\nhttps:\/\/www.facebook.com\/events\/3650953198489572\/<\/a><\/li>\n
\nhttps:\/\/www.facebook.com\/events\/450763964170341\/<\/a><\/li>\n
ABOUT THE EXHIBITION:<\/p>\n
The body uses the senses to delve into the spaces and phenomena that surround it. It has its memory, allowing it to operate independent of the mind and discourse. It reacts to its surroundings, e.g. to a wall drawing, which holds performative potential. A drawing can take the hand\u2019s kinesis and pass it on. The sight that looks without being set and focused on any one object, sight looking through silk, at semi-transparent fabrics with colors derived from natural dyes, sees differently.<\/p>\n
In his essay \u201cThe Eyes of the Skin,\u201d whose title Alicja Bielawska has borrowed for her Foksal Gallery exhibition, Juhani Pallasmaa wrote: \u201cFocused vision confronts us with the world, whereas peripheral vision envelops us in \u2018the flesh of the world\u2019.\u201d*<\/p>\n
Bringing her works into the space of the gallery, the artist alters the perfect white cube, known from thousands of photographs documenting hundreds of exhibitions since 1966 at Foksal Gallery, to encourage pleasure and comfort in the body. The central object of the exhibition is a soft, household seat, upholstered with jacquard fabric stitched according the artist\u2019s design. The seat is the furthest thing from the minimalist, angular stools associated with Foksal Gallery, which once served as pedestals for displaying archival materials, still serving in the gallery as guardians of the past.<\/p>\n
Working with the space, Alicja Bielawska also works with memory. The first thirty years of the gallery\u2019s operations were decidedly phallocentric. It was almost exclusively men who exhibited here, and most of the few women artists who appeared were tied to men who were important to the Foksal Gallery scene. An anecdote confirmed in the archive says that Annette Messager only exhibited at Foksal Gallery in 1978 because her partner, Christian Boltanski, made the presentation of his partner\u2019s work a condition for his exhibition. Though few women have exhibited at Foksal Gallery, they have played a fundamental role. It suffices to look at the photographs of the openings or the gallery\u2019s everyday workings. Although women worked with the artists organizing the exhibitions, their names do not appear in the archive, nor in traces or anecdotes. Women\u2019s work for the gallery might be called a \u201clabour of love,\u201d as Wiktoria Szczupacka analyzes in her essay, \u201cFoksal Gallery, Women and Labour of Love in the 1960s and 1970s.\u201d**<\/p>\n
Alicja Bielawska\u2019s view of history is a peripheral view. The artist saw people, motifs, stories, traces, and invisible work, without which the gallery could not have operated. Artists, curators, and viewers, male and female, have spent time here, talked, created, forged and maintained contacts, experienced and created places. The focused gaze does not perceive this, for the focused gaze it is merely a vague and uninteresting backdrop. Warping the sharp edges and blurring the white cube, the artist has created a place to be together, to feel pleasure and safety.<\/p>\n
* Juhani Pallasmaa, The Eyes of the Skin (Hoboken: John Wiley & Sons, 2024), 6. \u2014 Fot. Tytus Szabelski-R\u00f3\u017cniak<\/p>\n
\n** Wiktoria Szczupacka, \u201cFoksal Gallery, Women and Labour of Love in the 1960s and 1970s\u201d in Revisiting Heritage, ed. Marika Ku\u017amicz (Warsaw: Academy of Fine Arts in Warsaw, 2019), 92\u201399 https:\/\/issuu.com\/\u2026\/arton_book_revisiting_heritage_-_pd<\/a><\/p>\n
\nAlicja Bielawska (ur. 1980) jest artystk\u0105 wizualn\u0105, tworzy rysunki i rze\u017aby, instalacje, pisze wiersze. Jej prace koncentruj\u0105 si\u0119 wok\u00f3\u0142 materialnej sfery codzienno\u015bci i relacji pomi\u0119dzy przedmiotami, wn\u0119trzami a wspomnieniami. Dotyka w nich tak\u017ce kwestii wzgl\u0119dno\u015bci naszej percepcji i roli pami\u0119ci. Do swoich realizacji wprowadza r\u00f3wnie\u017c elementy choreografii i performansu. Mieszka i pracuje w Warszawie. Wyk\u0142adowczyni School of Form Uniwersytetu SWPS w Warszawie i Fundacji Atelier w Warszawie.<\/p>\n
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