Embedded Files
for the catalogue of my solo show I speak when I must at Munipal Gallery bwa in Bydgoszcz, May 2018
Perceptions.
Our body has such a structure that when we look back, we immediately lose sight of the direction and point we are heading towards. Although it disappears (the beginning of the end) from the field of vision, its afterimage remains and overlaps with the memories that shape our memory.The process of forgetting would therefore be a simultaneous loss of the past and the future, as well as a temporary selection of what is important and what is not.Living and looking back, seeing the past determines - together with our eyes - the direction of the face, and thus the taste, smells, touch...The kind of post-modern game of "feeling in reverse" in Alicja Kubicka's works combines the past "time of looking" with the reworked and conscious "time of seeing". It is yet another look at what already happened - and what, in relation to the reacting and feeling body, is in a continuum of "lasting time", as being involved in what is "behind".Therefore, an important but not the only direction of her search is to reveal the consequences of the dominance of the sense of sight in the history of culture, as well as of the important relationships between visual experience and its content.By creating, she addresses the problem of self-thematism - in constant deconstruction and reconstruction of modern and post-modern visual tradition.In her work, what we look at is what Alicja sees and what Others have already experienced before. Also the issues of the medium and self-referentiality, combined with Julia Kristeva's intertextuality, presented by her, allows us, the viewers, to see the reality belonging to the Other, trying to see it through its eyes. By opening up to dialogue in this way, Alicja's imagination re-reads and revives what remains and is important. The disillusioning treatments she used reveal the fictious character of the world se had seen and depicted earlier. In this situation, the image becomes a kind of a game of conventions and does not refer mimetically to reality, but essentially to its image.
Our body has such a structure that when we look back, we immediately lose sight of the direction and point we are heading towards. Although it disappears (the beginning of the end) from the field of vision, its afterimage remains and overlaps with the memories that shape our memory.The process of forgetting would therefore be a simultaneous loss of the past and the future, as well as a temporary selection of what is important and what is not.Living and looking back, seeing the past determines - together with our eyes - the direction of the face, and thus the taste, smells, touch...The kind of post-modern game of "feeling in reverse" in Alicja Kubicka's works combines the past "time of looking" with the reworked and conscious "time of seeing". It is yet another look at what already happened - and what, in relation to the reacting and feeling body, is in a continuum of "lasting time", as being involved in what is "behind".Therefore, an important but not the only direction of her search is to reveal the consequences of the dominance of the sense of sight in the history of culture, as well as of the important relationships between visual experience and its content.By creating, she addresses the problem of self-thematism - in constant deconstruction and reconstruction of modern and post-modern visual tradition.In her work, what we look at is what Alicja sees and what Others have already experienced before. Also the issues of the medium and self-referentiality, combined with Julia Kristeva's intertextuality, presented by her, allows us, the viewers, to see the reality belonging to the Other, trying to see it through its eyes. By opening up to dialogue in this way, Alicja's imagination re-reads and revives what remains and is important. The disillusioning treatments she used reveal the fictious character of the world se had seen and depicted earlier. In this situation, the image becomes a kind of a game of conventions and does not refer mimetically to reality, but essentially to its image.
A frame from Michelangelo Antonioni's film Blowup, USA, Great Britain, Italy, 1966.
Araya Rasdjarmrearnsook, Death Seminar B, 2005 http://withreferencetodeath.philippocock.net/blog/rasdjarmrearnsook-araya-reading-corpses-to-female-corpses-2005/
2. KnotsIn Alicja's work, "staring" emanates melancholy. It is only somewhere on the borders of recognition that the structure of a painting reconciles the "physical" with the imagined. The action of going "beyond" - into the unknown - is also the work on the real - so that imagination, by transforming matter, would change its earlier meanings.By tying time and materialised fiction together, the artist woven the image of the viewer that breathes life into a painting into an excess that arises. She confronts it with a number of experiences reacting to thickenings resulting from the places of "bonds". From exaggerations built by re-trying to combine what has been broken. That which does not remain in the communication of message and understanding, including consent - resistance to power, which, in spite of the rules of life, is realised at the expense of others and their small chances of survival.So what are these knotted thickenings, cracks and interruptions - that which is empty... in reality, they only seem to be the paint and substrate applied, but for Alicja, they are the "phisicality of the inexpressible". The materiality associated with the memory of images, as well as with the recognised places of events that one can say they exist because they do not exist.This is similarly reflected in a work by Jeff Koons, Play-Doh. Looking at the installation, we can only see the huge shape of the shapeless, expressive pieces of coloured plastic. Trying to recognise the content in the shape, we go back to our childhood with our memory. To the period of contact with the surface of the space as if it were a plastic mass to play with. Now, having a different body, we realise that in the process of recognition we also discover ourselves, being as inalienable part of the gigantic form. So Alicja, getting to know the "other side of the mirror", is determined to face the "image" as an area of politics, privacy... of personal dillemas, as well as human dramas. She still is like a child, amazed by the world - as well as m i x e d with it.
Jeff Koons, Play-Doh installation, polychrome aluminium 312,4 x 383,5 x 348 cm, 5 unique versions, 1994-2014, Newport Street Gallery, London, photo by Sławomir Lipncki, 2016
Catalogue, framed reproductions of the artist's paintings, site-specific installation, Colony of Artists in Gdańsk (appendix to the diploma), photo by Alicja Kubicka, 2017
Catalogue, framed reproductions of the artist's paintings, site-specific installation, Colony of Artists in Gdańsk (appendix to the diploma), photo by Alicja Kubicka, 2017
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dr hab. Sławomir Lipnicki
dr hab. Sławomir Lipnicki
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