Aneta Grzeszykwska No/Body

Collaboration W/ Lyles & King

September 7 – October 16, 2016

Aneta Grzeszykowska
Selfie #15
2015
Pigment ink on cotton
19.09 x 22.64 inches (48.5 x 57.5 cm)
Edition 2 of 3, with 1 AP
AGr 8.2

Aneta Grzeszykowska
Selfie #16
2015
Pigment ink on cotton
19.09 x 22.64 inches (48.5 x 57.5 cm)
Edition 1 of 3, with 1 AP
AGr 10.1

Aneta Grzeszykowska
Halina #8
2016
Mounted collage
19.7 x 25.6 inches (50 x 65 cm)
Edition 1 of 3, with 1 AP
AGr 17.1
The work was made for the project "Długie życie fotografii" for The Archeology of Photography Foundation, Warsaw, Poland

Aneta Grzeszykowska
Halina #7
2016
Mounted collage
19.7 x 25.6 inches (50 x 65 cm)
Edition 1 of 3, with 1 AP
AGr 14.1
The work was made for the project "Długie życie fotografii" for The Archeology of Photography Foundation, Warsaw, Poland

Aneta Grzeszykowska
Selfie #4
2014
Pigment ink on cotton
10.63 x 14.17 inches (27 x 36 cm), framed: 19.09 x 22.64 inches (48.5 x 57.5 cm)
Edition 1 of 3, with 1 AP
AGr 2.1

Aneta Grzeszykowska
Halina #11
2016
Mounted collage
19.7 x 25.6 inches (50 x 65 cm)
Edition 1 of 3, with 1 AP
AGr 18.1
​The work was made for the project "Długie życie fotografii" for The Archeology of Photography Foundation, Warsaw, Poland

Aneta Grzeszykowska
Selfie #6
2014
Pigment ink on cotton
10.63 x 14.17 inches (27 x 36 cm), framed: 19.09 x 22.64 inches (48.5 x 57.5 cm)
Edition 2 of 3, with 1 AP
AGr 3.2

Aneta Grzeszykowska
Halina #3
2016
Mounted collage
19.7 x 25.6 inches (50 x 65 cm)
Edition 1 of 3, with 1 AP
AGr 16.1
​​The work was made for the project "Długie życie fotografii" for The Archeology of Photography Foundation, Warsaw, Poland

Aneta Grzeszykowska
Halina #2
2016
Mounted collage
19.7 x 25.6 inches (50 x 65 cm)
Edition 1 of 3, with 1 AP
AGr 13.1
​The work was made for the project "Długie życie fotografii" for The Archeology of Photography Foundation, Warsaw, Poland

Aneta Grzeszykowska
Selfie #11
2015
Pigment ink on cotton
19.09 x 22.64 inches (48.5 x 57.5 cm)
Edition 2 of 3, with 1 AP
AGr 7.2

Aneta Grzeszykowska
Selfie #1
2014
Pigment ink on cotton
19.09 x 22.64 inches (48.5 x 57.5 cm)
Edition 2 of 3, with 1 AP
AGr 1.2

Aneta Grzeszykowska
Halina #5
2016
Mounted collage
19.7 x 25.6 inches (50 x 65 cm)
Edition 1 of 3, with 1 AP
AGr 12.1
​​The work was made for the project "Długie życie fotografii" for The Archeology of Photography Foundation, Warsaw, Poland

Aneta Grzeszykowska
Selfie #12b
2015
Pigment ink on cotton
19.09 x 22.64 inches (48.5 x 57.5 cm)
Edition 2 of 3, with 1 AP
AGr 11.2

Aneta Grzeszykowska
Skin Head #2
2016
Recycled leather
14.57 x 9.06 x 8.27 inches (37 x 23 x 21 cm)
AGr 20

Aneta Grzeszykowska
Skin Head #1
2016
Recycled leather
13.98 x 9.06 x 7.48 inches (35.5 x 23 x 19 cm)
AGr 19

Aneta Grzeszykowska
Headache
2008
Digital video, runtime: 11:37
Dimensions variable
Edition 6 of 7
AGr 22.6

Aneta Grzeszykowska
Bolimorfia
2008/2010
Digital video, runtime: 7:28
Dimensions variable
Edition 2 of 7
AGr 21.2

11R and Lyles & King to present a two venue, solo exhibition
ANETA GRZESZYKOWSKA: NO/BODY
September 7 – October 16, 2016 | 11R | 195 Chrystie Street, NY NY 10002
September 7 – October 16, 2016 | Lyles & King | 106 Forsyth Street, NY NY 10002

 

OPENING RECEPTION WEDNESDAY, SEPTEMBER 7, 6–8 PM

 

11R and Lyles & King are together pleased to present No/Body, a two-venue exhibition of work by Polish artist Aneta Grzeszykowska, on view September 7 – October 16. This is Grzeszykowska’s first solo show in New York in over five years, and it features work in multiple media from the artist’s art-historically conscious practice centered around the body, identity, and memory. The divided exhibition title No/Body refers to the organization of the show across the two galleries: the works in the “No” section, at Lyles & King, reference negation – of the body, idea, image, and medium – while the works in “Body,” at 11R, posit the body in different forms.

 

Grzeszykowska’s ontological exercises manifest through techniques of inversion, fragmentation, and replacement, and adopt visual themes from the worlds of illusion, theater, and film. Mindful of the traditions informing her work, Grzeszykowska also locates her feminist, bodily-focused practice among such artists as Cindy Sherman, Ana Mendieta, and Alina Szapocznikow. For the photographs from Selfie, at 11R, Grzeszykowska fashions doll parts from pigskin, capturing them in a naturalistic “selfie,” with the animal body reconstituted as her avatar. The presence of the artist’s own hands in the images, applying touches to the doll or holding up parts for observation, reinforces the connection between Grzeszykowska and the stand-in, and it points to the refined fabrication behind the object’s decomposed appearance. While the doll plays the artist in the “selfies,” in Halina, Grzeszykowska simultaneously plays both artist and subject. Here, Grzeszykowska replaces Halina Zamecznik, wife of Wojciech Zamecznik and subject of his original photographs, with a collage of her own nude body. Because Grzeszykowska has taken over Zamecznik’s intimate pictures, and because it is explicitly she who triggers the shutter, the substitution empowers the subject, contesting the historical passivity of the female nude. Elsewhere in the gallery, the doll-like Francizska 2024 proposes how the artist’s daughter might appear in 2024, older and in a future world, and two leather heads (Skin Heads), made of the same material as the “selfie” parts, suggest the materialization of the photographed avatar. Finally, two videos consider the body’s autonomy: Headache, in which disembodied limbs from the artist’s exploded body attack her head and reassemble into an inhuman form, and Bolimorfia, which comprises continually-multiplying scenes of mechanistic choreography.

 

These assertions of body stand opposite their denial and inversion in the works at Lyles & King. In Negative Book, Grzeszykowska paints her body black so as to appear bright in the exhibited negative image. These suspect images, obscure, spectral, and unreal in appearance, call attention to the gap between the reality photography purports to capture and the photographic process itself. Though Grzeszykowska stands out vividly in each scene, especially when in contrast with other figures, the artifice of the image defeats any suggestion of intimacy or invitation to identify with the subject. Instead, Grzeszykowska’s procedure emphasizes her isolation from both the viewer and the scene she inhabits. In contrast to these startling negatives, in Negative Make Up, the juxtaposition of the negative, which seems true, and positive, which reveals the deceit, demonstrates how the makeup masks a semblance or vice versa – how, via photography, a convincing illusion of reality might be forged. Accompanying these photographs is Skin Doll, a black leather “negative” of Francizska, as well as the videos Negative Process, which elucidates the making of the negative works, and Hymn, which merges the personal and universal by initially setting its performance to a song by the Polish writer Dorota Maslowska, then substituting the soundtrack with a piano piece composed and played by the artist’s daughter.

 

Aneta Grzeszykowska (b. 1974) graduated from the Academy of Fine Arts in Warsaw, Poland, and lives and works in Warsaw. Select solo exhibitions include Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria; Museum of Contemporary Art, Krakow, Poland; Raster, Warsaw; National Gallery of Art, Warsaw; and Harris Lieberman, New York. Grzeszykowska has participated in the Berlin Biennial (2006), La Triennale in Paris (2012), and in exhibitions at the New Museum, New York; SculptureCenter, New York; Contemporary Art Museum St. Louis, St. Louis; the Museum of Modern Art, Warsaw, among others. Her work is included in several museum collections, including the Solomon R. Guggenheim Museum, New York; the San Francisco Museum of Modern Art, San Francisco; Fotomuseum Winterthur, Winterthur, Switzerland; and Centre Pompidou, Paris.