ANGELIKA MARKUL / GONE WITH THE WIND. COLLECTIVE MEMORY, IMPERFECT HUMAN BEING AND NATURE IN THE WORKS OF ANGELIKA MARKUL / CONTEMPORARY LYNX / DOBROSŁAWA NOWAK

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“Small, white-transparent, unobtrusive, yet not irrelevant among other 56 international works of art displayed, the installation Gone With the Wind (2016) by Angelika Markul was presented in Pirelli Hangar Bicocca in Milan between 1st November 2017 – 14th January 2018. The group exhibition entitled Take Me (I’m Yours) curated by Hans Ulrich Obrist, Christian Boltanski, Chiara Parisi and Roberta Tenconi took place in the enormous, contemporary art space in Milan, in the very heart of Northern Italy. The gallery is commonly known to be in the constant search for novelty and so are curator’s ideas.

This time, visitors were faced with the slightly rebellious curatorial concept, as for the rather consumerist European artworld. Guests were invited not only to take home, but also play with and bring to the exhibition their own pieces of art to add them to the already exposed set of artworks. And this game was not only for funny players – Christian Boltanski, Félix González-Torres, Bruce Nauman, Wolfgang Tillmans, Douglas Gordon, Carsten Höller – to mention only a few, are nothing about insignificant gestures. And so is not Angelika Markul.

In her practice, she uses video, drawings, video installations and objects. Her works and exhibitions such as Les Oubliées (The Forgotten, 2006), A Dream of a Fly (2006), Terre de depart (Land of departure, 2014), Z Ziemi do Gwiazd (From Earth to Stars, 2014), New Moon (2012), La chasse (The Hunt, 2012), Tristan da Cunha (2013), Gorge du diable (Devil’s Throat, 2013), W środku nocy (In the middle of the night, 2012), L’état du ciel (The state of the sky, 2014), Excavations of the future (2016) or the recent one Terra del Fuego presented 3.02 — 17.03.2018 at Leto Gallery in Warsaw, all appear to be nonchalantly out of space and time. This sensation, however, comes not only from their cosmic-exotic, fairytale-like titles. Markul spits out a blackish, inward matter like a medium, but the subject of her works comes neither from faraway lands nor the netherworld. Her body and mind penetrating forms emerge from nature. The meaning of life uncovers candidly from the wind blowing gently, conscientiously prepared deep underwater excursions or from tremendous thunders of Iguazu Waterfalls, unravelling their secrets – only in front of her eyes and solely for her ears. Genotypes of past generations filled with physical and mental suffering: wars, slavery and hurt, expose their deeply troubled vibes only through her thin skin, exclusively for her sensors, ready to take the burden of collective memory on their shoulders.”