the turn of winding lines
of an already executed plan

2018

 

 

 

An artistic project takes place in the space of the gallery. It feels comfortable there and treats the space as a place of research, a laboratory of thoughts. The exhibition is watching the viewer. The viewer is watching the exhibition. The space where they are being together for a while is both the physical space and the scenery in which the spectacle of art takes place. This exhibition is a series of artistic objects that talk about the gaze. 
 

Observations are a result of active participation in artistic life and its commentary. We perceive reality through the prism of language. The mad record is meant to help remember if it was not to last, but it also has creative potential. It can help bend the observed patterns according to your vision, help look sideways to notice an alternative. It is an opportunity to settle, to look honestly.

Extensive realisation draws from an episode of insomnia and collective amnesia from Gabriel Garcia Marquez novel “One hundred years of solitude”, using the snail’s metaphor to describe artist’s complex situation in his professional environment. The project on the whole plays on the notions of visibility and invisibility, forcing the viewer into some kind of choreography in the gallery space.
 

this work was shown during an individual exhibition “The turn of the winding lines of an already executed plan” in City Art Gallery in Kalisz / PL as a prize in a International Competition for Experiment in Visual Arts “Attempt 3”

curator: Michał Suchora, BWA Warsaw

photos: Jakub Seydak, Barbara Kubska

project of the catalog: Adrian Kempa

texts in the catalog: Michał Suchora, Jan Frączek

S Z U M

"Izabela Łęska's work takes place on two levels. The first one, more primitive and unmediated, affects viewer's senses. The works arranged as scenography emerge within physical interaction with the viewer, they make one follow the apparent or real movement of small details, from which the exhibition is wovened. Being already inside, the viewer begins to slowly read the nuances hidden from the untrained eye, and seemingly accidental plots make up in

a surprising whole. "

 

Michał Suchora, BWA Warszawa

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