{"id":1457,"date":"2004-06-08T14:26:37","date_gmt":"2004-06-08T14:26:37","guid":{"rendered":"http:\/\/www.galeriafoksal.pl\/?p=1457&lang=pl"},"modified":"2014-03-21T15:19:54","modified_gmt":"2014-03-21T15:19:54","slug":"forma","status":"publish","type":"post","link":"https:\/\/www.galeriafoksal.pl\/en\/forma\/","title":{"rendered":"Form"},"content":{"rendered":"

Opening: 8.06.2004, 6.00
\n5.06.2004 – 31.08.2004<\/p>\n

Presented to us, is a new series of pictures painted over the last months by Rafa\u0142 Jakubowicz, bearing the comprehensive title Form<\/em>. The artist usually produces sets or cycles of pictures. Among those painted at an earlier date was that called Reparation<\/em>. Jakubowicz said on the occasion of the presentation of the latter: The paintings have organic palpability. The canvases have been mutilated in a way.<\/em> There was also another set of small-sized pictures, like the present series, but at that time figurative, called zugzwang<\/em>, featuring, among other motifs, that of red cross.\n\nThe set of over twenty pictures of the Form<\/em> series are painted with precision bordering on that of an apothecary, in oil on canvas spanned on stretchers that seem strikingly solid considering the relatively small, though varying sizes of the different rectangles. These are multicolour paintings based on geometric divisions, the principle of which is apparently arbitrary.\n\nIn contrast to the rather stifling impact of Jakubowicz\u2019s earlier painted series, we seem to be able to breathe deep in front of the new set. At first, it is not clear why.<\/p>\n

Let us begin by considering the title, Form<\/em>. When we consult Maurice Merleau-Ponty on the handling of the issue of form, we are instructed that style structures an experience by giving form to it. Indeed, Jakubowicz\u2019s paintings seem to be formal exercises in Post-Constructivist stylistics and, in fact, in like decorative stereotype. What is the purpose of this kind of exercise today, and what is the rule behind the alleged \u2018construction\u2019?, we go on asking ourselves. In a conversation about the pieces, the painter has mentioned Leszek Ko\u0142akowski\u2019s \u2018analgesic culture\u2019, the culture of painkillers, an expression used in his early essay Obecno\u015b\u0107 mitu<\/em> [The Presence of Myth]. \u2018Mind your form! Keep in form!\u2019 is heard from all sides, and much more incessantly so then at the time of the nascence of Ko\u0142akowski\u2019s essay. This gives rise to an association between the formalism of the images and the ubiquitous, one might even say obligatory, colloquialisms.<\/p>\n

In a statement made several years ago, Rafa\u0142 Jakubowicz observed : I am anxious to express definite ideas as economically as possible, by reducing my means of expression to the absolute minimum. Through articulation on the border of silence.<\/em> This is apparently the intention behind all his work, though it lies in the nature of what he does continuously to ponder on things, in that on the work of others, and even more so on the possibility of, and grounds for, expression, on the very need for articulation.\n\nIn an untitled piece of poetry, one on the border of silence, \u2018***\u2019, included in the Wiersze, g\u0142osy <\/em>[Poems, Voices] collection. Ryszard Krynicki has recorded the following:\n\nBlind? Deaf? Mute?<\/em>\n\nInconceivable?<\/em>\n\n It is. It aches.<\/em>\n\nThis is what Form<\/em> is about. And this is, so I believe, what it is.<\/p>\n

Rafa\u0142 Jakubowicz<\/b>, born in 1974 in Pozna\u0144. Graduated from the Academy of Fine Arts in Pozna\u0144; Department of Art Critic (1999) and Department of Painting (2000). Ph.D. student at Institute of Art History of Adam Mickiewicz University in Pozna\u0144. Works in various media. Author of publications in art press and catalogues of exhibitions.<\/p>\n

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