{"id":28549,"date":"2024-09-05T13:37:05","date_gmt":"2024-09-05T11:37:05","guid":{"rendered":"https:\/\/ggm.gda.pl\/?p=28549"},"modified":"2024-11-04T10:19:31","modified_gmt":"2024-11-04T09:19:31","slug":"maria-plucinska-my-body-covered-with-a-handful-of-earth","status":"publish","type":"post","link":"https:\/\/ggm.gda.pl\/en\/28549\/maria-plucinska-my-body-covered-with-a-handful-of-earth\/","title":{"rendered":"Maria Pluci\u0144ska. My Body Covered with a Handful of Earth"},"content":{"rendered":"\t\t
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Venue:<\/strong> Gda\u0144sk City Gallery (GGM1), Piwna 27\/29<\/p>\n

Dates:<\/strong> September 20 \u2013 November 3, 2024<\/p>\n

Opening night:<\/strong> September 20, 2024 at 6 PM<\/p>\n

Artist:<\/strong> Maria Pluci\u0144ska<\/p>\n

Curator:<\/strong> And\u017celika Kli\u015b<\/p>\n

Visual identification:<\/strong> Kaja Gliwa<\/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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<\/p>\n

If you eat too much dirty soil, your stomach will hurt.<\/p>\n

\u00a0<\/p>\n

I feel sick, thinks the girl as she walks through the forest. She is followed by the shadows of the dead. She is walking, dragging one foot after another. She was a weak child, always ill. With her right hand, she is leaning on a wooden stick to support her crooked body. She passes a roadside chapel decorated with colorful ribbons. The scattered rosary beads are digging into her bare feet. With a nod of her head, she greets the Virgin Mary standing on a blue plinth. They can barely see each other through the tall grass. After a while, she comes to the vast ruins of an old cemetery: the remains of the so called solid foundations, the legacy carved in stone. In the past, people buried their dead in a place specially designated for that purpose, but now they don\u2019t do that anymore. All the dead were supposed to stick together, but in the end, it turned out there were too many of them.<\/p>\n

\u00a0<\/p>\n

The year is 2024. It\u2019s scary and strange. The future is simply the present, stretched out further[1]<\/a>. The total number of people born since the beginning of humanity has exceeded 107 billion, of which 7 billion are alive, and the remaining 100 billion are dead[2]<\/a>.<\/p>\n

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Fortunately, the traveller has remembered to take a wicker basket with her. After all, you never know what you might find while walking among the ruins. Perhaps even something useful, edible, or beautiful[3]<\/a>. Today, the most important are the marshmallow root for stomach ache and some kindling.<\/p>\n

\u00a0<\/p>\n

Without looking for too long, on one of the moss-covered tombstones she notices an abandoned habit and a small book. She carefully tears out page by page. She only needs a few to light a fire. A bookmark with a reproduction of Hans Holbein\u2019s 1522 painting The Dead Christ in the Tomb<\/em> falls out from the book. It must have been bought in the museum shop of the Kunstmuseum in Basel. The painter depicted the posthumous pallor, the corneal opacity, the bruising and stiffening. The process of Christ\u2019s decay.<\/p>\n

\u00a0<\/p>\n

She hasn\u2019t been so excited about a new discovery for a long time. She always finds the greatest joy in decomposition. You know, people will eventually transform into other bodies, she says to an unknown listener. Every day, we are accompanied by around two thousand living organisms that we carry inside our bodies and on our skin[4]<\/a>. We are them and they are us. I once read a book that ended with a beautiful sentence: \u201cAnd then the animals will enter your room and sit on you peacefully, as if on stone and earth\u201d<\/em>[5]<\/a>. Since then, I have known that the best thing we can leave behind is fertile soil. I wish they could sit on me one day.<\/p>\n

\u00a0<\/p>\n

It\u2019s 8:40 p.m. The sun is setting. In the same place but at a different time, Maria Pluci\u0144ska, an artist and director, records the last scene of her short film to be presented at the exhibition. My Body Covered with a Handful of Earth<\/em> is a story about decay and a journey through the subsequent stages of rotting. Inspired by the idea of \u200b\u200brescue history[6]<\/a>, we shift our interest in the catastrophe and apocalypse towards the uncanny reconstruction of natural processes. We think about saving what will be, covering what was with a handful of earth<\/em>. We do not want to yield to the feeling of overwhelming negativity towards what is happening here and now.<\/p>\n

\u00a0<\/p>\n

And\u017celika Kli\u015b<\/p>\n

\u00a0<\/p>\n

Literature:<\/p>\n

Ursula K. Le Guin, The Word for World Is Forest<\/em><\/p>\n

Katie Lowe, The Furies<\/em><\/p>\n

Ottessa Moshfegh, Lapvona<\/em><\/p>\n

Richard Powers, The Overstory<\/em><\/p>\n

Dolores Reyes, Eartheater<\/em><\/p>\n

\u00a0<\/p>\n

[1]<\/a> Timothy Morton, Dark ecology<\/em>, New York 2016, p. 1.<\/p>\n

[2]<\/a> Ewa Doma\u0144ska, Nekros. Wprowadzenie do ontologii martwego cia\u0142a<\/em> (Nekros. Introduction to the Ontology of the Dead Body), Warszawa 2017, p. 49.<\/p>\n

[3]<\/a> Ursula K. Le Guin, The Carrier Bag Theory of Fiction<\/em>, 1986.<\/p>\n

[4]<\/a> ZOEpolis. Buduj\u0105c wsp\u00f3lnot\u0119 ludzko-nie-ludzk\u0105<\/em> (ZOEpolis. Building a Human and Non-human Community), Warszawa 2020, p. 42-43.<\/p>\n

[5]<\/a> Leo Lipski, Piotru\u015b (Apokryf)<\/em> (Little Peter. An Apocrypha), Olsztyn 1995, p. 145.<\/p>\n

[6]<\/a> Ewa Doma\u0144ska, Historia ratownicza<\/em> (Rescue History), in: \u201cTeksty Drugie\u201d no. 5\/2014, p. 12-26.<\/p>\n

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The exhibition is the Gda\u0144sk City Gallery\u2019s award for the 2022 Best Diplomas of Academies of Fine Arts.<\/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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Maria Pluci\u0144ska graduated from the Academy of Art in Szczecin where she specialised in experimental film. In her art, she focuses on working with objects, texts and films. She is inspired by collective narratives and relics of the past. Some of her artistic practice is devoted to feminist reinterpretation of historical subjectivities and negotiating the film language and tradition.<\/p>\n

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A finalist of the Hestia Artistic Journey competition, Pluci\u0144ska is also a winner of the ZAiKS scriptwriters\u2019 scholarship, the ING Art Foundation portfolio competition and the Gda\u0144sk City Gallery Award for the 2022 Best Diplomas competition. Her works have been shown at various venues, including the BWA Gallery in Bielsko-Bia\u0142a, the TRAFO Centre for Contemporary Art in Szczecin, or the Polish Sculpture Centre in Oro\u0144sko.<\/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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Partner:<\/strong><\/p>\n

ASP<\/p>\n

\u00a0<\/p>\n

Media partner:<\/strong><\/p>\n

NN6T, Magazyn Szum, Tr\u00f3jmiasto.pl, Presti\u017c Magazyn Tr\u00f3jmiejski<\/span>.<\/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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Venue: Gda\u0144sk City Gallery (GGM1), Piwna 27\/29 Dates: September 20 \u2013 November 3, 2024 Opening night: September 20, 2024 at 6 PM Artist: Maria Pluci\u0144ska Curator: And\u017celika Kli\u015b Visual identification: Kaja Gliwa If you eat too much dirty soil, your stomach will hurt. \u00a0 I…<\/p>","protected":false},"author":2,"featured_media":28544,"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],"tags":[97],"class_list":["post-28549","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ggm1-en","tag-single-photo"],"acf":{"data_rozpoczecia":"20240920","data_zakonczenia":"20241103","miejsce":"GGM1"},"_links":{"self":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/28549","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=28549"}],"version-history":[{"count":5,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/28549\/revisions"}],"predecessor-version":[{"id":28748,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/posts\/28549\/revisions\/28748"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/media\/28544"}],"wp:attachment":[{"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/media?parent=28549"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/categories?post=28549"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ggm.gda.pl\/en\/wp-json\/wp\/v2\/tags?post=28549"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}