Unsent Letters from Beijing ‘ 2013 / Urszula Wilk

北京未发:不可阅读的秘密墨舞

项目标签

文章分类 :

非常感谢Urszula Wilk将以下内容授权gooood发行。
Appreciation towards Urszula Wilk for providing the following description:

 

波兰艺术家Urszula Wilk最近在波兰举行了一场名叫“ " Unsent Letters from Beijing ' 2013”来自北京未发信件的个展,个展主要由三部分组成:
‘Archipelago’, ‘Letters Unsent’ and ‘Absence’)。

Archipelago的创作方式是将纸张用于吸取多余的油墨而形成的类似版画的艺术品。艺术家先在地上滴落油墨,这其中油墨的量和位置艺术家是可以
控制的,接着艺术家拿着纸张去“清洁”这些油墨,把纸压在油墨上进行收集。这个时候绘画变成了一种工作室油墨地图的拓印。1:1的比例,不用
摄像机,独立而精准,短暂而不可逆。

Letters Unsent的系列上的神秘印记让人联想到“Archipelago”系列,那些如同来自Archipelago系列的“字体”存在却没有沟通意义,那是油墨的
滴答,是笔尖的舞蹈,是秘密的语言,是书法的痕迹,是不可破译,是不可读取。它让我们意识到我们总在一定的语言框架内交流,我们也对这种
框架屈服,被这种框架所约束。我们应该对这种现象进行挑战。
信件是给别人,无论是至亲还是陌生人。书信的触感和书写的内容以及阅读就是自我的独白被解读,而艺术家创作的这种不被解读的信件能让她安
全的,淋漓精致的表达自己而不伤害到任何人。

/wp-content/uploads/2013/11/_c_z4ge9tNIO51eYfh-Vj8NHqznYwIjAKTlx_UzEjEOYs1kXE2tC860c77F6KMS9SSKi2EsFBR7xhzjXGSehjM1TWTJO040VTCY.jpg

/wp-content/uploads/2013/11/_c_5wU23CAAce-z7xqVFtJCFSs7mrhaKTYxDFvnU0NpkZnQ-dMzqgMqsoeCgq7DZlbUrZ5bQiHTW0wRgXMrcq9go2cyjuWB9YC2.jpg

/wp-content/uploads/2013/11/_c_Wd_63zOQgPlowLcbYuT9gTrdJgnvivAH4pW9NKCFqNzfZ2Cs4QaK5yAW6iaucPu1Ms4LF1Lv4ZDSo4ytPUcYEzeLXtBthzGc.jpg

 

Marek Śnieciński

Windows on Utopia – paintings of Urszula Wilk fragment

The artist’s recent three series of paintings on paper (entitled ‘Archipelago’, ‘Letters Unsent’ and ‘Absence’) have a joint title ‘Letters Unsent’.

The ‘Archipelago’ series was created using a unique procedure: painterly and non-painterly at the same time. This procedure is close to
printmaking in a way. The sheets of paper were used as once blotting paper was used to remove excess ink. Initially, what constitutes the
support is  the floor of the studio covered with various constellations of ink drops dripping from the brush. Their arrangements emerge as a
result of an activity which could be defined as controlled chance, as the artist can control the amount of dripping ink and the arrangement of
ink drops only to a certain extent. The next stage is a specific ‘cleaning’ process: the artist presses sheets of paper against the archipelagos of
drops , collecting them from the floor. This is the stage when the painting ‘does itself’, as if independently. In a way, such a painting becomes a
kind of a map of a part of the studio’s territory. The most exact kind of a map, as the reproduction scale in this case is 1:1. Such a painting is an
imprint, a trace. But not a trace of the world as delivered by documentary photography; it is a trace of something much more ephemeral. A trace
of a hand with a brush circling in the air, a trace of it wandering around, of hesitations, of the thick ink slowly dripping along the horsehair of the
brush. It is a trace of a certain Now, of a moment stretched to several minutes, of time that transforms itself into space. These rules of the game
result in a painting which is non-accidentally accidental. The irreversibility of the recording in the picture is postponed. Wilk is capable of
celebrating the painting’s right to non-existence. She may simply wipe away the drops of ink off the floor and the painting will not happen – even
if just a moment ago, each drop of ink falling to the floor seemed to build up the structure of the painting’s composition. However, when a sheet
of paper is pressed against the floor and the ink drops, the painting is recorded instantaneously. It is a fleeting image and a veraikon at the
same time.

The next series is entitled ‘Letters Unsent’. These mysterious letters are reminiscent of ‘Archipelagos’. My impression is, these are letters from
the archipelago’s territory; letters that had to be written, have the addressee (addressees) but couldn’t or shouldn’t be sent. The meaning of
these letters is their existence per se, not the fact that they could communicate something to somebody. Urszula Wilk writes letters which are
never sent without even touching the surface of the paper. The brush circles above the sheet of paper; ink drips down the dancing tip of a long
brush. These paintings seem to collect traces of calligraphy exercises in a secret language. The words that cannot be deciphered or
pronounced drip down the brush. Words, or rather their articulation, can be stopped. But one cannot refrain from the childish desire to leave
signs; the desire which forces one’s hand to perform a weird dance above paper. While dancing, a hand becomes a seismograph of emotions.

A seismograph of a crowd of words not uttered, words we do not want to or cannot utter. These letters are not supposed to be read. These
letters speak by their very existence. They tell me, for example, that our communication is always (or almost always) contained within the
framework of a certain linguistic convention; that using a particular language we succumb to the illusion of communicating something to
somebody. We pick up a language (ethnic, painting, drawing or mathematical) in the hope we can utter in it a certain truth about ourselves or
the world. However, this hope blends with the anxiety that all these languages above all express themselves, not us. We are endlessly
challenged by the question of how to force ‘our’ language to say something more, to reveal more than just the language structure.

Letters are always addressed to somebody. Even if the addressee is a stranger. Letters not sent have their addressee or addressees too. The
paintings-letters of Urszula Wilk are a kind of self-portrait whose idea is not the representation of the current appearance, but the expression of
the inexpressible. These letters are entrusted to the air; the distance between the hand holding the brush and the surface of the paper filters
and encodes the ‘uttered’ words. These words are monologues written by the artist to herself, although, perhaps, she writes them because of
somebody or something. She encapsulates her thoughts and emotions in a kind of writing that cannot be decoded. Only to such a notation may
one safely confide what must come into being and, at the same time, be kept at the perimeter of expression. Even if just to avoid hurting
somebody too deeply. (…)

/wp-content/uploads/2013/11/_c_VcL5AxxFwCjanxI_i6Gf8DT-DbXStqBmlzG-A93oh2RLdSP4X8sK-7HC0zF2HmgRoq7kSlgxJEdMqx6FcaC6KCeQ1CeGjt93.jpg

/wp-content/uploads/2013/11/_c__vTTZOvMW9Qrbbg3zlSbLpKMzw6_lQl85L-5Z1d5wQPpbtGCFx12E8UGUuMWxFSQGRG61bgx0Z30GRqn6bQl4OMSNhhkG4gM.jpg

/wp-content/uploads/2013/11/_c_d6djwCXIoA88UWjXarI0sfsMxITBIknebjBi1rUc92p5_FgDLlBGO2ZCRYevtzp775Es4lWSMpa8j6aWMid3a_PWhLo-WmJ4.jpg

/wp-content/uploads/2013/11/_c_rV5QfgoFuW3LkvqN-41PI7XWp5DGHIFXvQp0SWQNWnk1cAo0JDsat4LASxfK5wkn3k3cM-JtUtlxNFmY2ZHHYv2U-fox_0iT.jpg

/wp-content/uploads/2013/11/_c_g5vxo8v9wC8e5_bV7Kbk0lVSf5KkQNFkyvfVAknd-0puj_Ep-Q2QQLMgeej-7ChNS_OPnthE9e4rNylWdEpj2X8OycmQZ3uL.jpg

/wp-content/uploads/2013/11/_c_8QPUirFr-cER9vCm_0e2uqQ3gcKnLQ2SG958AyrbXOWMbx9Shwm8abKEZNIgPV7D48uuBHVzJcR08oui13sjSxh8hT1cYnlr.jpg

/wp-content/uploads/2013/11/_c_n34WgXN1e754wnFWjRZ8-6c_qpbUWDWARw6ONJccEncqBUNcPM8uZ4u_jef952yny2NsIDfIFbLDtjMIx6x7uiEgPHxmNVvJ.jpg

/wp-content/uploads/2013/11/_c_Bo7msc2xssCQOh-94E_vkenoqxmZrh0DrcrYGQ6V94X8uEXuPuPgYvrqmQQb-KLDfppK98y3VztKC_Hh8WWzENvzjp1I96Ji.jpg

/wp-content/uploads/2013/11/_c_ibXR_nmPVa5DRjdaDwt-wdtVusUfu8X6aJHpqckPFY8U5T-VFZrTcX1ao8E_XQ9-JtycRA-wyV5iM9XYvX9Om56i3xg81SUL.jpg

/wp-content/uploads/2013/11/_c_UVYeatSJ28mt_-AcKSzwjJpw8MtZlJps70cGmNRUsg-2gyFNS9eM0uT1w718-ZZjW2IDpTZr6ACJ0no_ybacddNJvatsag8q.jpg

/wp-content/uploads/2013/11/_c_PuJdgIwl2m1x2rNM-AOoBA-14akJHMOa310oJPInxO-XjKAVwkpl2GbrkyLhD-meW85JjPJvLQ0Fs8jmdYFpspBOIj3zm_fB.jpg

 

MORE:  Urszula Wilk



发表评论

4 评论

  1. 非常巧妙的构思和作品,ula 哈哈[得意]

  2. 虽然没看懂,但是我想肯定是好的,不然不会拿出来分享的。好吧确实没看出什么名堂来。

  3. 我勒个去,我整个人都不好了

随机推荐工作 所有工作 »

您的浏览器已经过时! 不能正确阅览该网站。Your Browser is outdated to view this website!

请更新您的浏览器或更换 Chrome, Firefox, IE 11, 或 EDGE 以获得最佳浏览体验!Please update your website to the latest browser or switch to Chrome, Firefox, IE 11 or EDGE to get the best experience.现在更新浏览器 Update your browser now

×