24 V 2019 – 10 VIII 2019
THE BEGINNING AND THE END

https://www.ggm.gda.pl/en,0,0,2092,The_Beginning_and_The_End,0,0,index.php

Place: Gdańska Galeria Miejska 2, ul. Powroźnicza 13/15
Openning: 24.05 godz. 18.00
Exhibition: 24.05–10.08.2019
Artists: Paweł Althamer, Alberto Baraya, Jarosław Fliciński, Barbora Kleinhamplová, Diana Lelonek, Honorata Martin, The Otolith Group, Ewa Partum, Slavs and Tatars, Tran Tuan and Hoang Ngoc Tu, Piotr Urbaniec
Curator: Patrycja Ryłko

draw_19_02_cebw

Jarosław Fliciński’s You Know Something’s On, But You Don’t Know What is a series of fourteen gouaches from February 2019. Don’t be mistaken by their formal similarity to his Jumps into the Water from 1993-1994. Those are different works altogether. Made with a different experience, from a different perspective, and for utterly different reasons. And that they are still similar, that’s possible. To experience wonder one doesn’t necessarily need experiments and a trip full of adventures. We know there is a surer and swifter way for this. You just need to keep looking at the same object until you get the feeling that you’ve never seen it before.

Jarosław Fliciński (b. 1963) lives and works in Warsaw. He graduated from the Academy of Fine Arts in Gdansk. Fliciński takes special interest in formal necessities. His practice is almost radical, often considered as non-narrative, non-literary and non-descriptive. He does paint, but his paintings communicate nothing but a state of flux, constantly investigating relational order and chaos, regularity and irregularity. He goes beyond his large canvasses spread on the walls to move onto the walls themselves and shuttles between smooth surfaces and industrial bent aluminium. He works with scale and its substance, always revolving around his own gesture as the main point of reference. This expressive force refers also to the limits of his chosen medium and the space he works with. He identifies and explores places and senses in-between, while often operating on the margins. After all, the artist himself chose to live on the fringes of the European continent in Portugal and Poland. Fliciński finds coherent aesthetics only to deny it immediately, since he derives pleasure from redoing things and searching through the corresponding densities of patterns and colours. At one point, he concentrates on the rigid and symmetrical seriousness of objects, but the next moment he turns to the effortlessly fluctuating colours and desires – never shutting the door for further possibilities and chances. The artist‘s formal explorations betray almost existential qualities. Fliciński permanently questions his own artistic vocabulary, extending his practice from the canvas to the wall, from necessary rigid patterns to unnecessary found objects.

Patrycja Ryłko