Agata Nowosielska
Statement

“There is no more a clear distinction in political life, between war and peace, between sovereignty and slavery, between invasion and liberation, between equality and despotism… between art and buffoonery, between knowledge and ignorance. From the world where all those words revealed and identified certain objects, qualities and situations arranged into opposite pairs, we have moved to the world where contradictions and classifications, even those most basic ones, have been withdrawn from circulation”.
I quote Leszek Kołakowski as i find his view basic to some extent when it comes to analysing or fiding one’s identity in art.Thus it is parallel to what Ewa Mikina said about Deleuze’s term ‘distraction’ concerning contemporary art.

Being aware of the terms such as institutional art, postart and it’s practices, juggling with the names such as Debord, Foucault Deleuze, Agamben, Zydorowicz ,Guattari, Ranciere, Bishop, Rogoff, Bourriaud, Lacan 
Or Gillick, Weiner, Cattelan, reading ‘Imhibition’or ‘La Societe du Spectacle’I become gradually aware of the space and the borders of contemporary visual possibilities that arm the artist in his artistic starting point. Consequently, as far as one can afford i make the effort to observe current art fairs such as the Frieze or Art Basel, attend the Venice or Berlin Biennale; keep the eyes open at the proposals and artistic statements emerging from the Goldsmith’s College or Jan van Eyck Academie.
My attitude towards the art world constitutes my position as an artist which is conditioned by asocial or egoistic characteristics. Nonetheless the painting i practise does far reject the XIX-century model in which an artist plays a role of a genius and creates immortal opuses-on the contrary-my statement is closer to a theory that art should rather serve the society (however does not necessarily have to marry the policy like Artur Żmijewski claims). Art is rather a tool that may ‘smash’ the painful and crucial social, ethic, political issues. Art can be sarcastic as well. In my exhibition in the former shipyard in Kolonia Artystow, ’Art+Art=Art’ i set a multiple installation of ink drawings and postcards what were my response to the superficiality of artists, these revealed the vanity and immaturity of the artists that thought had the right to position others as they had institutional protection. One of the drawings presented a dialogue between two artists.One stated he liked Tapies while the other mentioned by names all artists he knew? (the names formed a tail measuring over five meters...). Numbers, masses formed a long term subject i worked with until i graduated from Gdańsk Academy. It has been long before Julita Wójcik crocheted her block of flats that i painted large sized ‘masses’ paintings using the motive of multiplicated balconies from the so-called ‘Falowiec’ to talk about the issue of community, crowd versus individual. Some good art historians and curators however appreciated my work and it went to the last year’s Geppert Competition. Eventually the paintings were compared to Luc Tuymans by Jakub Banasiak which i do not find a wrong comparison.

The work presented here for the Wannabe has it’s deeper origin in kitsch itself. Moreover it conveys camp style spotted not only in a F-category movies but in the reality itself. Yes, i state that experiencing Poland, polish ‘entourage’ itself is a sort of a camp style figure.It is a reality deprived of history and tradition (tradition that one finds difficult to identify?) That is why Ewa Mikina claims it is strange for the Polish to discuss art in a seventieth century property.

My work ‘Pride and Prejudice’ or ‘Macho in his fifties’ portray the patriarchal tyranny in polish social, political, artistic? life. Tyranny of right wing policy that position women to a role of hen bound to give birth to children in the name of Lord. This proposal expresses disdain toward the system in which  a woman gives access to her vagina as a form of policy generally. Perhaps it has not been my intention to emphasise the quazi feminist attitude but i definitely wanted to outline some indigestive issues that hurt-fighting any aesthetics as well just as Grzegorz Dziamski outlined in his text concerning postaesthetics. That is why ‘Images can hurt too’*.(*one of the works attached as a visual material).