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In the exhibition Chapter Three: Pain / Aleksandra Waliszewska, the Polish artist creator, develops a multinarrative phantasmagoria where various creatures (in most cases a young atrophic figure) are pictured in a single uncanny and emotional scene.
The basic element of the hero’s situation in Waliszewskas’ paintings is pain, either as a threat, or as physical or emotional condition. The English word pain was created from the Greek πόνος, meaning “penalty, or the price of blood, vengeance (the offence) after punishment”. Through the Latin poena, which gave the French pein (originally meant “the torture of witnesses of the faith”), came the English pain with the meaning “pain as a result of pain from the torture and subsequent punishment in general”.
The production of this pain is animated from the personal traumas and experiences, the moral and the social dilemmas of the artist in combination with explorations of the condition of the Other. Pain is attributed with the creation of an exuberant archive of images of stable dimensions, with familiar protagonists, known to us from diverse sources of High and Low visual culture. (For example, archetypes inherited from old master paintings, figures from horror films and victims exposed to us from pedophilic and sadomasochistic documentation).
Waliszewska’s origin as well as the atmosphere of her artworks (in which, meadows, fields, snowy landscapes, dark rooms and humble materials are depicted) encourage a global and at the same time also local (that derives from the European specificity of Poland) reading of her work, that mixes with voyeurism and psychoanalysis as central sub themes among others.
Waliszewska was born in 1976 in Warsaw, where she lives and works. She graduated from the Academy of Fine Arts in Warsaw and has since made over 20 solo exhibitions since then.
Waliszewska’s exhibition Chapter Three: Pain / Aleksandra Waliszewska during Remap 3, inaugurates and is part of, a group exhibition curated by art historian Marina Vranopoulou. It is a modular group show that develops in time. Each of its part –chapter- does not follow a narrative, temporal, linear or numerical sequence.
Marina Vranopoulou is a PhD Research Candidate for the University of Goldsmiths in London, the Project Coordinator of DESTE Foundation’s Project Space, the Slaughterhouse, in Hydra and the Curator of the What is to Done program at the Cycladic Museum.

Aleksandra Waliszewska, On the edge, mixed media on cardboard, 25×35 cm, 2010

Aleksandra Waliszewska, Gruzeliki, mixed media on cardboard, 25×35 cm, 2010

Aleksandra Waliszewska, Nagana, mixed media on cardboard, 25×35 cm, 2008

Aleksandra Waliszewska, Anatomica, mixed media on cardboard, 25×35 cm, 2010

Aleksandra Waliszewska, BZ (Blowa Meduzy), mixed media on cardboard, 25×35 cm, 2010

Aleksandra Waliszewska, Bulby, mixed media on cardboard, 25×35 cm, 2011

Aleksandra Waliszewska, Possessed, mixed media on cardboard, 25×35 cm, 2010

Aleksandra Waliszewska, on the edge, mixed media on cardboard, 25×35 cm, 2010

Aleksandra Waliszewska, Tortury, mixed media on cardboard, 25×35 cm, 2011
Aleksandra Waliszewska
15 Leonidou, semifloor
Marina Vranopoulou
+306944723636
+302107239414
vranopoulou@gmail.com
Giovanna Lykou
+30 6937416201
giovanna.lykou@gmail.com
saprofytablog.blogspot.com
Doras Duistrias 2 Lykavittos, PC 10672
PAIN: INDEPENDENT CURATORIAL BY MARINA VRANOPOULOU
ALEKSANDRA WALISZEWSKA's SOLO SHOW - PART OF GROUP MODULAR EXHIBITION THAT DEVELOPS IN TIME
Chapter Three: Pain / Aleksandra Waliszewska
In the exhibition Chapter Three: Pain / Aleksandra Waliszewska, the Polish artist creator, develops a multinarrative phantasmagoria where various creatures (in most cases a young atrophic figure) are pictured in a single uncanny and emotional scene.
The basic element of the hero’s situation in Waliszewskas’ paintings is pain, either as a threat, or as physical or emotional condition. The English word pain was created from the Greek πόνος, meaning “penalty, or the price of blood, vengeance (the offence) after punishment”. Through the Latin poena, which gave the French pein (originally meant “the torture of witnesses of the faith”), came the English pain with the meaning “pain as a result of pain from the torture and subsequent punishment in general”.
The production of this pain is animated from the personal traumas and experiences, the moral and the social dilemmas of the artist in combination with explorations of the condition of the Other. Pain is attributed with the creation of an exuberant archive of images of stable dimensions, with familiar protagonists, known to us from diverse sources of High and Low visual culture. (For example, archetypes inherited from old master paintings, figures from horror films and victims exposed to us from pedophilic and sadomasochistic documentation).
Waliszewska’s origin as well as the atmosphere of her artworks (in which, meadows, fields, snowy landscapes, dark rooms and humble materials are depicted) encourage a global and at the same time also local (that derives from the European specificity of Poland) reading of her work, that mixes with voyeurism and psychoanalysis as central sub themes among others.
Waliszewska was born in 1976 in Warsaw, where she lives and works. She graduated from the Academy of Fine Arts in Warsaw and has since made over 20 solo exhibitions since then.
Waliszewska’s exhibition Chapter Three: Pain / Aleksandra Waliszewska during Remap 3, inaugurates and is part of, a group exhibition curated by art historian Marina Vranopoulou. It is a modular group show that develops in time. Each of its part –chapter- does not follow a narrative, temporal, linear or numerical sequence.
Marina Vranopoulou is a PhD Research Candidate for the University of Goldsmiths in London, the Project Coordinator of DESTE Foundation’s Project Space, the Slaughterhouse, in Hydra and the Curator of the What is to Done program at the Cycladic Museum.
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