FIGURE # 08. FROM THE SERIES: FIGURES (2019) Photography by Marta Lesniakowska

Photography, 15.8x15.8 in
$2,362.7
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This artwork appears in 4 collections
Co to znaczy „zobaczyć światło”? Moment, w którym przez muzealne okno zobaczyłam tył pociętej cieniami rzeźby jest wprost wykładnią rozważań nad kluczową rolą światła w wytwarzaniu przedmiotu. Światła jako parergonu (jak mówi za Derridą Mieke Bal), czyli czegoś marginalnego, a jednak koniecznego, by ustanowiona została widzialność przedmiotu. Tematem[...]
Co to znaczy „zobaczyć światło”? Moment, w którym przez muzealne okno zobaczyłam tył pociętej cieniami rzeźby jest wprost wykładnią rozważań nad kluczową rolą światła w wytwarzaniu przedmiotu. Światła jako parergonu (jak mówi za Derridą Mieke Bal), czyli czegoś marginalnego, a jednak koniecznego, by ustanowiona została widzialność przedmiotu. Tematem serii „Figur” jest światło jako twórca spektaklu voyerystycznie podglądanego przeze mnie zza okna, a rozgrywającego się między widzialnym i niewidzialny, przestrzenią widza „za obrazem” i miejscem egzystowania przedmiotu uwięzionego „w obrazie”. Jak w wielu moich pracach, za pomocą czarno-białego medium transmediuję z estetyką fotografii muzealnej i film neo-noire (ml).
Fotografia reprodukowana w artykule: Olimpia Gaia Martinelli, Portrait d'Artiste:Marta Lesniakowska, "Artmajeur Magazine" 2023 nr 26 p. 38-40.

What does it mean to "see the light"? The moment when I saw the back of a sculpture cut with shadows through a museum window is a direct interpretation of the reflection on the key role of light in the production of an object. Light as a parergon (as Mieke Bal puts it after Derrida), something marginal, yet necessary for the object's visibility to be established. The subject of the "Figures" series is light as a creator of the spectacle voyeuristically watched by me from behind the window and played out between the visible and the invisible, the space of the spectator "behind the image" and the place of existence of the object, trapped "in the image". As in many of my works, I use the black and white medium to transmediate with the aesthetics of museum's photography and film neo-noire (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 b/w
digital on archival paper Hahnemühle Photo Rag Baryta 315g (semi-flash), archival paper, acid-free, signed on the front and on the back , dated 2019/print 2022, Format 40x40 cm on a paper 50x50 cm, unglued, Certificate of authenticity.
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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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