Pittura metafisica. After Giorgio di Chirico (2022) Photography by Marta Lesniakowska

Photography, 15.8x15.8 in
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Et quid amabo nisi quod aenigma est?/co mam kochać, jeśli nie enigmę? – zapisał młody Giorgio de Chirico na swym autoportrecie w 1911 roku, w okresie, gdy wypracowywał swoją koncepcję „pittura metafisica”, malując dziwne obrazy pełne nostalgii, napiętego oczekiwania i wyobcowania, o nielogicznych, drastycznie oddalających się perspektywach, w których[...]
Et quid amabo nisi quod aenigma est?/co mam kochać, jeśli nie enigmę? – zapisał młody Giorgio de Chirico na swym autoportrecie w 1911 roku, w okresie, gdy wypracowywał swoją koncepcję „pittura metafisica”, malując dziwne obrazy pełne nostalgii, napiętego oczekiwania i wyobcowania, o nielogicznych, drastycznie oddalających się perspektywach, w których kompulsywnie pojawia się jego ulubiony motyw: rzucające długie cienie arkady. "Rzymska arkada jest losem (...), jej głos przemawia zagadkami, które są przepełnione swoistą rzymską poezją" /, pisał. Pierwszy z jego cyklu "metafizycznych placów miejskich" i najbardziej znany: „Enigma jesiennego popołudnia”, powstała, jak wiemy, po objawieniu, jakiego de Chirico doznał na Piazza Santa Croce we Florencji (1910-11). Sto lat potem obraz z jego semantyką stał się tematem postmodernistycznej gry Philipa Starcka, który na dachu Azkuna Zentroa w Bilboa „odtworzył” w realu arkady z obrazu de Chirico. Wejście w tę przestrzeń wytwarza ów efekt „pamiętającego spojrzenia”: ostre geometryczne formy, nasycona kolorystyka ceglanych arkad na tle kiczowato intensywnego lazuru nieba, mocny światłocień. Obraz żywy. Moja fotografia jest kolejną grą: równocześnie z obrazem de Chirico i z Philipem Starck’iem, pytając, czy da się dzisiaj przywołać zagubiony przez postmodernistyczną groteskę sens „metafizycznego aspektu” de Chirico i czym on jest, lub może być, dzisiaj. (ml)

Fotografia reprodukowana w artykule: Olimpia Gaia Martinelli, Portrait d'Artiste:Marta Lesniakowska, "Artmajeur Magazine" 2023 nr 26 p. 38-40.

Et quid amabo nisi quod aenigma est?/What am I to love if not an enigma? - wrote the young Giorgio de Chirico on his self-portrait in 1911, during the period when he was working out his concept of "pittura metafisica," painting strange paintings full of nostalgia, tense anticipation and alienation, with illogical, drastically distant perspectives, in which his favorite motif compulsively appears: arcades that cast long shadows. "The Roman arcade is fate (...), its voice speaks riddles that are filled with a kind of Roman poetry" /, he wrote. The first of his series of "metaphysical city squares" and the most famous: "The Enigma of an Autumn Afternoon," was created, as we know, after the revelation de Chirico experienced in Piazza Santa Croce in Florence (1910-11). A century later, the painting with its semantics became the subject of a postmodern play by Philip Starck, who "recreated" the arcade from de Chirico's painting in real life on the roof of Azkun Zentroa in Bilboa. Entering this space produces that "remembering gaze" effect: sharp geometric forms, saturated colors of brick arcades against a kitschy intense azure sky, strong chiaroscuro. A vivid image. My photography is the next game:: simultaneously with de Chirico's painting and with Philip Starck's, asking whether it is possible today to evoke the sense of de Chirico's "metaphysical aspect" lost by the postmodern grotesque, and what it is, or can be, today. (ml)

Photograph reproduced in the article: Olimpia Gaia Martinelli, Portrait d'Artiste:Marta Lesniakowska, 'Artmajeur Magazine' 2023 no. 26 p. 38-40.

Collector's photography color digital on archival paper Hahnemühle Photo Rag Baryta 315g (semi-flash), archival paper, acid-free signed on the face and on the reverse,
dated 2022/ life time print 2022 Image size 40x40 cm, paper 50x50 cm
Copy no. 1 from a limited edition of 5 copies. not glued, without frame, without damages.
Certificate of Authenticity.
Ref. archive file: L1220421.DNG
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Marta Lesniakowska is an artist photographer but also, at the same time, historian and art critic, she does research on visual culture. This is what determines his approach to photography: a strategy[...]

Marta Lesniakowska is an artist photographer but also, at the same time, historian and art critic, she does research on visual culture. This is what determines his approach to photography: a strategy of the “look that remembers”, which recalls familiar images from the history of art in order to transmit/intertextualize them. Her dialogue with them consists in asking herself if it is possible to evoke their meanings and what they are or can be today. She is fascinated by light - its role in the construction of the image, the parergon that creates the image. This is why, in street photography, she analyzes the interplay of light and dark, the relationship between sharpness and blur and the interpenetration of images as simultaneous realities. In this way, she brings out the mysterious character of the city, referring to the aesthetics of black cinema and to the master of 20th century street photography, Saul Leiter.(ml)

When she takes photographs, nothing is more or less important to her; his gaze is often governed by the principles of minimalist poets: an economy of detail, the discovery of subtexts and insinuations hidden in invisible objects and bits of everyday reality.

Marta Lesniakowska lives and works in Poland. His works are part of public collections (National Museum in Wroclaw, Museum of Bydgoszcz) and private collections (Netherlands, Denmark, Germany, Sweden, Switzerland, United States).

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Photography | 15.8x15.8 in
$2,278.33
Photography | 15.8x15.8 in
$2,278.33
Photography | 15.8x15.8 in
$2,278.33
Photography | 15.8x15.8 in
$2,278.33

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