Karolina Kaźmierska / Balam Bartolomé
Karolina Kaźmierska is an artist born in Poland, currently based in Paris, France. In 2009, she graduated from the MFA Fine Arts program at École Nationale Supérieure des beaux arts in Lyon. She has shown her work individually and in group exhibitions in several cities of the world including: New York (USA), Warsaw (Poland), Berlin (Germany), Lyon (France) and Łódź (Poland). She is interested in the role of images in the creation of a visual culture and their capacity to waken the viewer’s subconscious thoughts with their “emotional baggage.” She aims to question the passivity, with which we are getting new conflicts and wars appearing in the world. Her practice encompasses several mediums: light installation, cut-outs in newspaper, performance.
Karolina Kaźmierska artystka pochodzenia polskiego, obecnie mieszka i pracuje w Paryżu. W 2009 roku ukończyła Wyższą Szkołę Sztuk Pięknych w Lyonie. Swoje prace pokazywała indywidualnie oraz na wystawach zbiorowych w kilku miastach świata m.in. w Nowym Jorku (USA), Warszawie (Polska), Berlinie (Niemcy), Lyonie (Francja) i Łodzi (Polska). Interesuje się rolą obrazów w tworzeniu kultury wizualnej i ich zdolnością do rozbudzania podświadomych myśli widza wraz z ich „emocjonalnym bagażem”. Przez swoje prace, chce zakwestionować bierność, z jaką odbieramy nowe konflikty i wojny pojawiające się na świecie. Jej praktyka obejmuje kilka mediów: instalację świetlną, wycinanki z gazet, performance.
Balam Bartolomé born in 1975 in Ocosingo, Chiapas, Mexico. Lives in Mexico City. Studied a B.A. on Visual Arts at the UNAM. First generation of Escuela Flora, at Flora Ars+Natura, in Colombia. His practice ranges from sculpture, photography, installation and video to drawing and writing. His work explores the relation between culture and matter, the study and analysis of culture, history, and its drift in the present time, particularly around the ways in which contemporary cultures relate with their past. His most representative exhibitions are Mexímoron, shown at the National Museum of Interventions (Mexico, 2018), Revés, solo show at the Carrillo Gil Museum (Mexico, 2014), 1st BIENALSUR (Argentina, 2017), 1st Bristol Biennial (England, 2012) and 15th Tallinn Triennial (Estonia, 2011). He currently co-directs, along with artist Antonio Monroy, the residency and research project Bienal Tlatelolca, in Mexico City.
“Chleb-Xkik, the three-faced hybrid goddess” is the result of talks and exchange between Polish and Mexican references that went around the idea of food, disease, migration and border, and the urge to look back at our needs of consumption and closeness to Nature and magic in this moment of world crisis. The image breeds a photograph of two women holding a ‘Kukielka’ bread, a polish nourishment associated with agrarian rituals from pre-Christian slavic cultures, still present in the polish countryside. It complements a mesoamerican mask of a woman representing the three stages of life. The title comes from the polish word chleb (bread) and the maya-lancandón word Xkik, the name of the foundational mother-goddess of the Popol-Vuh, the sacred book of Mayans. Balam Bartolomé
The cutout is a part of the work carried out within the framework of the Tandemia project.The works are the result of a vivid dialogue with Mexican artist Balam Bartolomé, around the idea of exceeded borders, food, death and our rupture with Nature and magic and ritual power.”Grafico” is a Mexican newspaper treating subjects among others like murders, accidents and sex affairs in Mexico and around the world. The covers of this periodic presents some shocking images, at least from the European point of view. You can remark some dead bodies lying on the ground superposed with images of almost naked women. The human body is objectified. For these two images I have chosen quite abstract forms of traditional polish cutouts from different regions. Cutout newspaper images give this tradition a new perspective, and the reading of the image is broken, disjointed – it requires us to take a more sophisticated look, to be more attentive.The mass media turns historical catastrophe into an object for consumption, and in the worst cases, for pure entertainment. Instead of allowing viewers to be passive consumers of images of misery, I want to force them to produce their own meaning. The aim is not to criticize, but to question perception and perspective, of the viewer, of us as a part of society, and as witnesses of history in process. Karolina Kaźmierska