Aleksandra Waliszewska – Złote rączki drżą

21.05 — 14.06.2014

You are cordially invited to the first solo exhibition of Aleksandra Waliszewska in Leto Gallery. We will present selection of Waliszewska’s unexhibited works. The exhibition will be accompanied by the promotion of a book, published by Fontarte in cooperation with Leto Gallery, which presents texts written by: Maurizio Cattelan, Joan Cornellà, Warren Ellis, Allison Schulnik, Wiktor Skok, David Tibet, Szczepan Twardoch, Athina Rachel Tsangari.

“Waliszewska openly demonstrates interdependencies and her own influences, she does not conceal them from our view. She is not attracted by frivolous theoretical and ideological games. It seems that giving an actual shape to both imaginary and real fears, the sense of being lost, and terror of the unknown, constitute much more important factors at play. Human frailty is being exorcised in the artist’s world in a very peculiar way. Borderless savagery exists here next to a craving for consolation and longing for a universal Arcadia. The artist does not allow us to witness these incidents unemotionally. Sometimes she focuses her attention on violence inflicted on helpless beings. But beyond the predilection, genuine or only suggested, for all matters considered truly evil, fatal, serious care and compassion is ever present in Waliszewska’s paintings. Similarly to didacticism, these are categories that have been practically expelled from the domain of today’s artistic activity. Pure emotions of compassion – indeed, they also appear as important constituents of this art. (…)

This conscious rupture is by no means a popular step towards the ‘naive’, or a search for authenticity in the ‘exotic’, ‘alien’, or ‘other’. It has nothing, common to both sentimentalists and romantics alike, of the utopian dream of an innocent eye, and it has nothing in common with the ideal art addressee as envisioned and described by John Ruskin: totally imagined, unspoiled by history and social duties, a pure spectator of pure art. A specific over naivety also has little in common with studies of the ‘primitive’ or the ‘outsider’ art of the mentally ill, as practiced by the 20th century Surrealists. In Waliszewska’s paintings, a rarely invoked category of sincerity acquires a new importance of its own. I see something of an absolute value in this attempt at a return to the substance of creation, or even production, to a domain of natural creative instinct. This is the right choice, a sign of credible authenticity, not the imitation of a ‘free soul’.”

text: Wiktor Skok