POWER OF GAZE # 31 (2010) Photography by Marta Lesniakowska

Photography, 15.8x15.8 in
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This artwork appears in 4 collections
Gra obrazów – gra spojrzeń. Władza spojrzenia - władza obrazów, walczących ze sobą o prawo dominowania. W czarno-białym plakacie teatralnym użyto rastrowej reprodukcji słynnego portretu Beatrice Cenci autorstwa Guido Reni’ego z 1599 roku. Plakat został jednak przez grafficiarza „zaatakowany” czerwoną farbą, symbolicznie pozbawiając Beatrice wzroku[...]
Gra obrazów – gra spojrzeń. Władza spojrzenia - władza obrazów, walczących ze sobą o prawo dominowania. W czarno-białym plakacie teatralnym użyto rastrowej reprodukcji słynnego portretu Beatrice Cenci autorstwa Guido Reni’ego z 1599 roku. Plakat został jednak przez grafficiarza „zaatakowany” czerwoną farbą, symbolicznie pozbawiając Beatrice wzroku – jej spojrzenia, z jakim na obrazie Guido Reni’ego intensywnie wpatruje się w widza, uwodząc go swoją urodą. A czerwona jak krew farba ściekająca po powierzchni papieru (twarzy) nadała jej wizerunkowi wymiar epickiej tragedii. Przywołała pamięć o tym, kim była Beatrice: molestowana seksualnie przez ojca współorganizowała jego zabójstwo wynajmując morderców, którzy zabili Cencie’ego wbijając gwoździe w jego oczy. W miejscu przesłoniętych oczu Beatrice inny grafficiarz dorysował ich znak, „przywracając” jej tym bazgrołem wzrok. Moje spojrzenie odkryło złożoność tej gry nawarstwiających się obrazów i spojrzeń, każąc spytać, czy może doszło tu do dekompozycji wszelkiego obrazu, wszelkiej rzeczywistości. (ml)

Fotografia wystawiona:
1/ XVIII Biennale Plakatu Fotograficznego, Płock 2015, Polska, reprodukowana w: Katalog XVIII BPF 2015 s. 17
2/ 12th International Photography Exhibition “Mask” 2018, Cerkno Museum, Słowenia.
3/ 49 Aukcja Sztuki Młodej, Galeria „Pragaleria”, Warszawa, Polska 2021.

Fotografia wyróżniona przez kuratora Artmajeur w dziale: Ekskluzywne kolekcje: Czerwony, 2023

A game of images - a game of gazes. The power of the gaze - the power of images, fighting each other for the right to dominate. The black-and-white theatrical poster uses a raster reproduction of Guido Reni's famous portrait of Beatrice Cenci from 1599. However, the poster was "attacked" with red paint by a graffiti artist, symbolically depriving Beatrice of her sight - her gaze, with which in Guido Reni's painting she stares intensely at the viewer, seducing him with her beauty. And the blood-red paint dripping down the surface of the paper (her face) gave her image the dimension of an epic tragedy. It evoked the memory of who Beatrice was: sexually abused by her father, she co-organized his murder by hiring killers who killed Cencie by driving nails into his eyes. In place of Beatrice's obscured eyes, another graffiti artist had added their mark, "restoring" her sight with this scribble. My gaze uncovered the complexity of this game of layered images and gazes, making me ask if perhaps there was a decomposition of all image, all reality. (ml)

Photograph exhibited at:
1/ XVIII Photo Poster Biennale, Plock 2015, Poland, reproduced in: XVIII BPF 2015 catalog pp. 17
2/ 12th International Photography Exhibition "Mask" 2018, Cerkno Museum, Slovenia.
3/ 49th Auction of Young Art, "Pragaleria" Gallery, Warsaw, Poland 2021.

Photograph highlighted by curator Artmajeur in the section: Exclusive Collections: Red, 2023

Collector's digital photography, color. Digital print on Hahnemühle Photo Rag Baryta
315g (semi-flash), archival paper, acid-free. signed on the front and on the back. dated 2010/ print 2022 - life time print. Size: 40x40 cm, paper 50x50 cm. not glued, without frame. Certificate of Authenticity. Without damages. Archived file: IMG_4631.raw
Automatically translated
Figurative
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Marta Lesniakowska Portrait
Marta Lesniakowska
Poland
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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