment to the ability to put forward both Our association and shallowness, emptiness in sexual relationships. Photographic images of fruits complement each other and comment on the statements of women and men spisanymi in the form of mini-scenarios. Dialogues without dashes arranged in poetic texts - do not know who to whom he says, the questions are loosely associated with the answers. The texts appear to be an amalgamation of impressions, stuck together from fragments of conversations, questions frantically uttered during sex, fantasy spun by the lovers. In these quasi-poetic forms Malec has a whole range of ambiguities of sex.
At this point reveals the essence of the situation outlined by him. Well, the dissonance between the drawing and text - smooth banana without a word and asking for sex in the bathtub - is only apparent. Fresh, enticing fruit and rotten, carefully stuffed into them, passion and performance during the relationship and dialogue in a secret bedroom-turned-lined harmless perversion, a fiction film and my own experience, casual sex in a supermarket and a long-standing relationship - somewhere that's all intertwined with each other and passes. Experiencing the world in all its heterogeneity becomes a singular contribution to the creation of synthesis, A primer which is and Handbook. The artist with the elementary forms, colors and loose constructs sentences "First Pictures", "first sentence" removed from reality, symbolic, naked in its simplicity.
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Let's go to the Academy of Medicine watch the preparations and talk to us at the end due
meandering structure of a pale yellow color are the representation of the shape of dangerous human parasites: roundworm and threadworm. Large-format templates under the single title Love in the twenty-first century . Dirty, musty reality with which the artist draws a world of micro-organisms feeding on their hosts and their metaphorical equivalent in the macroscale - unclear, toxic relationship between man and woman, in which a second parasite, sucking the juices of life, and it draws several advantages. Raw, extremely wyestetyzowane images thus refer to something robaczywego, contaminated, morally ambiguous. Tomas Malec uses bright yellows and whites, operates a simple form. I'm talking about sensitive things - he says - images are ephemeral and illusory. Here are the boundaries that can not be exceeded. Looking for the appropriateness of the visual. Parasites were prepared for sterile art gallery exceed the threshold and invest in two dimensions - vertically and horizontally covered with linen, white cloth. The impression crude ornaments, only their rounded, curled shape of cheating, so the viewer has to do. The fabric, which raises the need to reveal the association with the autopsy table and the cloth that covered the corpse. Malec, tells the recipient to look at her and see squirming roundworms - which is nothing short of spectacular given flourish.
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Next prints and photographs at the exhibition there is a spatial form. Judas is an installation consisting of a pane of glass the size of the front door and a viewfinder, "spy" and painted white. He turns classical order and make the conversion functions - everything you see through a glass door and a peephole remains closed and there is nothing he can see. Conscious afunkcjonalność peephole in a glass door makes the object is paradoxical. A situation in which what was to hide reveal, and what is closed and turns reveal the pattern of perception. Magda Linkowska interpreting this work goes back to the Bible and the ambiguous figure of Judas - Judas or a traitor or he who aware of the plan of salvation laid down his life for the love of Jesus? Did Judas is the one that his behavior reveals something to us or overshadowing? glass doors with a concealed spy in the contemporary context is the image of prudery and game appearances.
Love in the Time of Cholera
starting point is love. It would seem that open maudlin about it, and spat przemielony hundreds of times by artists of various stripes. But here's a surprise waiting for the recipient. If it receives information that the exhibition is a love it already looked, probably will be surprised. If you find out - that as I am, at the opening of the curator and artist, will be traced back to these expressions of love and may meet with some resistance matter. Economical and seemingly light in the reception of prints, photographs and installation are a kind of lapidary comment, an ironic statement on what is important, what gives life a blush.
Love in the twenty-first century. What does this mean? Instead of the spiritual unity - the unequal distribution of roles in the donor and recipient, rather than compliance - failure and dysfunction. Love is marked by lack and disappointment. Love is an illusion. Love hurts. Fortunately, that life does not consist of the same love because it would be too cruel - Tomas Malec said opening his own exhibition.
Megalomania - Japanese letters outlined author's name symbolically crowns the work of the exhibition, represents both its own dysfunction as well as the artistic world of a virus self-centredness, self-love. Megalomania Thomas Malec is a kind of ironic stamp / signature - this is an artist I sell you my sterile packaged emotions and experiences, which in any case, in most can not read and understand. The boy seems to have the situation of the artist and the recipient of a healthy distance, nor overestimate its importance or diminish.
cycle has been created for this exhibition by the artist and curator of the works created at different times. Despite the autonomy of the individual work he puts in a surprisingly coherent whole, the individual elements meet each other, and ongoing mutual dialogue. The exhibition reflects the uncompromising attitude of the artist, who continues to closely observe the world and sublimate their observations in the ascetic paintings, composed with great precision and sense of form.
photo Tomasz Malec
photo from the opening Kaja Kurczuk
