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Workshop

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Cream Kitchens With Black Worktops

art criticism Art, not a movie

Oronsko, sculpture Teresa Murak

Oronsko, sculpture Krzysztof Bednarski

once again coming back to visit the Centre of Polish Sculpture. Always arrive there is an extraordinary experience. Park is a place unique, very beautiful, full of old trees and very good energy (there is a legend of orońskich chakras). For this, however, there is a real and unique collection of contemporary sculpture Polish. Sculpture is really a lot, in fact, common opinion is that too much. Often included in the parade itself, interfere with each other, how on the lawn of Brandt's manor, where he appeared in blue stick furiously Krzysztof Bednarski, overgrown with swarms of smaller chicks (as in the stories, which he threatens the children), which spoils the context for the excellent work of Norwegian artist Marit Arnekleiv, with wooden stairs, on which all like to sit, pose for photos, warm in the sun, look at the surroundings.

But just this extraordinary accumulation of sculptures, this almost geological exhibition showing concrete examples of sculpture in the history of Poland, I consider it unique. As I recently reported an, are willing to change this. In my opinion, pointless desire to organize an open-air exposure. Would become one of the many thematic exhibitions in the world, captured by a single project. Just as the interiors of dwellings, of which I appreciate much more, those whose equipment is growing as life events capita than those achieved with an iron, designed by interior designer (of course, a friend and of course in cooperation with the owners of accommodation). Meanwhile, it is the spontaneous growth of the collection reflects the history of the Sculpture Center and the fluctuations not only carving styles, but the writing on the sculpture, its interpretation. Exhibition shows the styles and ways of thinking about space for sculptors.

this year's Polish-Norwegian plein air "Inside Out / Outside In," there appeared several papers which raise problems of general nature. The first is the performance of Tatiana Czekalska and Leszek Golec. The major question mark concerns the question whether this is still a performance. In my opinion no, but never mind. Artists invited all participants in the Polish-Norwegian project on the party, during which the treated to vegan food. This event had the objective of promoting meatless and vegan food. Pleasant and friendly share, for the purpose of having last but not least bring together different people together. An excellent example of the use of relational aesthetics, but I'm sure that comparison is not the most important element in the interpretation of the work. As for her message and to whom it is addressed: action takes place in the theoretical framework of the seminar. Invites her to a narrow group of closely calculated. Elite group. They are artists, participants in the event. So Czekalska and Golcowi actually depends on the popularization of vegetarianism? Not at any price, as is clear from the action. It shows that they depend more on promoting the idea among the selected people who are opinion-making and could bear the idea further. Elitism. which is easily forgotten.

Ela Jablonska had a great idea that has not had a chance to incorporation into reality. Well, the Centre of Polish Sculpture is located in the center of Polish, near Radom, Polish unnamed patronizing the name "Poland B", but being small domain However, towns, and - of poverty, not necessarily just the same people, but poverty just the infrastructure of the state. People in the miejscowościacj, not only villages and towns, but the larger cities, in poorer districts tend to buy goods on credit - in the modest shops, basic things to survive: bread, flour, etc. She has planned to the amount of work for the implementation of spent on repaying debts zeszytowych in several stores in the area and Orońska. It would be this great, visible project, the artist as an "invisible hand" is not aired, the post a few customers would live a shock coming to the store and learn that no longer have the debt. As in the film.

But it was supposed to be art, not a movie. Failed. Requirements for the settlement of the project resulted in the need to place work within the gallery. But the intentions of the curators of the project were the opposite! Declared because they are interested in intervention stocks, go beyond the gallery, the search for a new audience, and custom presentation process. It turned out that the real social work goes beyond the capacity of tolerance of the institution. In return, Elizabeth is to always be in a museum shelf, where they found the food basic necessities (flour, pasta, olive oil - just like the Ladybug). They can take the subject to enroll in the special notebook. Thus, the original project is not saved anything. There is no solidarity with the needy and casual support for them. This is too trivial, in fact, a work that stimulates the cynicism of a certain group of customers. You can make a documentary about the art allegedly involved, and how Eli Jablonska bookcase adds kitchen resources (another thing that poorly paid) workers Sculpture Center Polish. Here arises the question of the responsibility of the shape of the proposed works. I am convinced that CRP itself Oronsko would prefer to have work in its original form, which is undoubtedly an institution would record in the annals of art history in Poland. Are you sure you used all the means to enable its implementation? "You can not" - it's too easy importunate, and the chorus of Polish institutions.

Murak Teresa has created a new job in place of sun rises from the earth. Eulalia Domanowska in his discussion of the Polish-Norwegian project writes that we should discuss the issue of responsibility for the fate of the artist's own work within the institution. I think it is very important. The work contained in the institution, having their place in the history of modern art, which is available to the public, not private property of the artist, even if the contract is different. He can not just come for exhibition, to destroy a piece without consulting with anyone and do another involving a powerful means, which requests reimbursement from the institution. Even if his decisions would be the most reasonable changes in his work, he is not right to destroy something that has become a common good. This is proof of arrogance resulting from focusing solely on his own work. He has the right to do so but an institution can not accompany him in this. Regardless of the type of contract, which signed the institution the author works, the work becomes something more than just a piece of the author. In the case of an eminent artist Teresa Murak come into play in the best of an open space, which was destroyed, because she wanted to fill the position after the new work. This new job, although this value is lower than the previous one. The question is whether artists can actually dispose of their works, even if they are in the collections of public institutions and are committed to public use, such as a park in Orońsko? I find it hard to understand how a Polish Sculpture Centre could not agree to such a change ...