Joanna Piotrowska, Untitled, 2024
Joanna Piotrowska: Implicit Lives
May 22 – Jul 6, 2024
Galeria Madragoa
Lisbon, Portugal

Smultronstället is the original Swedish title of Ingmar Bergman’s famous film Wild Strawberries (1957). Smultronstället, which literally translates to “the wild strawberries patch,” idiomatically signifies “a hidden gem of a place” (according to Wikipedia). The word defines a special place that is close to one’s heart, where one feels at ease and comfortable, like a childhood home, and not widely known. It is a secret place, akin to the idea that everyone has their own place to pick strawberries, which they selfishly share with no one.

In Bergman’s film, the strawberry glade is the pivot around which the narrative unfolds; it represents the viewpoint from which the elderly protagonist casts a glance at his past to take stock of his existence. In the same way as a Proustian madeleine, that place triggers a sequence of images and episodes of lived life to surface in the old man’s mind, which by their vividness make the present reality dissolve. From a physical place, the strawberry patch becomes a device for time travel, piercing the space-time continuum and allowing memories to emerge in fragments, frames, and brief epiphanies. The narrative shows that past and present are not strung together in a sequence but are inextricably intertwined within the character’s consciousness.

For her series of photographs that began with the exhibition Frantic (2016-2022), Joanna Piotrowska invited people to construct small shelters to inhabit within their own domestic walls, built from objects at hand, such as chairs, tables, blankets, and curtains. The outcome of the project is a gallery of portraits of these shelter dwellers, posing within their precarious inhabitable assemblages – cozy places to isolate themselves from the world, to hide – that are reminiscent of huts built for play by children.

In the exhibition Implicit Lives, a similar intimate dimension, achieved with elements of domestic furniture, triggers a journey through time. Black-and-white photographs depicting men and (more often) women, caught in mutual, enigmatic, and suspended gestures, analogous to the Frowst series (2013-2014), are here embedded in a domestic landscape.

Printed on fabric and installed as if it were a curtain, mounted within a soft fabric frame or framed in veneer panels that extend along the wall, or in freestanding screens that subdivide the space, the works create a continuum between the atmosphere emanating from the pictures and the actual physical space. The selected visual elements, fabric patterns, and veneer surfaces, with their vintage flavor veiled with a sense of nostalgia, can evoke to today’s adults the domestic interiors of a home they inhabited during childhood or adolescence. In particular, the mottled pattern of the veneer grain brings one back to the dimension of childhood for another reason as well.

[ . . . ]

In the exhibition, epidermis, dresses, textiles, film, veneer, and the grain of photographic paper are all layers that hold the imprint of a past. They are a number of leaflike skins that envelop the bright gem of memories and at the same time draw the perimeter of a warm physical place. Your patch for picking wild strawberries may also be there, in the hiding place behind the curtain, or among the pansies printed on a dress.

Joanna Piotrowska: Implicit Lives
May 22 – Jul 6, 2024
Galeria Madragoa
Lisbon, Portugal

  • REFUGE
    Apr 12 – Dec 31, 2024
    Sapieha Palace
    Vilnius, Lithuania

    The inaugural exhibition of the Sapieha Palace seeks to unfold the spirit and history of the palace itself, as well as the diverse narratives surrounding its past. The works on displays and their arrangement act as a soft, transparent layer placed over the palace spaces, having been painted and repainted multiple times. The spatial and conceptual interaction thus reveals the previous and ongoing influence of a multitude of forces. (more…)

  • Ho Tzu Nyen: Time & the Cloud
    Jun 4 – Aug 4, 2024
    Art Sonje Center
    Seoul, South Korea

    Art Sonje Center is delighted to present Ho Tzu Nyen: Time & the Cloud, a comprehensive solo exhibition showcasing the artistic journey of Singaporean artist Ho Tzu Nyen. Spanning two decades of his practice, this expansive exhibition explores complex layers of modernity in the postcolonial contemporary Asia. Ho’s exploration transcends geographical boundaries, delving into social, cultural, political, and economic realms across Southeast Asia and beyond. (more…)

  • How Not to Be Seen
    May 10 – Sep 8, 2024
    Remai Modern
    Saskatoon, Canada

    We may not always be aware of it, but we live in an era of continuous scrutiny. Modern technology captures, distributes, and analyzes images and data at ever-increasing rates. We are all subjects of tracking, not only by cameras employed purportedly as a deterrent for crime but also by digital tools used by corporations and governments alike to monitor and evaluate our actions, needs, and desires. (more…)

  • Eric Bachmann: The One-Man Water Cannon Test
    Publication
    Everyedition
    International

    Following several violent clashes between youths and city police in Switzerland’s largest city during the summer of 1968, the city council, in consultation with the state council, decided to purchase four modern water cannon vehicles, two each for the city and cantonal police. However, by doing so, the city council overstepped its authority and bypassed the municipal council. In the already politically heated atmosphere, the purchase immediately developed into a scandal (more…)

SUBMIT YOUR ANNOUNCEMENTS
Visit our New Announcement Submission page > Announcement Submission page >