The latest, typo-photo-graphic performance by Aneta Grzeszykowska is an up-to-date political choreography. Using excerpts from her film works, the artist prepared an effective screenprint.
The new photography series by Aneta Grzeszykowska is another radical self-portrait of the artist. The point of departure this time is 19th- and 20th-century photographs documenting psycho-physiological experiments on the human body and the medical archives.
A series of photographs showing the artist’s daughter Franciszka playing with a doll—a life-size, waist-up replica of the artist herself.
Using the cosmetic masks referred to in the title, the artist creates a gallery of denatured, grotesque images. The female face hidden under the mask is subjected to clear deformation and loses its characteristic physiognomic features. The violent nature of advanced cosmetic treatments leads here to an association with extreme sexual practices, combat sports, and criminal disguise.
Leather dolls—or rather head studies—were made by Grzeszykowska using scraps of material retrieved from secondhand leather clothing found in thrift stores.
In this series of large-format photographs, the artist brings her double to life. The effigy manufactured by a specialist firm is a faithful copy of her head and torso on a 1:1 scale. Grzeszykowska documents the process of applying makeup, eyelashes and eyebrows, and the framing and reduced distance create the illusion of confronting a real person.
(Polski) W serii „Negative Make-Up” Grzeszykowska bawi się kolorowym makijażem. Zdjęcia wykonane w konwencji oficjalnych portretów do dokumentów to z jednej strony fotografia bardzo schematyczna, skonwencjalizowana, która równocześnie gra z obrazem kobiety w kulturze.
74 photographs from the Iranian Film Stills series document Aneta Grzeszykowska’s stay in Iran in March 2015.
The white woolen doll represents an image that the artist has of her own daughter, Franciszka – in year 2021.
Grzeszykowska makes a radical turn in the direction of the grotesque, creating startling sculptural charades using fragments of her own body, modeled in pigskin and exhibited on smooth leather backgrounds. Her selfie takes on an uncanny quality as she creates a self-portrait out of many parts.
Clock is a 12-hour long video in which Grzeszykowska performs choreographed dance compositions.
The video is shown in sync with hours of the day – the artist’s image is multiplied number of times to correspond with the time of day. With each new hour, new composition unfolds with another ‘copy’ of the artist added to the scene.
The white woolen dolls are hand sewn by Grzeszykowska. They represent an image that the artist has of her own daughter, Franciszka – in different, future stages of her life. Each of the white dolls will be completed by a photographic equivalent of Franciszka when she reaches a particular age.
Negative Book deconstructs positive photography and as such forms a continuation of the artist’s reflections on the character of the photographic medium and its various transformations.
The artist’s feminist way of perceiving image and art finds its fullest and most direct expression in the Love Book.