Marek Wodzisławski

UMGEBUNG

Project Info

  • ­čĺÖ ZAMEK Culture Centre
  • ­čĺÜ Jagna Dom┼╝alska, Kamil Gustaw Mizgala
  • ­čľĄ Marek Wodzis┼éawski
  • ­čĺť Jagna Dom┼╝alska, Kamil Gustaw Mizgala
  • ­čĺŤ Marek Wodzis┼éawski

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Marek Wodzisławski, UMGEBUNG, exhibition view, 2024
Marek Wodzisławski, UMGEBUNG, exhibition view, 2024
Marek Wodzisławski, tapestry - third-hand garments, 2024
Marek Wodzisławski, tapestry - third-hand garments, 2024
Marek Wodzisławski, tapestry - third-hand garments, 2024
Marek Wodzisławski, tapestry - third-hand garments, 2024
Marek Wodzisławski, preparation - gall with larva (cross-section), 2024
Marek Wodzisławski, preparation - gall with larva (cross-section), 2024
Marek Wodzisławski, UMGEBUNG, exhibition view, 2024
Marek Wodzisławski, UMGEBUNG, exhibition view, 2024
Marek Wodzisławski, post-design - degraded functional items, 2024
Marek Wodzisławski, post-design - degraded functional items, 2024
Marek Wodzisławski, post-design - degraded functional items, lichen, 2024
Marek Wodzisławski, post-design - degraded functional items, lichen, 2024
Marek Wodzisławski, UMGEBUNG, exhibition view, 2024
Marek Wodzisławski, UMGEBUNG, exhibition view, 2024
Marek Wodzisławski, nude, photography, 2024
Marek Wodzisławski, nude, photography, 2024
Marek Wodzisławski, preparation - tragopan plica, 2024
Marek Wodzisławski, preparation - tragopan plica, 2024
Marek Wodzisławski, UMGEBUNG, exhibition view, 2024
Marek Wodzisławski, UMGEBUNG, exhibition view, 2024
Marek Wodzisławski, bionic objects, Nike Shox with a platform from human bones, asphalt, 2024
Marek Wodzisławski, bionic objects, Nike Shox with a platform from human bones, asphalt, 2024
Marek Wodzisławski, bionic objects, Nike Shox with a platform from human bones, asphalt, 2024
Marek Wodzisławski, bionic objects, Nike Shox with a platform from human bones, asphalt, 2024
Marek Wodzisławski, Bionic objects, house of bones: skeletons of common pigeons, asphalt, 2024
Marek Wodzisławski, Bionic objects, house of bones: skeletons of common pigeons, asphalt, 2024
Marek Wodzisławski, post-fashion - collection of third-hand garments: for-channel video installation, 2024
Marek Wodzisławski, post-fashion - collection of third-hand garments: for-channel video installation, 2024
Marek Wodzisławski, post-fashion - collection of third-hand garments: for-channel video installation, 2024
Marek Wodzisławski, post-fashion - collection of third-hand garments: for-channel video installation, 2024
Marek Wodzisławski, barrier/utopia, installation: taxidermed albino peacock, reflective paint, airbags form damaged vehicles, 2024
Marek Wodzisławski, barrier/utopia, installation: taxidermed albino peacock, reflective paint, airbags form damaged vehicles, 2024
Marek Wodzisławski, barrier/utopia, installation: taxidermed albino peacock, reflective paint, 2024
Marek Wodzisławski, barrier/utopia, installation: taxidermed albino peacock, reflective paint, 2024
Marek Wodzisławski, rock screen: algoe, knotweed, 2024
Marek Wodzisławski, rock screen: algoe, knotweed, 2024
Marek Wodzisławski, biovitrail - haematococcus pluvialis, gravity-controlled enteral nutrition set, 2024
Marek Wodzisławski, biovitrail - haematococcus pluvialis, gravity-controlled enteral nutrition set, 2024
Birds of the bowerbird family use fruit, feathers and shiny objects to adorn their bowers and thus lure females. They do this even though they are not lacking in any department to have to make up for it with extra-corporeal appendices. Even so, they strive to beautify themselves through their architecture. Thus, bowerbirds go for what is essentially a prosthetic action. Prostheses may be seen as an aesthetic reorganization and capacity enhancement. These extensions restore the functionality of the body. They become integral, contributing to an organic, albeit partly artificial whole. All bodies make use of prostheses. Acquiring objects-supplements, they incorporate them and turn them into bodily organs. Using, tools, ornaments and devices, they boost their own potential. Hence, a prosthesis does not merely compensate for a shortcoming, but represents an instrument that enriches the modes of functioning in the world. Umgebung focuses on the body extensions that use clothing, architecture, food or fuel. Home and apparel are not only a shelter/covering to shield one from the cold or the sun, but also a mode of communication, a camouflage, an intimate space or a component in a gender ornament. Prosthetic objects become borrowed organicity, also in trans-species terms. Leaving anthropocentric individualism behind, the exhibition highlights interspecies connections. The eponymous ÔÇťumgebungÔÇŁ means the world around, the surroundings or environment. Following Elisabeth Grosz, Wodzis┼éawski asks ÔÇťwhat is that external environment, that context, that setting which stimulates and transforms the individual and collective bodies that inhabit it?ÔÇŁ The artist draws attention to the need for conceptual creativity and posthumanist sensibility. He explores the limits of prosthesis and the possibility of constituting oneself anew. He creates a space for becoming familiar with strangeness; he blurs the boundaries between the innate and the chosen. He analyses the sense of artificiality in a post-natural world, employing a peculiar kind of biorecycling. As a result of artistic intervention, natural materials, tissues and biological by-products assume para-utilitarian forms. By modifying them, Wodzis┼éawski arrives at objects on the borderline between organism and object; between aesthetic whim and reified philosophical thought.
Jagna Dom┼╝alska, Kamil Gustaw Mizgala

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