{"id":6619,"date":"2015-09-16T11:39:04","date_gmt":"2015-09-16T09:39:04","guid":{"rendered":"https:\/\/instytutpolski.pl\/budapest\/?p=6619"},"modified":"2020-05-08T11:47:50","modified_gmt":"2020-05-08T09:47:50","slug":"abnormal-results","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/budapest\/pl\/2015\/09\/16\/abnormal-results\/","title":{"rendered":"ABNORMAL RESULTS"},"content":{"rendered":"\n

16 wrze\u015bnia (\u015broda), godz. 19.00 \u2014 15 pa\u017adziernika 2015 r. (czwartek)
1061 Budapest, Andr\u00e1ssy \u00fat. 32<\/p>\n

Wystaw\u0119 otworzy\u00a0Zsikla M\u00f3nika<\/strong> historyk sztuki<\/p>\n

Maess ur. 1982 w Warszawie. Absolwentka\u00a0 warszawskiej ASP, stypendystka Escola Superior de Artes e Design w Porto.
Jej rysunki ukaza\u0142y si\u0119 w FUKT Magazine 8\/9 oraz na promuj\u0105cej go wystawie w warszawskim Centrum Sztuki Sztuki Wsp\u00f3\u0142czesnej (2010).\u00a0
W 2012 roku Maess otrzyma\u0142a nominacj\u0119 do Grand Prix FID Prize w Pary\u017cu oraz znalaz\u0142a si\u0119 na li\u015bcie finalist\u00f3w Strabag International Art Award w Wiedniu (2013).
Wystawia\u0142a mi\u0119dzy innymi w Plumba Contemporary Art, Porto, Portugalia (2006), Residencia Coraz\u00f3n, La Plata, Buenos Aires, Argentyna (2008), Museo di Santa Cecilia w Rzymie (2010),Galerii Program w Warszawie (2011), Muzeum Wsp\u00f3\u0142czesnym Wroc\u0142aw (2013) Galerii Miejskiej Arsena\u0142 (2013) i w Drawing Center Nowym Jorku (2014)<\/p>\n

ABNORMAL RESULTS<\/strong><\/p>\n

Eksplozje intensywnej czerwieni natychmiast przykuwaj\u0105 nasz\u0105 uwag\u0119 i wywo\u0142uj\u0105 niepok\u00f3j. Przywodz\u0105 na my\u015bl krew, obaw\u0119 przed b\u00f3lem, chorob\u0105 i \u015bmierci\u0105.
Cho\u0107 w licz\u0105cym kilkadziesi\u0105t rysunk\u00f3w i wci\u0105\u017c rozrastaj\u0105cym si\u0119 cyklu „By\u0142o sobie \u017cycie ” autorstwa Maess na pierwszy rzut oka nic nie jest dopowiedziane i dos\u0142owne, wskaz\u00f3wki, kt\u00f3re naprowadzaj\u0105 widza na ten trop kryj\u0105 si\u0119 r\u00f3wnie\u017c w tytu\u0142ach prac: „Krwotok”, „Krwioplucie” czy „Krzywe prze\u017cycia”. Jeden z rysunk\u00f3w nosi tytu\u0142 „Kroj\u0105 mi si\u0119 pi\u0119kne sprawy”, co jest oczywistym nawi\u0105zaniem do tw\u00f3rczo\u015bci wybitnej polskiej rze\u017abiarki Aliny Szapocznikow.
Kiedy na prze\u0142omie lat sze\u015b\u0107dziesi\u0105tych i siedemdziesi\u0105tych w tw\u00f3rczo\u015bci Szapocznikow pojawi\u0142 si\u0119 motyw choroby nowotworowej, artystka nie mog\u0142a obserwowa\u0107 kom\u00f3rek i tkanek pod mikroskopem elektronowym, nie mog\u0142a skorzysta\u0107 z Internetu, w kt\u00f3rym dzi\u015b z \u0142atwo\u015bci\u0105 znajdziemy takie zdj\u0119cia. Jej uwaga skupia\u0142a si\u0119 na tym, co widoczne na powierzchni wyniszczonego przez chorob\u0119 cia\u0142a.
Dzi\u0119ki zaawansowanej technologii i stosunkowo \u0142atwemu dost\u0119powi do informacji Maess mo\u017ce eksplorowa\u0107 jego tajemnicze, fascynuj\u0105ce wn\u0119trze.<\/p>\n

Od dw\u00f3ch lat zapoznaje si\u0119 z dokumentacj\u0105 medyczn\u0105 i wykorzystuje zdobyt\u0105 wiedz\u0119 w z\u0142o\u017conym procesie tw\u00f3rczym: korzystaj\u0105c ze zdj\u0119\u0107, baz danych, program\u00f3w do tworzenia modeli 3D, farb akwarelowych, d\u0142ugopis\u00f3w i marker\u00f3w przekszta\u0142ca j\u0105 i ka\u017ce jej funkcjonowa\u0107 w \u015bwiecie sztuki wed\u0142ug nowych, narzuconych przez siebie zasad.
Mimo tych wyra\u017anych odautorskich wskaz\u00f3wek jej intryguj\u0105ce prace pozwalaj\u0105 widzowi na swobodn\u0105 interpretacj\u0119, a dzi\u0119ki bogactwu detali wci\u0105\u017c mo\u017cemy odkrywa\u0107 je na nowo.
Dynamiczne, spl\u0105tane linie i plamy opowiadaj\u0105 o kryj\u0105cych si\u0119 w naszym ciele, wrogich i niepokoj\u0105cych, a jednak, dzi\u0119ki dzia\u0142aniom artystki, uderzaj\u0105co pi\u0119knych \u015bwiatach.<\/p>\n

Beauty of decay<\/strong><\/p>\n

Polish Warsaw-based artist Maess Anand presents her newest series of drawings\u00a0\u201eAbnormal results\u201d in Platan Gallery in Budapest. We asked Maess to share her views on applied techniques, inspirations and experiences behind these works.<\/p>\n

Patrycja Rup<\/strong>:\u00a0Exhibition in Platan Gallery includes numerous drawings, some of them were already presented at \u201cThe Drawers\u201d group exhibition in Warsaw, when did you start creating this series? What was the main goal of this project?<\/p>\n

Maess Anand:\u00a0<\/strong>Since 2012, I have been fascinated by the complexity of the technology implemented for data visualizations,\u00a0 which inspired me to create drawings derived from data sets called „United Networks”.\u00a0The subject of cancer evolved slowly from these works. However, it was personal events, that triggered my reflection on the disease and re-invoked a curiosity in biology. I felt that the vast scientific data available from graphs and technical drawings, did little to express the fears of pain, disease and death.\u00a0 In 2013, \u201cAbnormal Results\u201d emerged. Studying the research that has been made in attempts to cure cancer and developments in this field, I have become captivated by the interwoven processes of both normal and pathological growth and the perplexity of the unknown mechanisms behind them. The intention of this project is to capture all these thoughts, which are overwhelming from the informative point of view itself, and dwell into the emotional burden in a context of vulnerability of a human being.\u00a0<\/strong><\/p>\n

\u201cAbnormal results\u201d is based on the wide medical research, what sources you used in the project?<\/strong><\/p>\n

In all, three sources of data are combined to create the works.\u00a0The least transformed source are pictures from histopathology reports with varied views of normal and cancer cells.\u00a0The second type are spiderweb like clusters generated in data visualization software illustrating, for example, incidence of cancer or cancer related conversations on Twitter.\u00a0Separately, simple two dimensional graphs, such cancer survival rates, are fed into 3D software as used in architectural visualizations , to which I then add my own dimensional parameter to render shapes and forms. The dimensional parameter that I manipulate is a metaphor for the \u201cunknown\u201d control mechanism within the realm of \u201cknown\u201d factors behind the cancerous processes.<\/p>\n

In your works you use different strategies and technics, from marker sketches to watercolour,\u00a0 why do you find creating a drawing after generating high-tech digital picture important?<\/strong><\/p>\n

„Abnormal results” is about mortality, fragility, beauty of decay. To have only rendered an image digitally,\u00a0\u00a0would have left the work with an impression of detachment and impersonality. It was essential to further engage with the works by drawing in order to retain the fragility of a human hand touch and with all imperfections.<\/p>\n

\u201cAbnormal results\u201d attracts attention with its vivid red colors, what does it mean to you?<\/strong><\/p>\n

Red as a colour is hard to ignore. It is used for warning sign (red flag), a symbol of passion, and as well massacre and hemorrhage. For this reason, I use red to make topographical marks for the viewer to \u201cnavigate\u201d across my works.<\/p>\n

Lately you started widening the range of technics and applying other colors like purple and blue, how do you see the evolution of the presented works from the typographic \u201eJ\u2019ai Tres Envie De Toi\u201d to the latest drawings?<\/strong><\/p>\n

In my earlier works, „Excessive” , made in 2009, I used acronym JTEDT as a sort of wax seal that symbolized carnal desire. In „Abnormal Results”, there are remnants of JTEDT, however the typography exists but as passion transformed into the Schopenhauerian „Will-to-live” , desire to survive, despite the circumstances.\u00a0In the words of Kandinsky; „Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.”\u00a0In my recent works I expand repertoire of colours which are consistent with my subjective reports of synesthetes. Synesthesia can manifest in many forms, in my case I see the words letters and sounds in a certain colour.<\/p>\n

In your works (and in interviews) you refer often to Polish artist Alina Szapocznikow, how her sculptures influenced your works?<\/strong><\/p>\n

The works of Szapocznikow did not influence me in the process of creating the „Abnormal Results” cycle.\u00a0Szapocznikow’s sculptures and my works are the very dissimilar take on the same topic. Alina Szapocznikow focused her attention on what was visible on the surface of a body, her body, racked with disease. What I draw is cancer seen from a cellular level, using wide complex data sets and networks. My works are\u00a0 very much influenced by latest technological breakthroughs.\u00a0As a person living in XXI century I have a plethora of resources at my fingertips; reading all sorts of discussion boards, medical publications, blogs of patients, clinical trials promises, studying survival rate calculators, and hence a\u00a0very different approach. Such images were not available to Szapocznikow nearly 50 years ago.\u00a0Her works are very important to me because it provides a reflection on how our contemporaneity shapes the way an artist conceives and executes ideas and how an artist’ life and work in an intertwined Zeitgeist.<\/p>\n

https:\/\/www.youtube.com\/watch?v=VcyX_IiLs60&feature=emb_logo<\/p>\n\n\n\n