It is quite possible that we will manage to create a situation in which the authorship of works and individualism do not matter. Our dream is to build a space in which objects – art pieces – permeate each other, their boundaries are unobvious and human presence is a source of sensations from the crossroads of aesthetics and phenomenology. It is quite possible that the result will be akin to the epoché of Greek skeptics – a moment in parentheses, existing beyond time, beyond our usual manner of analysing and perceiving reality. It is in such a space that we will show works by three artists: photographer and filmmaker Karol Komorowski as well as two artists working with painting and objects: Kinga Nowak and Anna Panek.
Anna Panek’s latest works result from insatiability – a constant process of searching for subsequent images from which other images emerge. Amorphous shapes are burgeoning and creating subsequent forms, thus building a narrative about the independent life of visual structures. The same happens with wall and floor structures that absorb architecture, blur its borders, and may therefore cause severe dizziness. According to the artist, painting offers us a world of manifold possibilities, it possesses inexhaustible vital forces, it is juicy, hot and ice-cold at the same time, it may be dense, transparent and soft. Due to all these characteristics, painting draws us into the narcotic process of forming imagined visions.
Kinga Nowak has temporarily abandoned figuration, whereas her painting vocabulary has been enriched with new forms – spatial paintings that bear reference to the first avant-gardes. It is abstraction with a sense of humour, which results from the artist’s perverse and distanced take on formalism. Her likely aim is to deflate a bit the classics of modernity, which – as we need to admit – she indeed manages to achieve. She therefore paints on small unfolded boxes, sometimes using not only the material itself, but also its characteristic form. The artist also uses plyboard as the base, which lends her object bulk, but not seriousness.
Karol Komorowski’s work November/December sits in the tradition of abstract film. It is a record of real spaces, colours and situations, but the blurred image turns the narrative into a sequence of subsequent or mutually permeating colour patches. Komorowski treats technological errors as his tool, which he uses very consistently and, paradoxically enough, with high precision. The premiere screenings of the film were accompanied by an experimental composition by Miłosz Cirocki, who commented on the project: “it’s important for an experiment to be enjoyable.” Someone else allegedly even called it: “enjoyably radical.” Karol Komorowski comments on his work: “The unlimited possibility of framing adds an aesthetic dimension to the world, and movement gives it a rhythm – we are witnessing here a special case of production of illusions; they are the world’s possibilities, the moments of its excessive production.”
Imprint
| Artist | Karol Komorowski, Kinga Nowak, Anna Panek |
| Exhibition | Quite Possible |
| Dates | 8.12.2017 - 3.02.2018 |
| Photos | M. Liminowicz |
| Website | lokal30.pl |
| Index | Anna Panek Karol Komorowski Kinga Nowak lokal_30 |