Malgorzata Markiewicz


Kategorien: Fotografie Skulptur Installation


Flowers 2004-2006 ‘Flowers’ are soft-sculptures made by taking off the clothes I wear. I undress myself and make documentation of the event. The work is an action I perform in a park I leave the cloths in the grass, between the stone park monuments. The visitors to this exhibition have to search for my sculptures in the park area. The mystery of these objects lets the imagination create the portrait of a woman who undresses herself and walks in a specific environment nude. This work can be interpreted as beautiful, but very often clothes such as knickers and tights can be found on the grass in a park, city or wood: woman loose these items of clothing as in a case of rape. In this situation we also have mystery, a very frightening mystery.

She 2006

Objects. They were made from the clothes of the Finnish town Kuopio. They had been bought in Konti, a second-hand shop. Their textile bodies were stuffed with scraps of local newspapers: full of advertisements, small ads and articles describing the current events in the life of the town. The works were designed to be exhibited in the Town Hall—the most prestigious building in the town and the most important for those who live there. The citizens of Kopio were encour- aged to interact with the objects, by moving the bodies, decomposing them, sit- ting them down or cuddling them. The project was a part of the ‘Antifestival’ in Kuopio (2006).

Abandoned 2004-2010

Photographs. A series of photographs documenting abandoned clothes, which were by chance found in various places in the city: in the park, hanging from a bush or dropped onto a railway line. As happened in the Flowers, the imagination of the spectator is stimulated to start asking questions about things abandoned. The Flowers might be seen as innocent. The innocence of the Abandoned is destroyed. Their reality is dirty, cold and homeless. The future appears uncertain, identity—lost, function—unknown. The Abandoned are a document, a proof and a riddle... They are at times awkward. They get in the way. The audience is moved to ask: what are they for? What to do with them?

Fragility has a singular beauty 2007

Transformations, 2006—2007 The work focuses on the theme of incessant change in nature—the looped cycle of birth, growth, maturing, abundance, decline, death, and a new birth. It highlights the singular moment when the end becomes the beginning and, in reality, due to the never-ending change, the process goes on for ever—the process of eternal be- coming. In the rhythm of the Transformations, the secret of life is revealed. The series consists of the fresco-installation We Are Born Delicate and Fragile its counterpoint The Loss of Softness Causes a Living Death—where fi ve cement sarcophagi symbolise death. Inside them, fi ve dresses stuffed with hay have been buried. They are a symbol of nature. The hardness of the concrete is counter- point to the delicate softness of the fabric. The ten photographs entitled Fragility Has a Singular Beauty complete the series. They document the dresses when they were alive, so to speak, that is—worn by their owner.

Smuggled whisper 2007

(...)In her work Smuggled Whisper, Małgorzata Markiewicz reveals the profound experiences of humiliation and exploitation encountered by women and children in factories in the poor countries that manufacture clothing for the rich countries. We are forced to consume clothing bearing the names of the most exotic countries, yet also labeled by the best-known companies—and, to be on the safe side, we have no desire to explore the things that lie behind such a combination. The mechanisms of globalization whitewash the problem of contemporary slavery. At times, nevertheless, the desperate slaves inform the world of their suffering. They sew news of their fate into a jacket or pair of trousers and send it blindly out into the world, like a message in a bottle, with no idea of who will read it, or where. Perhaps the recipient will do something, or burst into tears—or, alternatively, burst out laughing because the cry of despair strikes them as a brilliant gag. Małgorzata Markiewicz learned about such practices and decided to create a cycle of clothing in which she sends out information about the condition and fate of the “seamstress.” On this occasion, she treats clothing as a shelter for smuggled letters. It appears in the role of a messenger of justice. text by Masza Potocka

Bruno -The portrait of my Son

Object-sculpture, artistic activity. A portrait of the artist’s son which incessantly continues to grow. It is spatial documentation of the process of growing up. The object consists of larger and larger clothes continually added on top of one an- other. Her son is growing, so does the sculpture. This process has been going on since Bruno’s infancy.

I Was Here, 2006

‘Secondly—Being in Touch with the Artist’ Objects. They arose out of the experience of being a stranger and the need to make contact with others—other artists in residence visiting the HIAP. At times, up to three people may stay there, but it is diffi cult to get to know all the artists who had found themselves there. The points of connection between all the artists are objects such as furniture and the equipment such as bed clothes or towels. The realisation that all others must have used the same towels, inspired the artist to embroider messages on towels. Having used the towels, the artist had them laundered, hoping that, after her departure, someone else might read the messages and get in touch with her.

untitled 2008

object, size 20x30cm metal grid, blankets

untitled 2009

installation in the space of gallery, size 3,5mx3,5m, stone bricks, yarn balls

Hidden 2009/2010

The series of small photographs size aprox.7,5cmx11cm. The story about escaping from reality of small claustrophobic space in the block of flats, about escaping form to crowded space of living.