2016/04/11

KRZYSZTOF MANIAK
28.03-06.04.2016

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Every day I see myself hitting the wall, bouncing back. And yet, I keep going, bending the boundaries a little with every step. I work on my own with myself. It’s quite a limitation but I discover more and more, I sink deeper into the matter. Southern dazzling Sun. Estevas on hillsides. They are the first flowers I saw here. Shiny white dots scattered negligently like stars on the open, circular sky I have observed the first night. Nearby are the cliffs. A long, hardly visible path leads to them. Fishermen often die there, they fall. So they say.

Codziennie widzę dojście do ściany, powrót. Pomimo tego, wyruszam, z każdym krokiem naginając lekko granicę.  Pracuję tylko ze sobą, to duże ograniczenie, jednak coraz więcej odkrywam, wsiąkam w materię.

Południowe oślepiające słońce. 
Na zboczach gór rosną estevy. To pierwsze kwiaty, które tutaj widziałem. Błyszczące, białe punkty, rozsypane niedbale, jak gwiazdy na otwartym, kolistym niebie widzianym pierwszego dnia.

Obok są klify. Prowadzi na nie, długa, ledwo wydeptana ścieżka. Często giną tu rybacy, spadają. Podobno.

Krzysztof Maniak

2015/12/19

publisher:BWA Galeria Miejska Tarnów
project co-financed by the Ministry of Culture and National Heritage of Poland and the Municipality of Tarnów
texts pl/eng: Nuno Faria, Jarosław Fliciński, Ewa Łączyńska-Widz, Eglantina Monteiro, Sylwia Serafinowicz
photos: family archive of Jose Humberto Mendonca de Sousa, Rita Burmester, Vasco Celio, Jorge Graca, Jaroslaw Fliciński, Konrad Pustoła
252 pages

książka_e
2015/12/09

Galeria Miejska BWA Tarnów
11.12.2015 – 24.01.2016
ul Słowackiego 1, 33-100 Tarnów
t. +48 14 6888820
www.bwa.tarnow.pl

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Otwarcie wystawy: 10.12, g. 18:30

Program towarzyszący:

03.12.2015, g. 18:00 – 


spotkanie z artystą i promocja katalogu
 z udziałem Nuno Farii (CIAJG Guimarães), Eglantiny Monteiro, Sylwii Serafinowicz (MWW Wrocław) i Ewy Łączyńskiej-Widz (BWA Tarnów), Muzeum Sztuki Nowoczesnej w Warszawie, ul. Pańska 3

09.12.2015, g. 16:30 – spotkanie z artystą, Aula ASP w Krakowie, pl. Matejki 13 Interdyscyplinarne Koło Artystyczno-Naukowe IKAN

11.12.2015, g.17:00 – spacer z artystą po wystawie i zwiedzanie Panoramy Siedmiogrodzkiej Jana Styki z dyrektorem Muzeum Okręgowego w Tarnowie Andrzejem Szpunarem, zbiórka na placu Kazimierza

12.01.2016, g. 18:00 – Malarstwo po wielkiej zmianie – wykład Jakuba Banasiaka (Akademia Sztuk Pięknych w Warszawie), BWA w Tarnowie

14.01.2016, g. 18:00 – Alternatywne Trójmiasto lat 8o – wykład Roberta Jarosza (Muzeum Sztuki Nowoczesnej), BWA w Tarnowie

CASA COSMOS. HOMEMADE PAINTINGS to wystawa, która sumuje ostatnie lata twórczości Jarosława Flicińskiego. Prezentuje obrazy, prace na papierze, obiekty i fotografie. Obrazy powstały niemal na przeciwległym biegunie kontynentu, w portugalskim Esteval, gdzie artysta mieszka i pracuje. Jak mówi: Obrazy potrzebują czasu. Ten peryferyjny zakątek Europy idealnie nadaje się do koncentracji i długiej pracy w samotności. Malarstwo uzupełniają obiekty znalezione w okolicy portugalskiego domu. Przedmioty są ważne. U Portugalczyków powszechny jest animizm przypisujący obiektom cechy osobowe i ideę duszy. Poza galerią, wystawa ma swoją cześć w przestrzeni miasta – wokół Mauzoleum gen. Bema oraz w witrynie blisko Rynku, gdzie w Muzeum Okręgowym przechowywane są fragmenty Panoramy Siedmiogrodzkiej Jana Styki. Postać gen. Bema – biografia i legendy – stały się nieoczekiwanym tarnowskim kontekstem wystawy.

Projekt dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego oraz Miasta Tarnowa.

Opening: 10.12.2015, 6.30 p.m.

Exhibition programme:

03.12.2015, 6.00 p.m.  - meeting with the artist and promotion of the catalogue with Nuno Faria (CIAJG, Guimarães), Eglantina Monteiro, Sylwia Serafinowicz (MWW Wrocław) and Ewa Łączyńska-Widz (BWA Tarnów), Museum of Modern Art, Warsaw, ul. Pańska 3

09.12.2015, 4.30 p.m. – meeting with the artist, Academy of Fine Arts, pl. Matejki 13, Kraków

11.12.2015, 5 p.m. – a walk with the artist around the exhibition and a tour of Jan Styka’s
The Transylvanian Panorama with Andrzej Szpunar, the director of the Regional Museum in Tarnów

12.01.2016, 6 p.m. –Painting after the Great Change – Jakub Banasiak’s lecture (Academy of Fine Arts in Warsaw)

14.01.2016, 6 p.m. – An Alternative Tricity of 1980s – Robert Jarosz’s lecture (Museum of Modern Art, Warsaw)

CASA-COSMOS: HOMEMADE PAINTINGS is an exhibition that sums up the last few years of Jarosław Fliciński’s artistic practice. It presents paintings, works on paper, and objects. The paintings were created at the far end of the continent, in Esteval, Portugal, where the artist lives and works. As he says, “Paintings need time.” This peripheral corner of Europe is a perfect place to concentrate and work long hours in solitude. The paintings are complemented by objects found in the vicinity of his Portuguese home. Objects are important. The Portuguese commonly believe in animism: personal characteristics and the idea of a soul are attributed to objects. Outside tha gallery, the exhibition is partly located in the space of the city – around the Mausoleum of General Józef Bem and in a display window close to the Market Square, where in the Regional Museum fragments of Jan Styka’s The Transylvanian Panorama are kept. The figure of General Bem – his biography and legends – have become a surprising Tarnów context of the exhibition.

 

2015/09/29

GALERIA FERNANDO SANTOS
19.09.-24.10.2015
Rua Miguel Bombarda, nº526
4050 – 379 Porto, Portugal,
T. 00 351 226 061 090
E. geral@galeriafernandosantos.com

Após Estrela Negra, apresentada em janeiro de 2014 no CIAJG (Centro Internacional das Artes José de Guimarães), em Guimarães, Jarosław Fliciński apresenta, na Galeria Fernando Santos, a sua segunda exposição individual em Portugal e a primeira em contexto galerístico.

Homemade Paintings é o resultado de uma seleção da ampla e impressiva produção de pinturas realizadas de forma continuada pelo artista entre 2009 – ano em que se mudou para a pequena localidade do Esteval, entre Loulé e Faro, no Algarve -, e 2015.

Os trabalhos desta série, que serão mostrados ainda este ano no espaço BWA, em Tarnow, na Polónia, representam uma ruptura significativa na produção pictórica do artista polaco, marcada durante mais de uma década por um forte pendor geométrico, oscilando entre a pequena escala e as intervenções monumentais à dimensão do espaço arquitectónico.

De facto, este surpreendente conjunto de pinturas, realizadas de forma absolutamente contingente e performativa, nas quais o artista envereda pela sistematização de uma organicidade apenas entrevista na produção anterior à sua mudança para Portugal, situam-se algures entre a casa, enquanto lugar matricial, casulo ou útero, e o Cosmos, enquanto incomensurável espaço genésico, em que tudo é princípio e fim, simultaneamente.

 

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2015/09/29

http://artecapital.net/snapshot-18-jaros-322-aw-flici-324-ski

Jarosław Fliciński – Liz Vehia, Artecapital
Esteval, July 2015

JF: Uma má pintura provoca-nos uma interrogação sobre o que pode ser “uma má pintura”. Já parei de dizer que as coisas são “más” quando são más, e tenho muito medo quando preciso de dizer “bom”.

LV: Porque é um estado temporário?

JF: É muito temporário. Com tudo, especialmente com o passar do tempo. Posso dizer que nos últimos 20 anos se tornou o meu tema principal. Ao longo destes anos fiquei sempre desiludido, tentei sempre destruir alguma coisa, ou mudar-me. Com [esta nova série que estava a desenvolver antes de vir para Portugal] eu queria trabalhar outro código na tela. E Portugal é o lugar perfeito para o fazer, porque não há muitos pintores focados exclusivamente na pintura, daqueles que não estão a pensar no que vão comer ao pequeno almoço. Eu gosto dessa atitude, de entrega total. Porque não existe ali ligações à política, à ideologia, apenas às pinturas. E a pintura, na minha opinião, tem uma estrutura única, porque a sua linguagem é universal – e a prova é que tu vieste aqui para me entrevistar – com ligação a todos os elementos (como o teatro e a literatura), mas é muito abstracta e tem uma moldura, uma fronteira, não se pode ir mais além dela, e tem duas dimensões, é plana. Tem algumas especificidades complicadas.
Uma tela destas é uma pintura única, mas eu gosto que ela exista dentro de uma história mais longa. Por isso também construo instalações.

LV: Estas telas têm uma espécie de pré-pintura, uma pintura que ficará semi-oculta.

JF: Sim, sem isso não seria possível chegar a esta forma enorme e precisa, seja uma pintura ou um mural.
Mesmo apesar de serem grandes, as minhas telas não são monumentais, preciso de uma escala humana, são como alguém. Mesmo aqueles que não têm relação nenhuma com a arte, podem chegar a apreciar ou odiar, pois é algo que tem muita emoção.
Eu não preciso de pintar muito. Três ou quatro já está bom. Trabalho rápido, dois dias, uma semana ou duas. Há uma espécie de processo tecnológico relativamente à tela que determina as regras. Tenho que esperar que as camadas sequem, etc.

LV: Chegaste a Portugal com três pinturas.

JF: Cheguei com três pinturas porque achei que era importante ter um ponto de partida. Nesse tempo pensava assim, agora já consigo viajar sem ter nada.
Portugal é este tipo de lugar que me dá perspectivas mais amplas para os espaços. Não é só século X ou XV, é uma linha muito mais longa. Este era um tipo de lugar limite em que a humanidade estava à espera de alguma coisa, e nesse entretanto foram descobrindo coisas, como um barco em que podiam ir mais longe. Quando se vê a imigração dos nossos antecessores, 20, 30 mil anos atrás, é sempre em direcção ao sol a pôr-se no mar ou ao sol a levantar-se. Era sempre o sol. As estrelas mudam, por causa da rotação do planeta, mas esses dois elementos, o sol a pôr-se e o sol a levantar-se, permanecem. Quando cheguei aqui tive uma sensação sobre estas coisas. Há muito “mundo antigo”. Pessoas pré-históricas construíram aqui um muro com centenas de milhares de pedras para as proteger de outras tribos. Os mouros também estiveram lá e a estrutura do muro mudou e depois dos mouros destruiu-se tudo. Há também uns megalitos, que se crê serem as primeiras estruturas. As pessoas carregavam pedras ou paus e marcavam o território. Há uma teoria sobre a arquitectura dos megalitos, que diz que os povos faziam estes pilares para afirmarem que ficavam aqui, que não queriam ir mais longe. Eu cheguei há 6 anos e coloquei aqui a minha pedra e pau.

LV: Este contexto quase mágico influencia o teu trabalho?

JF: Dá-me uma perspectiva mais abrangente, sobre o mundo inteiro. Deixei de pensar no mundo da arte. Aqui não é preciso pensar nisso. Não quer dizer que não quero mostrar o meu trabalho. O meu trabalho é uma coisa no atelier e outra completamente diferente quando o público o vê.
Fiz muitos trabalhos site specific. Bastantes murais que desapareceram. Eu apreciava muito esse trabalho, é efémero como a vida: estamos cá temporariamente e depois desaparecemos.
Eu não gosto de copiar a realidade. Aborreço-me com os quadros que representam um pedaço do mundo, que o pintor fez tão perfeitos que se encaixam maravilhosamente nos jornais e nos textos. Estou farto desta realidade bem representada. A realidade não é o que vemos, a realidade deve recriar o que sentimos. Podemos ver os mesmos sítios várias vezes e estes parecerem sempre diferentes. Podemos fazer melhor do que um pedaço fotográfico da vida.

LV: Vês os teus desenhos de um modo totalmente diferente das tuas pinturas?

JF: Os desenhos são muito importantes. Funcionam como um diário. Penso muitas vezes em fazê-los maiores, em isto ser só o princípio e depois poder mudá-los a meio, mas não acho ser possível fazê-los tão maiores assim.
Eles precisam de esperar pelo seu tempo.

LV: Os desenhos têm o seu próprio código, mas também aqui se denota o trabalhar com as fronteiras do espaço.

JF: Isso é verdade. Eu trabalho com o sentido da fronteira.

2015/03/11

I pushed the half-closed door open and went inside. Before me stood two towering, parallel walls enclosing a long, narrow corridor with multiple doors placed symmetrically, leading to further rooms. The fine material of the walls, their luminosity, the patterned tiled floors, the ceilings, the layout of the rooms, the light reflecting through the little windows and the coloured panes; everything moved me deeply. Despite the evident traces of neglect or even desertion, the interiors of the house were naturally welcoming, as well as having a certain pull that promised something out of the ordinary.

I packed my things and went back there half a year later, just to stay still for a while. I got rid of most of the unecessary furniture. On the walls only some hooks that remained, having been put up a long time ago, haphazardly, here and there…. each one different.

The first object I came across was a piece of grey cardboard that was perfectly ripped, as if by design, but in fact just discarded accidentally, in circumstances unknown. I looked at it for a long time; finally, it ended up on the wall. Not on a hook, but just beside it, stuck on with tape. After a while, out of the entire mass of the new reality that surrounded me, I subsequently pulled out fragments of wood, thin aluminium sheets, glass and plastic. At first, most of the objects were of a similar size. I would choose a place for them on a wall or put them on the tables. They would thus acquire a new function. They found me in more or less obvious places; around the house, on my way to the countryside, in the car park, by the ocean. I didn’t look for them; I wasn’t even interested in the search itself. They would simply appear out of the blue. Even though there was no special selection criteria, there was always a certain selection process. The collection was never huge; it grew very slowly and irregularly. Over time, the objects left the house and went out into the open. Here they were accompanied by an old car that had been parked there from the very outset and a pile of ceramic roof tiles. I also dragged two floaters from a pedalo boat that I had found in the garden out into the yard and added a transmission belt, which I would move around from time to time. Therefore, the scale of the objects kept changing. But the biggest change came when, quite unwittingly, a gigantic tree growing against the wall appeared on the list. It was a mature rubber tree that blocked out half of the sky. From that point onwards, I was very close to considering the old house itself as a found object, in particular, all of its walls which had so mesmerized me on the very first day, compelling me to go back there, and stay for good.

yard_1
2015/03/11

Pchnąłem na wpół przymknięte drzwi i wszedłem do środka. Wyrosły przede mną dwie wysokie, równoległe ściany długiego korytarza, a w nich symetrycznie po obu stronach zatopione drzwi, które prowadziły do kolejnych pokoi. Szlachetna materia ścian, ich świetlistość, wzorzyste posadzki, sufity, rozkład pomieszczeń, światło przebijające się przez okiennice i kolorowe szyby, wszystko mocno mnie poruszyło. Mimo wyraźnych śladów zaniedbania czy wręcz porzucenia, wnętrze domu zdawało się być naturalnie przyjazne i do tego pociągało obietnicą czegoś wyjątkowego.

Spakowałem swoje rzeczy i wróciłem tam pół roku później, po to, żeby się po prostu zatrzymać. Usunąłem większość zbędnych mebli. Na ścianach zostały jedynie haczyki, rozmieszczone dawno temu, swobodnie, tu i tam … każdy inny.

Pierwszy obiekt – znaleziony kawałek szarego kartonu, idealny, bardzo udanie przerwany i złożony przypadkiem, nie wiadomo w jakich okolicznościach. Oglądałem go długo, wreszcie trafił na ścianę. Jednak nie na haczyk, ale obok, przyklejony taśmą. Z całej masy kawałków otaczającej mnie nowej rzeczywistości z czasem wyciągałem kolejne jej fragmenty z drewna, cienkiej blachy aluminiowej, szkła, tworzywa sztucznego. Na początku większość przedmiotów była podobnej wielkości. Wybierałem dla nich miejsce na którejś ze ścian, albo kładłem je na stoły. Tym samym zyskiwały one nową funkcję. Znajdowały mnie w miejscach bardziej lub mniej oczywistych, wokół domu, na drodze do wsi, na parkingu, nad oceanem. Nie szukałem ich, w ogóle nie byłem nawet takim poszukiwaniem zainteresowany. Po prostu, nagle pojawiały się. Mimo iż nie istniały żadne kryteria wyboru przedmiotów, pewna specjalna selekcja zawsze się wydarzała. Zbiór nigdy nie był olbrzymi, powiększał się, bardzo powoli i nieregularnie. Z czasem obiekty wyszły z domu na podwórko, zwłaszcza, że od początku stał tam stary samochód i sterta dachówek ceramicznych. Przyciągnąłem też na nie znalezione w ogrodzie dwa pływaki od roweru wodnego i dodałem pas transmisyjny, który wciąż zmieniał pozycję. Tym samym zmieniła się skala obiektów. Największa zmiana nastąpiła jednak w chwili, gdy zupełnie bezwiednie na liście znalezionych przedmiotów pojawiło się gigantyczne drzewo rosnące pod murem. Kilkudziesięcioletni gumowiec przesłaniający pół nieba. Stąd było już blisko żeby za znaleziony obiekt uznać sam dom, a przede wszystkim wszystkie jego ściany, które tak mnie urzekły pierwszego dnia, dzięki czemu tam wróciłem i zostałem do dzisiaj.

cor_2
2015/02/25


In Polish, the word “ziemia” may refer to the uppermost layer of the Earth’s crust or it could denote a geographical land; when capitalized, it functions as the proper name of the third planet in the solar system. All these three meanings are reflected in the works featured at the exhibition, which were made between 1958 and today. Thinking about earth in terms of an astrophysical phenomenon or as material (e.g. clay, sand, stone, natural dyes) dates back to the beginning of the practice which we call art. This interest was integral to human history; in the second half of the 20th century it acquired the character of social and political engagement, and thus became the foundation of a new approach to art and the natural environment.

Artists: Paolo Barrile, Jan Chwałczyk, Jarosław Fliciński, Habima Fuchs, Wanda Gołkowska, Igor Grubić, Konrad Jarodzki, Zdzisław Jurkiewicz, Natalia LL, John Latham, Szymon Małecki, Robert Morris, Géza Perneczky, Elżbieta Tejchman  

Curator: Sylwia Serafinowicz

20 February–4 May 2015

Wrocław Contemporary Museum

pl. Strzegomski 2a

53-681 Wrocław

Poland
www.muzeumwspolczesne.pl

ziemia_1
2014/05/08

publisher: A Oficina, CIPRL, Guimaraes, Portugal
supported by culture.pl and City of Gdańsk
edit: Nuno Faria
interview: Nuno Faria and Jarosław Fliciński, April, 1-2, 2014
text: Sebastian Cichocki Untitled (a long film about painting), 2014
photos: Vasco Celio and Ricardo Nascimento
graphic design: Atelier Pedro Falcao
152 pages

book_e1
2014/01/20

CIAJG_invit_JAN_2014

Jarosław Fliciński: Black Star
Walls, Paintings, Drawings and Objects
25.01-13.04.2014

Black Star is the first solo exhibition in Portugal, of the work by Jarosław Fliciński. It is a large-scale intervention, that showcases the artist’s recent work for leading international contemporary art institutions: a project that aims to expand the operating field of the pictorial language, combining acute sensitivity to architecture with proficient wall painting, that extends beyond the picture frame and ventures into architectural space.

Jarosław Fliciński has designed an intervention that chronicles his own personal transformation. Indeed, this exhibition embodies his life experience over the last four years, after he moved to the small village of Esteval, between Loule. And Faro, in the Algarve, thus engendering a period of radical transformation in the inner habits and practices of his work.
Hence, spanning different formats and media, we pass from the gigantic to the miniscule, navigating between two levels: – Design, materialised by the set of drawings, in which the artist explores variations on very simple geometric forms, in a practice of repetition and difference, and a diverse set of objects collected in houses or outdoors, especially on the beach – in a kind of archaeological practice, of attention and openness to signals that come from afar and which announce themselves as being potentially transfigurational; – Construction, through use of the wall as a mechanism for dialogue with the architecture of the space, which in this case is divided into two distinct typologies.
On the one hand, transposition of an organic geometric drawing, a kind of anamorphism which acts on the spectator’s perception of the space around him, contracting and expanding the Euclidean geometry of architecture. On the other hand, the construction of two mural paintings that stand out from the wall, redefining the space, and which explore an entire meditative practice, that stages a dialogue with the history of geometric painting, a kind of spiritual exercise engendered as a performance, for which the artist had to build his own tools. In these paintings, there is an atmospheric density, which results from the superposition of several layers of different coloured paints that transport the spectator into an almost hypnotic state, in which different perceptual dimensions coexist.
The last part of the exhibition is a video projection that documents a luminous and optical effect, which echoes and reverberates, with disarming simplicity, the mural painting that the artist produced in a nucleus of the permanent collection: a white star, that draws, in the exhibition route, a kind of circle or spiral that represents an idea of a new beginning or return which, ultimately, perfect illustrates his recent career.

Text: Nuno Faria

Jose de Guimaraes International Arts Centre (CIAJG)
Platform of Arts and Creativity
Av. Conde Margaride, 175
4810-535 Guimaraes, Portugal

http://nrfaria.tumblr.com/