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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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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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A Part For The Whole

2016, ceramics, various dimensions

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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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