The Year of Sculpture [Project in Warsaw]

Painting as more artificial considers sculpture as concretely situated and socio-technically fixed, mediating and embodying it, so to speak (while imbuing it with artificiality). The body is a certain criterion. The artificiality of painting is its body, and sociotechnics has almost become the body of sculpture before our eyes. Sculpture is justified socio-technically, fixed, its socio-technical influences are indicated, a kind of resulting politicity. All in all, politics is also practised by painting, but these are two completely different politicalities.

The Year of Sculpture project considers six (vertical) cultural types, rhythms, showing an escape from sculpture understood socio-technically into six spaces, conventions other than sculpture. In this project we establish certain perspectives, apply principles and ideas, analyse and critique, put arguments on the table, treating materiality, artificiality, sculpture and painting as arguments precisely. What is important is the power and transience, the emancipation of association as a means of art.

Spatial works move away from sculpture, their spatiality changes. The space in which they occur can be defined - these are the three axes of psycho-somo-socio-analysis (axes: psycho, somo, socio in the space of analysis).

Each of the six spatial works is accompanied by two flat paintings in which vertical cultural topoi are juxtaposed with what is horizontal - the reception of the viewer-observer/spectator-observer; in this horizontal element, the atmosphere of expectation and fulfilment is reminiscent of the queue for KFC: placing an order, paying, receiving.

Marek Sobczyk

Lizica Codreanu (studies) in costumes (designed) by Constantin Brancusi,
2019, 230x180 cm, egg tempera on canvas, (photo by M. Lalko)

Rare Pair of Armchairs [Escape from sculpture towards functionality / design], 2019, two objects 60x60x60 cm each, galvanised steel, (photo by M. Lalko)

Translated with DeepL.com (free version)