Gizela Mickiewicz ‘Background and Backstage’ — exhibition within project Nature Reserve
Vernissage 17th December at 6 pm. Join us!
John Lake’s Concert within the Project Nature Reserve John Lake is an experimental music project by Łukasz Dziedzic, who appears in various roles including: an artist, curator, creator of the Lugozi project and...
Keep Both Feet on the Ground — main exhibition of the project Reserve In 1940, Georgia O’Keeffe bought Ghost Ranch in New Mexico. This is where she travelled for her annual respites from New York’s din, to take pictures and paint...
‘Keeping Both Feet on the Ground’ — publication Polish Edition year of publication: 2015 size: 155 × 235 mm 112 pages edition: 600 pieces binding: hardcover reproductions in colour languages: Polish...
‘(…) I am interested in the hierarchical structure of the origination process, the relative importance of its elements and short-lived forms that allow something to exist before it reaches its final shape; the period of time when something is as yet unidentifiable, when it still looks dispersed, with its separate parts lying on the assembly line, waiting to be put together’, says Gizela Mickiewicz.
Time of Background is a collection that spans design, sculpture and self-taught experiment. The artist makes a draft wherein all parts are separately presented, resembling a detailed cross-sectional view of a plant or a device. She also treasures the parts that will never be included in the final object — the ones that have been wasted, left over, pointless or faulty. This is the makeshift, useless stage, but paradoxically, its presence is a prerequisite to achieving the final shape.
‘(…) I am interested in the initial quality, which is usually very poor, as well as in the fact that a ready, solid form rests on such feeble beginnings. In Time of Background various levels of realisation are kept separately, but I show them all together instead of showing the completed form.’
Both the selection of objects on display, and the space arranged for their presentation, do seem to be unfinished, unrefined, just like working versions or hatchlings. It seems they are being unwrapped, redone, hastily constructed, recuperating, going through the dress rehearsal or final adjustments.
Curator Marta Lisok
‘(…) I am interested in the hierarchical structure of the origination process, the relative importance of its elements and short-lived forms that allow something to exist before it reaches its final shape; the period of time when something is as yet unidentifiable, when it still looks dispersed, with its separate parts lying on the assembly line, waiting to be put together’, says Gizela Mickiewicz.
Time of Background is a collection that spans design, sculpture and self-taught experiment. The artist makes a draft wherein all parts are separately presented, resembling a detailed cross-sectional view of a plant or a device. She also treasures the parts that will never be included in the final object – the ones that have been wasted, left over, pointless or faulty. This is the makeshift, useless stage, but paradoxically, its presence is a prerequisite to achieving the final shape.
‘(…) I am interested in the initial quality, which is usually very poor, as well as in the fact that a ready, solid form rests on such feeble beginnings. In Time of Background various levels of realisation are kept separately, but I show them all together instead of showing the completed form.’
Both the selection of objects on display, and the space arranged for their presentation, do seem to be unfinished, unrefined, just like working versions or hatchlings. It seems they are being unwrapped, redone, hastily constructed, recuperating, going through the dress rehearsal or final adjustments.
