lokal_30 at Frieze New York 2017 with Zuzanna Janin, Ewa Juszkiewicz and Natalia LL

lokal_30 at Frieze New York 2017

//about lokal_30 at Frieze New York in Art Agenda: art-agenda.com/reviews/frieze-new-york-7

5-8 May 2017
preview: 4 May
booth C10


Natalia LL TAK (YES) 1971

Incarnations features works by three generations of artists: nestor of Polish ­conceptual art ­Natalia LL, Zuzanna Janin, established sculptor, installation and video artist, and young but already successful painter Ewa Juszkiewicz. We will present vintage prints of ­­Natalia LL from her famous series Postconsumer Art and YES, as well as the photographs and video of ­Zuzanna Janin’s boxing fight with boxer Przemysław Saleta from the making of the video FIGHT at Zachęta in Warsaw. These works are juxtaposed with the static oil paintings by Ewa Juszkiewicz, inspired by portraits of the eigteenth-century painters: Franz Xaver Winterhalter, Anne Vallayer-Coster and Anton Einsle.

The artistic stance of Natalia LL and her works being a clear manifestation of female ­self-awareness, as well as her presence on the international scene of the 1970s were somewhat of a link between the reality of the communist state, where equal rights were still a myth kept up by the authorities, and the reality of democratic states, which were already witnessing the second wave of feminism. Janin’s artistic practice is centered on the universalization of her own experience and biography. For the needs of her project for six months she trained boxing, which she had known only from the stories of her grandfather.
FIGHT shows a confrontation – the tough dialog between the big and the small, and a symbolic dependence that obtains between the strong and the weak. A discourse of opposites is not the only way to see this piece, which also seems to be a metaphor of our daily struggle with ourselves and with reality, and of an artist’s contending with the way society an the media see her work. The paintings by Ewa Juszkiewicz bring to mind the question of a mask which, according to Hans Belting, transforms the human body into an image. In this respect, the artist creates a unique “aggregate” image encompassing the original painting, the work created by Juszkiewicz, and the image produced by applying a mask on the face of the portrayed character.

These three artists share the motif of incarnation, change of role or position. Natalia LL presents models delighting in bananas, pudding or ice-cream. Obviously, this seemingly innocent activity acquires a strongly erotic edge. Combination of a “cold” film recording with a “hot” sensual motif stands for a rejection of the purely analytical character of conceptual art. ­Janin’s moving video documents a match between herself, a petite woman, and a giant boxer. ­Juszkiewicz’s subversive gesture activates motionless figures-objects, lending them subjectivity by recognizing their status. The artist creates a herstory by depriving portraits of the wives, mothers, daughters of powerful men of their faces, thus asking: what has history preserved other than their images?



In collaboration with Polish Cultural Institute New York.
Supported by Culture.pl.
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