KREW – WERK / Foksal Gallery Foundation
EWA JUSZKIEWICZ at “KREW – WERK” exhibition
Foksal Gallery Foundation,
25 June–3 September 2016
Saturday 25.06, 4 – 9 pm
25.06 – 03.09.2016
Tues – Sat 12 – 6 pm
Foksal Gallery Foundation
Curator: Robert Kuśmirowski
A year after the exhibition Palindrome, presenting alternative creative attitudes with a clear disfiguration and crumpling of reality, I have the pleasure to touch again upon the phenomenon of ‘creatimacy’, to see paintings that are not mine, experience someone’s practice, provoke encounters, discussions and manifestations of self. This is how I inaugurate KREW – WERK, another palindromic exhibition, a collection of works by professional artists as well as persons with a history of short- or long-term mental disturbance. Comprised of numerous artistic propositions, the show focuses on a single theme, quite important for all those usually preoccupied with invisible things. It is a show about the power of the eyes, a distorted perception of reality, enhanced visuality and its forced-upon deficit. It is a triumph of vision impairment with the beauty of such disability, an accumulation of works, established not by eyesight but by the contestation of the visible.
Consuming the exhibition, we may conclude that we are no longer its recipient. It is the collection that victimises us, introducing a sense of anxiety and long repressed shame. The number of gazes directed at the viewer can seem stifling. But it is only in such multitude that we can approach madness, promoted by a majority of the invited artists.
The space of KREW – WERK will be divided into a medical section and a section beyond all rules. The works collected in the first part of the show carry ‘under research’ status and require partial quarantine. This happens to sketchbooks situated in a hospital incubator. Viewed and browsed in a medical apparatus, the sketches command greater respect, something that the artists themselves asked for, presenting me with their often sole and very personal representation. The covered windows and a ventilation shaft direct our senses to underground spaces, i.e. the mortuary. In the second section this sense is absent. Here, glass cabinets and traditional display systems evoke the classic atmosphere of art exhibitions and familiar didactical practices, but with an incomprehensible number of works (an ‘exhibition mass’).
Justyna Adamczyk, Philip Akkerman, Marta Antoniak, Rafał Badan, Bart Baele, Tomasz Bohajedyn, Dobrawa Borkała, Jean Louis Cerisier, Michał Chudzicki, Martyna Czech, Włodzimierz Czerw, Paweł Dunal, Marta Fic, Ziemowit Fincek, Paweł Hajncel, Julian Jakub Ziółkowski, Ewa Juszkiewicz, Feliks Kołyszko, Adam Konieczko, Robert Korzeniowski, Robert Kuśmirowski, Kamil Kowalski, Mikołaj Kownacki, Aleksandra Liput, Agnieszka Łukaszewska, Konrad Maciejewicz, Natalia Maciocha, Daniel Mączyński, Aneta Marciniec, Karolina Matyjaszkowicz, Monika Mausolf, Milionerboy, Edmund Monsiel, Sofie Muller, Jan Nowak, Edmund Okstom, Kaja Renkas, Małgorzata Rybicka, Mirosław Śledź, Anna Szczurek, Mateusz Szczypiński, Grzegorz Sztwiertnia, Feliks Tuszyński, Władysław Wałęga, Aleksandra Waliszewska, Michał Wawrzyniak, Małgorzata Wielek-Mandrela, Marcin Zawicki, Henryk Zwolakiewicz.
Prace z Kolekcji Szpitala Neuropsychiatrycznego w Lublinie.
Prace z Kolekcji Towarzystwa Przycjaciół Tworek ‘Amici di Tworki’.