Magazine article Artforum International

Edward Krasinski: Tate Liverpool

Magazine article Artforum International

Edward Krasinski: Tate Liverpool

Article excerpt

Edward Krasinski

TATE LIVERPOOL

The oeuvre of Edward Krasinski (1925-2004), one of the most creative minds of the past century, is far from unfamiliar to me. Krasinski's Warsaw apartment/studio was opened to the public in 2007 as the Avant-Garde Institute and quickly became a popular stop for art professionals visiting the city. His work was introduced to broader audiences in Poland through a retrospective at the Bunkier Sztuki Gallery of Contemporary Art in Krakow in 2008. Having visited both, I did not expect to find many surprises in Liverpool. Yet the exhibition, curated by Kasia Redzisz and Stephanie Straine, did amaze me, showing the artist as a maker not only of smart and playful works but also of their mode of display. As the interpretative panels suggested, his exhibitions were total scenarios.

The show (which travels to the Stedelijk Museum, Amsterdam, June 24-Oct. 15) was constructed chronologically. The opening sequence of works first exhibited at Galeria Krzysztofory, Krakow, in 1965 revealed the tongue-in-cheek quality of Krasinski's art. For instance, the rectangular Untitled, 1962, consisted of a wooden background and a metal irregular grid to which the artist attached a PingPong ball with a black pupil-like spot painted in its middle. This artificial eye stared at me discreetly while I was discovering other playful details of Krasinski's work, such as the edges of his Composition in Space, 1964, painted red to highlight the dynamic character of the work. The edges seemed to be glowing, as if somebody just took the pieces, burning hot, from the stove. Krasinski also used red in some of his "Spears," 1964-65, a series of works exhibited in the next room. To increase the sense of movement, Krasinski suspended these works on wires to create an illusion that the work floats through the air. …

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