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Silence

2017, object, stone, textile, haberdashery goods, wood, paper, 12 x 10 x 35 cm

The installation refers to the mineral collection – the Natural History Museum Joanneum in Graz, near which the work was presented for the first time. In the face of numerous protests around the world and their various manifestations, the question arises about the effectiveness as well as the ethics of forms of civic (non) involvement. We deal with a whole spectrum of attitudes – from throwing stones to meaningful silence. Is it really gold? 'Were we silent and mute as stones, our very passivity would be an act' Jean-Paul Sartre.

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Viewpoint

2017, installation, print on vinyl curtain
Residency – Centrala Art Gallery, Birmingham (UK)


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In an open space, a typical industrial strip curtain was installed in order to blend a distinct framework in a subtle manner. The work refers to one of the biggest society threats – the fake news phenomenon. We live in the world of post-truth which is driven by more and more sophisticated image manipulation, in the world of a global mistrust.

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Good visibility

2017, social project, installation
Residency – Centrala Art Gallery, Birmingham (UK)

Social project, which was carried out in West Bromwich in Birmingham, encouraged the local community to participate in social and cultural life, and raised awareness of the possibility of change in their nearest surroundings. In the course of several workshop sessions participants shared their visions of the way they would like to see their world change. As a result the attendees painted individual stained glass pieces (to symbolise the new window through which they would view the world), which created a fascinating and colourful installation. The window has become a colourful filter imposed on the colourless reality.

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I would also like to tell you that…

2016, action, video, 16'39''
Cooperation with Marcin Wokan
'Train to the Art' project – Wroclaw-Dresden


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Who has not, at least once in their lifetime, felt a deep regret because of not sharing an important message with a close person? What prevents us from doing it, and why are we so sure that there will be another time for that? Why do we postpone these situations? Travel is the perfect moment for examination of conscience and also a quite safe circumstance for this conscience. 'It’s all water over the dam', we think, 'I’ll do it next time'. How would we behave standing here and now, facing the chance to fix the mistake? The project is a confrontation of our declarations with what we are really able to do.
The project enabled the interlocutors to come back to the person they had already said goodbye to, in order to convey the missing message. The only condition was a decision to change the plans and get out at the nearest bus stop.

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Afterimage

2016, video, 3'44'', loop
'Phantom' exhibition - BWA Contemporary Art Gallery, Katowice


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Handiwork

2016, sound installation (gloves, sandpaper, metal stand, headphones), 21’03’’
Cooperation with Beata Kwiatkowska
Art Review 'Survival 14' 'Workroom' – Lathing Machines Factory, Wrocław (Poland)


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The project Handiwork is a collaboration between the visual artist, Karina Marusińska, and the radio journalist of Czwórka station, Beata Kwiatkowska. The project consists of the two components:a visual and an audible one. Visitors can rent a set imitating a protection kit usually worn by the factory workers: gloves and headphones. However, elements of Handiwork fulfill the reverse functions: instead of protection, gloves cause discomfort, instead of silencing, headphones are the source of sound – they transmit interviews with employees of the Lathing Machines Factory (FAT), in which the authors ask, among others, about the importance of manual labor in the production of lathing machines, and ask employees to talk about the work in FAT from the perspective of their own hands. Renting a set and surrendering to the senses of touch, hearing and seeing stimulates to reflect on the title. Handiwork relates to valued manual labor, handicraft, and negative actions of taking matters into one’s own hands, alike. In both cases, hands are the driving force. In the factory, handiwork is of a tremendous value: every hand, every employee is essential for the final result. The paradox is that the same work, which provides dignified life for the employees, destroys their health. Here emerges a second, negative interpretation of the title. Hands are the main working tool, even when running the machines, they act as living extensions of the inanimate automata. Hands are covered with wounds, scars, degeneration. They can be very sensitive and delicate, serve to commune with a higher power, foretell the future, sometimes 'fall', sometimes 'you do not know where to put them' – as authors of the project comment.

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Hug

2015, action, installation (metal handrail with porcelain elements), video, 8'29''
'Bridges' project, European Capital Culture Wrocław 2016 (Poland)


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Hug is a multidimensional project about the problem of exclusion. The basis of the conversations with random people was the question: How does the problem of social exclusion affect you? While giving their answers, each of the people who were asked could make a handprint in soft porcelain that was later fired in a kiln. The handprints, now durable, were used as handrails on one of Wrocław’s bridges. The bridge was so narrow that when crossing it people had to hold onto the handrails – symbolically holding hands with the outsiders, whose taped statements were played back on the bridge.

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Protection

2015, sound installation, ceramics, postument, motion sensor, speakers
Art Review 'Survival 13' 'Prohibited Acts' – Riot Police Barracs, Wroclaw (Poland)

Absurd situation in which porcelain elements in the shape of clips, normally used to protect shop goods against theft, have become protected objects themselves - thus gaining the status of objects of desire. However, the applicable rules of behaviour in the work-recipient relationship, recognizing the act as an offense or consent, were not entirely clear. The characteristic loud sound of movement sensors, surrounded and intimidated some people, but it didn’t stop others from appropriating objects - useless, but marked by a gallery tin. Perhaps the three doors to the room, which increased the chances of being caught in the act, paradoxically led to temptation. Perhaps the consciences remained immaculate. The thefts, apart from the suspicious and judgmental eyes of those who were with them, were not enforced in any way. At the same time, the crowd facilitated avoiding responsibility. One of the people in a private message sent me a photo of their prey, commenting ‘I had to’. A few people voluntarily pleaded guilty, but only half of them returned the loot.

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Purity

2015, installation, sandblasted stoneware tiles, 180 x 180 cm

The project is almost imperceptible intervention in the gallery space until the moving guests leave marks of their presence on it. As a result of using sterile, white, shiny floor tiles, the surface fragments forming the inscription get dirty, making it visible. Dirt, considered a by-product of everyday life, becomes an indispensable element for the creation of the work. It is a testimony of the passage of time, with which it gains a new value.

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What was left

2014, ceramics paper,
4 x 2 x 2 cm

What is usually rejected is saved and preserved in noble material to make us reflect on what we are leaving behind. There are no cards successively filled with notes, plans, dreams, which over time become a form of a document, diary, which allows verification of successes and failures. The act of tearing the corners of the cards reflects the passage of time, it is used to quickly open the calendar on the page with the current date. However, it doesn’t mean the same for everyone  for some it is waiting for something to come, for others counting the days gone by.

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