ARTIST PROFILE

Magda Wegrzyn

  • Poland (b. 1986 in Gdynia)
  • Currently in Warsaw, Poland.
  • Magda Wegrzyn is a visual artist, doctoral candidate and independent curator born in 1986 in Poland. She is currently DFA researcher at the Nicolaus Copernicus University in Torun, Poland, previously visiting at Kuvataideakatemia in Helsinki.
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  • 2014
  • Acrylic on Canvas
  • Black Tape
  • 100 x 20 cm

  • If you want to know more about the work please have a look at: www.magdawegrzyn.pl/wp-content/uploads/2014/06/Magda_Wegrzyn_EGFK.pdf

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    Title of the project: Carbon Copy. Under the Exhibition: How to Show, Lab for Research and Art, in collaboration with EGFK and SECOND HOME PROJECTS, Berlin. | 2014

During my residency in Berlin I have made an experiment looking for a different (than by text) ways of documenting my artistic research practice and during the exhibition I have shown the effects of this experiment. Most of my interest in artistic research is connected with: aesthetics of digital technologies in painting. Painting has often been declared dead since the 1960s and still refuses to die. Media technologies have now become integrated into everyday live. ''Painted surface is no longer the analogue of a visual experience of nature but of operational processes''1,''the shift from nature to culture''. 2 Dealing with the medium of painting in context of the digital technology, I call for the need for a material contact during the process of the interaction with it. In my exhibition in Berlin visitors were asked to take a pencil and answer on questions/tasks written in a sheet of paper of a questionnaire which I had prepared for them. In this questionnaire the following questions have occurred: Question 1: Please interpret in a form of very quick drawing your first glance impression about the work. Let me know your first hints, connotations, assumptions about the work. Question 2: Please turn back to the work, close your eyes, hold them close for a while, open and draw an image of the work from your memory. Question 3: Please try to define any kind of noise while the process of interpretation, you can either draw them or write them or do both. In first question I asked people to pick up one of the work placed in the exhibition and drew their first glance impression about it. '' Show me what you see'', I thought and actually I asked them to interpret very quickly what they see. In my understanding, interpreting during seeing was already there. I came from prerequisite that we are not able to see something without interpreting it. Following lessons after minimalists I thought that there is no: ''you see what you see''. I though: there is only that, what you are able to see and what you want see. We are already projecting what we are seeing and I was interested what people are projecting when they are looking on my objects. Is it something different what I see? Are those difference big? How big and why big? The second question/ task was about closing eyes, opening them and drawing an image from a memory. I have wondered what remains after the experience when there is no an object but we have previous impression and our own - often unclear- concept about something. Will we judge, interpret something from our memory differently, that something on what we have seen already when we have been for example standing for? The third question / task was even much more difficult. It was about finding and defining any kind of noises/problems when occurring while interpretation. In this case I ask participants about writing or drawing it. I made an option much more open because I thought that that writing is sometimes easier for some people and I wanted to have their responses despite of the form. The experiment was based both on fragments of Shannon and Weaver: ''A mathematical theory of communication'' and selected concepts of Stephen Kosslyn about ways of dealing with images.