La lettre s’approche à sa
vacation spot encore un second
d’attente en haleine et voilà qu’à
l’entrée un bother soudain éclate.
Drawing inspiration from a 1967 taking place by Polish artist Tadeusz Kantor (1915 – 90) titled The Letter, the exhibition sees Gavasheli debut new objects, inkjet printed panoramic nonetheless photographs, and video work created to talk to Kantor’s legacy. This exhibition is a part of a year-long programme by Wschód New York presenting Polish avant-garde art work in dialogue with modern positions.
In 1967, Tadeusz Kantor tasked eight postmen with the job of carrying an unusually massive letter (two meters excessive and fourteen meters lengthy) from the Principal Put up Workplace in Ordynacka Avenue via the streets of Warsaw. The submit males had been wearing postal uniforms, they usually had been accompanied by policemen on their journey. The occasion lasted two and a half hours and ended on the Foksal Gallery, to which the letter was addressed. Kantor was a famend theatre director, skilled painter, assembla- ge artist, avant garde set designer, artwork theorist, happenings artist, actor, and a lecturer on the Academy of Tremendous Arts in Kraków. He was a founding father of each the second Cracow Group, gathering key avant-garde figures in post-war Polish artwork, and Cricot 2, one of the crucial vital experimental theatres on the planet. In Kantor’s wealthy oeuvre—voices, sounds, and their afterlives—make up a vital tissue of his creative legacy.
To Kantor, a letter is a crossed object that opens the angle of the “inconceivable”, which this time was emphasised by an aura of the unknown. The writer assigned himself the function of inconn—the mysterious addressee of the message that justified the scale of the letter and was by no means disclosed (Joanna Mytkowska, Director of The Museum of Fashionable Artwork in Warsaw).
Skład pamięci interprets to Reminiscence entrepôt and takes Kantor’s taking place, The Letter, as some extent of departure. In “Skład pamięci”, the archival sounds and voices recorded round Kantor’s 1967 taking place are echoed within the decrease degree of the gallery on 136 Orchard St. Their historic resonance constructs the experimental infrastructure for Gavasheli. Her work is a translation of her performative follow, the place sound is processed and reworked into a visible language. Within the exhibition, she visualizes recorded soundscapes via panoramic photographs, making a unified composition through which sound and picture merge. Her follow is a type of environmental remark, the place completely different supplies and creative approaches intersect to discover the areas
through which she operates—whether or not on stage or past it. Via these works, she navigates and reconsiders the boundaries between personal and public areas, providing new methods of seeing and experiencing them.
Gavasheli’s objects introduced in Reminiscence entrepôt, consisting of tape recorders and cassettes with parts of sound and spoken phrase, make up a significant response to Kantor’s methodology and creative method. In gentle of this, the performative textual content by curator and critic Antoni Michnik specialising in soundscape and sound research, will produce one more layer to the character of Reminiscence entrepôt, specializing in the rhythm of sound efficiency as a medium itself. Offered within the exhibition archival pictures of the 1967 taking place by Eustachy Kossakowski, alternatively, will serve to increase the dialogue between Gavasheli and Kantor additional while offering a better perception into the character of this historic occasion. Gavasheli’s panoramic nonetheless photographs on canvas, discovered throughout her objects, derive from her ongoing video work, which can be on show at Kunstsammlung Nord rhein-Westfalen in April.
at Galeria Wschód, Warsaw
till Might 17, 2025
