solo exhibition
Studio BWA Wrocław
2009

The idea behind the form of this 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 prepared corridor. The work spread in next rooms while the viewer could just look inside through the framed plexiglas hanging on the corridor wall.

plexiglass in a white wooden frame 100 x 70 cm
small black painted room
video [Vvooxx found-footage]
15 sec., looped
2009

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 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, based on non-translatable pun in Polish linked to Baudrillard sentence from The Conspiracy of Art: “Odkąd rzeczy stały się wytwarzanymi produktami, artefaktami, znakami, towarami, PEŁNIĄ SZTUCZNĄ, ironiczną rolę mocą samego swego istnienia.” This way the fragment of Baudrillard's sentence becomes Artificial Fullmoon.

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

steel, tar
90 x 90 x 100 cm
2009
photo: N. Ptak

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

Lighthouse
arcylic on canvas
60 x 90 cm
2009

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