On Whiteness, Elipse And Boredom



The installations prepared especially for the exhibition On whiteness, the ellipse and boredom, realised in a specific space of the Studio BWA Wrocław. The idea behind the form of the exhibition was that most of the gallery space was inaccesable for the audience. The visitor rolled the ellipse on the plan of the gallery during the walk from one work to the next along the corridor. The work spread in next rooms while the viewer could just look inside through the framed plexiglas hanging on the corridor wall.



solo exhibition in Studio BWA Wrocław
2009






Artificial Fullmoon*




plexiglass in a white,
wooden frame 50 x 70 cm,
small room painted black,
slide of the full moon
[source of the image: wikimedia. The photo was made by
the Galileo probe
7th December 1992, https://commons.wikimedia.
org/wiki/File:Full_moon.png].

2009




Artificial Fullmoon is an affirmation of mistakes in reading and understanding, taken words out of their context’s—thus the words separate from their meanings.

This way the fragment of Jean Baudrillard's sentence becomes Artificial Fullmoon.



*non-translated pun in Polish linked to J. Baudrillard sequence form The Conspiracy of Art: Odkąd rzeczy stały się wytwarzanymi produktami, artefaktami, znakami, towarami, PEŁNIĄ SZTUCZNĄ, ironiczną rolę mocą samego swego istnienia.
J. Baudrillard

(free translation: ‘Since the things have become manufactured products, trademarks and goods, they perform the artificial, ironic role of the power of its very existence.’)









—no title


steel, tar
90 x 90 x 100 cm
2009

photo: N. Ptak






—The Mind's Journey Through The Elements

The sceening in the corner of a black room*, breaking in 2/3 by the perpendicular between the two walls. The ship sails from the right to the left, patiently and necessarely conquer the next waves. It looks like the ship trying to get muddle through the corner.




still from the video and general
view of the installation
plexiglass in a white wooden
frame 100 x 70 cm,
small black painted room,
video [Vvooxx found-footage],
15 sec., looped
2009















—The End of the Performance's Experience



plexiglass in a white, wooden
frame 100 x 70 cm, an empty gallery'
space inaccesable for the public,
2 gallery's spotlights, 2 fluorescent tubes,
acrylic; various dimensions, 2009





A view on the empty gallery space with the existing cube 2 x 2 m with its front wall repainted to black; the empty exposition's walls were lighted by the gallery spotlights, the cube was lighted by the fluorescent tubes on two sides.



installation views
photos: N. Ptak







—no title II


Lighthouse

arcylic on canvas
60 x 90 cm
209



The room with some beds, white
linen on them, light tubes,
paintings—no entrance
to this room, just plexiglass
plate instead the door.








Works made especially for the exhibition On Whiteness, Ellipse And Boredom, devoted to whiteness, the ellipse and boredom, quotes—in a contrary and vague way—the words by Jean Baudrillard from his essay “The Conspiracy of Art” about the end of aesthetic illusion that appeared in western (capitalistic) cultures. It occupied Baudrillard’s interest in the last years of his life.

The white color and the ellipse (as synonyms for silence and emptiness) are not literal enough to be called perfect in the times of hyper-precise reproduction. They are, according to the philosopher, the phenomena excluded from our aesthetic experience which in our (post)modern world is treated with ironic reserve. According to other philosophers and writers, boredom is the consequence of human loneliness in the world of symbols; the symptom of the loss of important relations between form and meaning.

Two elements became the starting point for the exhibition: the architectural space of the gallery and the status of a picture as a specific construction which is located between a viewer and something which is popularly called “reality”. The installations alter accessible spaces into spatial allegories of a look, dialectics of inaccessibility and exhibition, projection and presence. The ellipse is a central point of the exhibition. According to the definition of that rhetorical operation, it is an omission or even a deprivation of something which is so obvious—exhibit.

—from the text of Anna Mituś

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