Iza Tarasewicz’s objects are not static entities, but materials and signs in constant and continuous fluctua- tion. The artist’s sensitive examination of base materials is an interpretive exercise that demonstrates moments of fusion and fission, and emphasizes missing, compressed, distorted, displaced, or degraded infor- mation. Each object and arrangement functions as a temporary proposition tested through rigorous experi- mentations with matter. Her configurations are attempts at activating order and energetic relationships, while equally exposing her processes and elements to the turbulence of chaos and failure. As the poet Louis Armand noted, “Tarasewicz’s work invites us to envisage ‘possibility’—not implied possibilities, other possibilities, unrealized possibilities, but…the formal lineaments of possibility as such.”
Born in 1981 and raised in a small village near Białystok, Tarasewicz spent the last year on residency at the Künstlerhaus Bethanien in Berlin. Over this time, her projects increasingly focused on lines, graphs, and models that were appropriated and transferred from statistical, technical, spiritual, biological, thermody- namic, and cosmological diagrams—figures of thoughts and charts of relations that systematize knowledge and abstractly describe the interaction of phenomena. Her exhibition at Galeria Arsenal is the third variation in a continuously evolving series of presentations that began with her solo exhibitions Strange Attractors (Polish Institute, Berlin), and Collaborating Objects Radiating Environments (Künstlerhaus Bethanien, Ber- lin, in cooperation with the Foundation for Polish-German Cooperation). Operating within specific material and productive constraints, for this project the artist has produced a series of dynamic systems manifested in a three-dimensional phase space. Each sequence of lines, surfaces, bodies, and aggregations are at once autonomous and interacting in a broader composition within a field of continuously shifting observation. Not only are the works attempts at spatializing information (implanting bodies in a field so as to elaborate laws of correlation, affect, and mutual position), but they also accentuate the ways objects themselves produce and distort perceptions of space. The rationalist conceits of linear perspective and Cartesian mapping are deconstructed and amplified, deployed both as disorienting abstractions and as forms that yield a combina- tion of possibilities and inhibitions. Space is continuously folded, stretched, compressed, disfigured, contort- ed, broken apart, and reintegrated.
By liberating illustrative representations and graphical systems from their sources and emphasizing the base materiality of the components, her works run contrary to a purely semiotic understanding of the diagram, according to which diagrams function independently of their concrete execution. Instead, Tarasewicz’s ob- jects function more as tools: contingent, temporary, and variable engines of information that chart lines of flight between scales, dimensions, and events, displaying the consequences of entering objects into a system. They are at once representations of micro and macro processes, and bare demonstrations of their own thingness, the result of properties and constitutive relationships. Each work charts the haptic transformation of energy and concepts as they move from phenomena to representations and back again, making visible both the moments when symbols fail and when transmission and transposition yields unexpected results. More of a speculation than a collection of things, the exhibition is the presentation of an unpresentability.