Grid, erotic - and mark - fetish of modernism. Grid, the object of desire of modern artistic practice. Grid, as we well know from Rosalind E. Krauss, promotes peace, expressing it as a refusal expression. More: absolute inertia of the grid, characterized by the lack of hierarchy and center, not only emphasize its anti-referential character, but - more importantly - its hostility to any narrative. Grid, object paradoxical: it is affective object of adoration and desire on the one hand, but also the structure indifferent to time and events on the other. Body, erotic - and mark - a fetish, an object of desire of modern practice. The body entered by Descartes in the grid is the object of knowledge and power, spot secured in the space between the x-axis and y; coordinates: such and such a distance from zero to finite, form which spreads in the grid and
form a limited time, which it has remained. The body - like a grid, but otherwise - subject paradoxical: it is affective object of adoration and desire on the one hand, although the structure is indifferent to time and events on the other.
Justyna Mędrala in its exhibition-installation quite literally imposes on each other, these two objects of desire. Through the use of a physical space grid and sculpture, made of soap, the equivalent body makes present two modern discourses and runs them - seemingly, it has long been a well-recognized and worked - dialectics. The treatment of presence here is, however, a gesture both ironic and perverse. Discursive self-referential grid
was joined by the artist with a specific, individual - it is self-erotic, narcissistic even - the way in which it treated desirable once their body. Erstwhile objects of desire, which were brought to the dimension of metaphor and symbol on the ground, to his physicality, appear to be protective mesh mounted in windows and balconies against pigeons and reverse, fragile and fragmentary cast body: soap, that washing the skin, the same thing happened skin. Artistic, playful joke (from the grid and on grid), which allowed herself an artist, was it unsaid display
and title of the exhibition. A small gallery space has been deliberately for the exhibition even less. In this way, the tight and intimate - perhaps a little claustrophobic for some - the structure, which combines the features of the maze and cozy, lined with soft, red carpeted boxing. This space - broad enough to enter it, and so limited that it does not trample and would it not lose - created along with placed in the sculpture on the grid type of bodily interiors, in which recipients are located between
the fragments made of soap skin and meat red carpet. Clarity and historicity of references to the last half-century sculptures created by sculptor and ways of its presentation has been reinforced by the sarcastic title of the exhibition, which sounds like it has been removed from the section of the academic book on the art of the twentieth century, or badly written textbook of art history. Indeed, the use of - for the thousandth time - the grid condemns to bias, it is to type in a trend. Grid is because, as you know, the stereotype that sentenced the artist to constant repetition, but released her briefly once on the desired body.
Wojtek Szymański, curatorial text for the exhibition