malgomyslinska

[malgomyslinska]

Widma / Haunts, 2016-2017

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I am taking self-portraits in old photographic studios rediscovering old backcloths. Some of them I have found in the countryside - little village Pępowo, from where I come from, another one - in the center of the city, like in the main street in Poznan. 

I am interested in how this few choices of backrounds became universal for many histories of so different people. Usually in the studio there is not so many cloths to choose. You can find the exact backcloth for your purpose, for instance “library” if you graduated (or you pretend to become politician), like also ballroom for newlyweds. But the “library” supports rather obsolete categories, such as Cartesian mind or male domination.

I am spontaneously reacting on the backgrounds, driven by nostalgia to the backclothes coming from transformation time in Poland - 90′, from my current social-class-gender-geographic position as a precarious-living girl artist, pretending to middle class and situated in central Europe. I am asking if the backgrounds in the studios, hundreds or thousands times shaping the portraits are proofs of stagnation in fossil principles and drive people choises or they are just unintended visual anachornisms (some photographers felt embarassed when I asked for this offer)?  

[malgomyslinska]

The Next Day, Assembly Gallery, 2016

[malgomyslinska]

Rzeczy w Gwatemali / Things in Guatemala, 2016

[malgomyslinska]

Independance Day / Święto niepodległości / Guatemala, 2016

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I decided to offer my services as shoe cleaner for one day on the Independence's Day of Guatemala in front of the National Palace - a local symbol of colonialism. Cleaning shoes by street workers conceals the strong economic polarization of the society, class, genders and division between races. Despite of its practical aim - as cleaning shoes, there is another one, mainly establishing position in relation to other low status. This profession like also many other problems of Gwatemala, violence and drug traffiicking signifies the exploitation of the country, related with corruption and alliances of government with forreign liders. So called American Dream still remein for certain nations and collectives just a dream, it reveal the exclusive character of the ethos: from shoe-cleaner to millionaire. 

[malgomyslinska]

OSTRALE’016, error:x, 

Rekonstrukcje pamięci / Reconstruction of Memory, Drezno, 2016

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“Sleeping pictures” is part of my recent investigations on dust, it goes through existentialism, from questions about the status of the piece of art, the process of art maintenance or the position of the artist, until the new materialism philosophy and order in the postcolonial world.

The title is referring to the heard sentence, “Pictures that no one is watching are sleeping”. Thus I covered the pictures with varnish which attracts the dust, and with black paint which makes the dust more visible. I was collecting these pictures hidden under my bed – place which I considered the safest. Every month I was putting under the bed one canvas (until I filled the space with pictures under my bed) thinking: despite of the fact that being covered by dust means to be forgotten, Isn’t true that every artist would like to become covered by dust sooner or later?

The word “dust” lead us also to a wide group of designates – among them “pollen”, powder” (with its magic properties, like bringing deep sleep), or “ashes” from which we come from and turn into. The thick layer of dust causes also the temptation of touch it and leads us from visual forms of observation to embodied forms of cognition (showing at the same time that we are curious creatures). All this experiences with this matter led me to the question: Is there something more durable than my image?

http://www.ostrale.de

[malgomyslinska]

ARTVILNUS’16 with Assembly Gallery, Vilnus, 2016

http://www.artvilnius.com/2016-2

[malgomyslinska]

Pracownia Duży Pokój, Warszawa, 2016

http://www.duzypokoj.org

[malgomyslinska]

Lazy protest / Opieszały opór, Mona Inner Spaces, 2016 

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Lazy protes is collective workshop, inspired by the book “T.A.Z.: The Temporary Autonomous Zone” of Hakim Bey. We pretended to achieve 1;1 temporary exposition via Snapchat reflecting non-situated, monadic, dispersed practicts. 

[malgomyslinska]

Kto zacznie mówić o sztuce stawia piwo / who mentions art buys a round, Nowe Miejsce, Warszawa, 2016

http://magazynszum.pl/krytyka/kto-zacznie-mowic-o-sztuce-stawia-piwo-w-nowym-miejscu

http://nowe-miejsce.com

[malgomyslinska]

Kurz w dobie okularników - wykład i wystawa w ruinach Partenonu / Dust in the Age of double eyes - artist talk & exhibition in Partenon, Academia Electronica, UJ Kraków, VR Second Life, 2015

[malgomyslinska]

34 edycja Konkursu im. Marii Dokowicz / 34th edition of Maria Dokowicz Competition - The Best Diplomas of UAP 2014, Poznań, 2014

[malgomyslinska]

Camera Obscura, 2014

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We are surrounded by devices which we have no idea how they works. Both, those that are extremely complex (designed to be easy-to-use) as well as those which, although simple – require some expertised knowledge. I combined both devices together. Camera obscura – the easiest camera is connected to IPhone that is the result of complex operations, which can be seen in only two categories: it does work / it does not work.

[malgomyslinska]

Rzecz o kurzu / Things about dust, Galeria Aula, Poznań, 2014

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Modest daily routine around the house, often unwittingly turns into a true masterpiece and can escalate to the level of art, as it did in the case of the artistic manifesto of Mierle Laderman Ukeles: Maintenance Art Manifesto 1969! She moved in the space of the gallery her home works, among them dusting, in protest against the overlapping of her dusty position as an artist in the art world – so she shifted the role of perfect housewife into the gallery space. 

While doing documentation of my pictures in their original space, my mother decided to whipped out the dust, from them, what I considered as the moment when my pictures became 1:1 - bacoming the objects they represent. Now they are continuing their existence in an “phantom life” being already death because they fell into care but alive because generating an maintaining action. 

[malgomyslinska]

Untitled, 20x125 cm, oil and varnish on canvas, 2014

[malgomyslinska]

Untitled, 100x110 cm, oil and varnish on canvas, 2014

[malgomyslinska]

from sketchbook, 2014