Collaborating Objects Radiating Environments is the second part of the project
“The Strange Attractors”, which took place at the Polish Institute in Berlin in February-April 2014
Exhibition produced in the context of the Künstlerhaus Bethanien’s international studio program in Berlin, a fellowship of the Foundation for Polish-German Cooperation
18 April – 18 May 2014
Kottbusser Straße 10, Berlin
FULL DOCUMENTATION- COLABORATING OBJECTS RADIATING ENVIRONMENTS 2014
Press release and map
Solo exhibition in Kunstlerhaus Bethanien
Iza Tarasewicz- one year residency at Kunstlerhaus Bethanien
Text by Post Brothers
Iza Tarasewicz’s works serve as temporary conduits for a meeting of substances, energies, locations, temporalities, intonations, and concepts, which the artist identifies as only events in a continuous series of material and symbolic interactions. Her objects and arrangements are base things that resist the binary of natural and artificial—joining together accessible, quotidian, ignoble, or emblematic stuff such as rubber, steel, cotton, cement, wax, paraffin, plant fibers, and ash. Her investigative practice distills, combines, deconstructs and redirects materials so as to rediscover hidden aspects and relations, while equally signifying a contingency or deficiency in rational, human understanding to access such properties.
Since coming to Kunstlerhaus Bethanien, Tarasewicz’s projects have increasingly focused on lines, graphs, and models that are appropriated and transferred from economic, statistical, technical, philosophical, spiritual, natural scientific, thermodynamic, and cosmological diagrams—figures of thoughts and charts of relations that systematize knowledge and abstractly describe the interaction of phenomena. Operating within specific material and productive constraints, for the exhibition 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 series of possibilities and inhibitions. Space is continuously folded, stretched, compressed, disfigured, contorted, 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 objects 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 material properties and constitutive relationships. Each work charts the 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, becoming vital objects in their own right.