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Mowa miłości

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Heirloom

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Human Nature

2020, site-specific installation
'Kingdom' exhibition – SIC! BWA Wrocław (Poland)

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Pospolite wzruszenie

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Stones that cry

2020, installation, ceramics, string

Work is a sybolic joining the social campaign. ‘Black tears’, which was initiated in 2016 by Women's Protest. This action supports human rights protests and demonstrations. Her hallmark - a black tear - refers to the symbolism of prison tattoo, in which a tear on the cheek means longing for freedom. The installation consists of two multiplied elements - a primitive cutting tool and a string. According to scientists, these are the only objects necessary for man to survive in extreme conditions. The project was presented in the space of the ArchaeologicalMuseum. The choice of this place is not only an obvious reference to the key element of the installation, i.e. the biface, but also a reminder of the fact that the violation of human dignity has a long history.

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Callousness

2019, object (wood, textile, glass, print on foil), sound installation (textile, bed, speaker), 17’17’’, loop
Cooperation with Andrzej Jóźwik
Art Review 'Survival 17' ‘Concealed’ – Pod Ciśnieniem, Aleja Wiśniowa 36, Wrocław (Poland)


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The work consist of two elements: a sound installation entitled ‘Open Conscience Surgery’ and an interactive installation called ‘Getting into the Skin’. The artist uses these two elements to diagnose the existence of an epidemic of callousness, which manifests itself in the lack of consideration to the suffering, needs and feelings of others. Especially in a big city, life is a constant training to ignore various stimuli, to be indifferent and insensitive. By using her private story, the artist exposes the phenomenon of callousness and prompts the audience to reflect on their own attitude to violence. The sounds coming out of the loundspeaker are shreds of interviews with the artist’s relatives and friends answering her question (which she was ultimately unable to ask directly) about why they never reacted even though they knew that her father was using violence against his family. The laboratory dishes containing imitation of bruises allow the audience to symbolically get into the skin of victim of domestic violence.

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Propaganda

2019, graphic on the wall,
7,5 x 140 cm
Exhibition 'Wystawa Wzorowa' – Entropia Gallery, Wrocław (Poland)

'The core of this exhibition taking place in the Nationwide Mathematics Year (2019) are patterns and formulas, understood as formal expressions, equations or symbolic entries. The artists invited to participate in this exhibition break however, with a natural for them creative easiness, this rigid mathematical, physical or chemical schemes and formulas and present equations also in a form of repetitive geometrical sets, traces of movement, frames of reference, ideal forms or specific measurements. Although a starting point here is the science, what we also receive is a true poetry of the sign, full of subtle puzzles as well as conceptual and visual metaphors.'
Fragment of a curatorial text by Jakub Jernajczyk and Alicja Jodko

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Intolerance

2019, graphic on the wall,
10 x 40 cm
Exhibition ‘Wystawa Wzorowa’ – Entropia Gallery, Wrocław (Poland)

'The core of this exhibition taking place in the Nationwide Mathematics Year (2019) are patterns and formulas, understood as formal expressions, equations or symbolic entries. The artists invited to participate in this exhibition break however, with a natural for them creative easiness, this rigid mathematical, physical or chemical schemes and formulas and present equations also in a form of repetitive geometrical sets, traces of movement, frames of reference, ideal forms or specific measurements. Although a starting point here is the science, what we also receive is a true poetry of the sign, full of subtle puzzles as well as conceptual and visual metaphors.'
Fragment of a curatorial text by Jakub Jernajczyk and Alicja Jodko

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Tablerror

2019, performative installation, video 3'12''
Cooperation: Alicja Kielan, Food Think Tank
XVIII WRO Media Art Biennale, 'Human Aspect' – Bakery, Wroclaw (Poland)


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An arrangement of a banquet table with porcelain dishes acquired from the Kristoff Fine Porcelain Factory. The key to the selection process was the items not meeting factory standards due to their various faults. Thanks to the transfer of the items from the production line to a banquet table, the user can have a chance to experience the material world that  has gone out of human control. In time of climate crisis, we face the necessity to redefine our standards, to implement a greater forgiveness for imperfection and to change our criteria of beauty. Are we ready for this?

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#jb

2018, installation, stained glass
Art Review 'Survival 16' 'Capital' – The Wallenberg-Pachaly palace, Wrocław (Poland)

'Fuck poverty' (jebać biedę) is an expression functioning in everyday discussions and on the Internet, often abbreviated to the hashtag #jb. It expresses ordinary contempt for the poor and admiration for all that is expensive and luxurious. This phrase is often used ironically by people aspiring to a higher status, which is currently out of their reach. The abbreviation 'jb' could just as well denote 'jebać bogactwo' ('fuck richness'). This phenomenon (pretending to be of a lower status) materialises as ‘poor chic’ or ‘poor tourism’. In both cases, what comes to the foreground is a desire to be somebody else. Taking on the form of a stained glass window, the work fits in with the extant architecture and style of the edifice. In Marusinska’s project, the virtual message materialises through the use of craftmanship, which is identified with high and timeless material value (due to the uniqueness). It is contrasted with the ephemeral form of the hashtag (#), whose power depends on popularity measured as a number of repetitions.

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