{"id":27818,"date":"2015-11-06T11:16:31","date_gmt":"2015-11-06T10:16:31","guid":{"rendered":"https:\/\/ggm.gda.pl\/?p=27818"},"modified":"2024-08-07T14:15:45","modified_gmt":"2024-08-07T12:15:45","slug":"gizela-mickiewicz-and-jaromir-novotny","status":"publish","type":"post","link":"https:\/\/ggm.gda.pl\/en\/27818\/gizela-mickiewicz-and-jaromir-novotny\/","title":{"rendered":"Gizela Mickiewicz and Jarom\u00edr Novotn\u00fd"},"content":{"rendered":"
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Exhibition:<\/strong> 13.11.2015-3.01.2016<\/p>\n

Place:<\/strong> Gda\u0144sk City Gallery 2<\/p>\n

Opening:<\/strong> 13.11.2015 at 7 pm.<\/p>\n

Curator:<\/strong> Patrycja Ry\u0142ko<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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I<\/p>\n

The latest cycle of works by Gizela Mickiewicz Time of Entry<\/em> does not so much concentrate on the material used by the artist, but rather draws attention to the potential use of the material itself, a potential that is unlimited at any given moment. Mickiewicz creates her sculptures using materials that have already been patented, but have not yet found a specific function \u2013 which does not mean that they are completely useless. Those materials do not have a defined use, but they may have in the future. Currently, they are suspended in a kind of significative void, where function has not yet completely dominated form, and structure has not been filled with specific content. Mickiewicz pursues a methodical analysis of the formal potential of materials that are totally free from the burden of connotations and do not imitate the objects we all know in any way, quite the opposite \u2013 the artist builds an open spatial potential of imagination and proposes unobvious solutions that reveal the measurable properties of their potential future spatial arrangements.<\/p>\n

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II<\/p>\n

Jarom\u00edr Novotn\u00fd works with painting in his own characteristic way, which does not necessarily have to involve \u201cpainting pictures\u201d. In his monochrome painting works, Novotn\u00fd deconstructs painting \u2013 its historic form and content; the artist analyses the basic categories of material, undermines the conventions of meaning, and thus consistently abstracts the sheer process that allows the painting to come into being. Stopping at a certain stage of the creative work, Novotn\u00fd highlights the tautologies of formal analysis, and once again comes back to the beginning. The artist\u2019s paintings are characterised by a consistent structure of the image, haptic components and organic qualities of the material. Novotn\u00fd\u2019s paintings have found a remarkably natural way to exclude not only any kind of narrative, but also any rhetorical figures of discourse. Here, painting imitates painting in a nearly naturalistic way, canvas remains canvas, frame remains frame. The transparency that characterises most of the artist\u2019s works develops a unique capacity of meaning and opens up to all kinds of potential future content.<\/p>\n

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III<\/p>\n

The exhibition of works by Gizela Mickiewicz and Jarom\u00edr Novotny is founded on a certain parallel way of formulating artistic statements, insightful formal analysis of the materials used, and meditations on function, form and content. Both artists pursue the goal of finding a common point of balance, a centre of gravity that arranges specific formal situations in an appropriate way. Most of the works in the exhibition are very austere, minimal and transparent. Through an incessant reduction of artistic means, narratives and associations, these works activate their future potential and contain a multitude of possible solutions. They establish a kind of factography of future histories and their further configurations. (nsv)<\/p>\n

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Exhibition: 13.11.2015-3.01.2016 Place: Gda\u0144sk City Gallery 2 Opening: 13.11.2015 at 7 pm. Curator: Patrycja Ry\u0142ko I The latest cycle of works by Gizela Mickiewicz Time of Entry does not so much concentrate on the material used by the artist, but rather draws attention to the…<\/p>","protected":false},"author":2,"featured_media":27908,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":"","_wp_rev_ctl_limit":""},"categories":[106,108],"tags":[97],"class_list":["post-27818","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ggm1-en","category-ggm2-en","tag-single-photo"],"acf":{"data_rozpoczecia":"20151113","data_zakonczenia":"20160103","miejsce":"GGM1"},"_links":{"self":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/27818","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/comments?post=27818"}],"version-history":[{"count":5,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/27818\/revisions"}],"predecessor-version":[{"id":27929,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/27818\/revisions\/27929"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/media\/27908"}],"wp:attachment":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/media?parent=27818"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/categories?post=27818"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/tags?post=27818"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}