‘The compulsive need to reach a state free from suffering has been the ancient-ongoing quest of humans towards liberation. Today it translates itself into — on one hand, a struggle with optimization, and on the other the philosophy of acceptance and system adaptation. Through different believe systems, either technical or abstract, humans create ways of dealing with the enterprise of freedom.’
from the Post Enlightenment Manifesto
Placing a human and defining their role as creator or destructor, appreciator or defeater, hunter or prey offers us a vision of an inner world that determines the trajectory of growth. The artist-maker, seeing herself as an inseparable part of nature and marking the passes of time on the mortal bodies, becomes a unique container of memories and experiences which she calls ‘mind cryptocurrency’. Here i will pause to take a moment to redefine the idea of enlightenment, not as a religious or spiritual construct or elevation into higher consciousness, but rather as a more close connection between neurology and visions, body and mind, experience and its mediation, conscious states and sleep/dreams. The artist arrives into this place via quite a few disturbed factors of everything that is carrying the ‘post’ status quo of the present being. Madness appears as a natural residue of the post capitalist modes of operation. But how do we recognize (high) consciousness in the post internet era? Are we connected to the whole (cosmos) or to the machine? Madness is not defined the same way in all cultures as it is in the West. It is respected and taken care of, its voice heard as a signifier, a channel that is apparent to help us see the borders of society’s constraints and beyond. It is aware of the complex construction of the human psyche, drawing a cross path of the sexual, ethical, personal and even the traumatic thus offering a new prospect of openness.
The series of drawings presented in the show is perceived as a mind map: sketches of how the artist depicts her experiences, people and places through immersive, self organizing environments. In a world with a shifting centre, what remains always steady and constant, begins as a frequency that triggers the visual cortex, goes through the brain, awaking and connecting neurons, creating electricity between them, faster and stronger until the point that the person in the drive is seen as radiating. Her tools are lines, straight or disrupted, circular or wavy, each of them in clear resonance and accordance to the legend of the mind map, always evoking new meaning, and loaded with emotional charge.
The artists investigates the idea of seeing from the inside to the outside, by constant shift of perspectives, in each panel offering a wider spectrum of expressions, defining her subjects and memories in a language that is formed and later erases itself. In that phase, quite the opposite emerges: a method of seeing and doing, revealing and hiding meanings by repetition, takes the viewer to quite specific places where the more you go inside, the more you can take a perspective from and enter the swirl effect that disperses into the spiral, into totality. Is it a memory or a line? How does it bounce back into the paper as the subject returns back into the inner world, so the whole spectrum is reflective? Its a parallel that reflects in and out, but can it be generated from the other end? Are those connected and where does it happen? How does it radiate into the physical world? Do we change perception by experiences or by light? Can the graph of a mind cryptocurrency that functions as the merchandiser of values be established between the heartbeats and the brain waves? Hesitant to name this process, all that is left to ask is how this system of interconnectivity makes a bridge between inner and outer spectrums, experience and memory. How does it become alive source of cognition, positioning the being as a mediumistic figure hanging and poised, always on the edge of living a memory, remembering, depicting light and re-experiencing meditation?
Voin de Voin
Kinga Kielczynska first studied Spanish Philology at Warsaw University before graduating from the Gerrit Rietveld Academy and the Sandberg Institute in Amsterdam. Her multidisciplinary art practice reflects upon the relationship between nature and humans. She often exhibits her work outside of the gallery context, past locations include a nudist beach, a night club and a forest. In 2009 she challenged the paradigm of art making by writing a ‘Reductionist Art Manifesto’ which playfully proclaimed the idea of reduction instead of production. Recent projects are centred around the conflict related to the Bialowieza primeval forest in Poland, her country of origin.
Æther Ul. Knyaz Boris I, 39, at Platform B, 1202 Sofia
On the opening night, the 17.02.18, a live group portrait will be performed.
poster by:Julian Garcia and Kinga Kielczynska