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Room 8 in Performer and Participant

Edward Krasiński

Untitled

Edward Krasinski, Untitled  2001

Untitled 2001 is a room installation consisting of twelve mirrors of equal size suspended from the ceiling, and Krasinski’s signature blue Scotch tape. A continuous strip of tape is stuck horizontally onto the walls of the room at a height of 130cm from the floor. The verso of each mirror, which is black, has also had a strip of blue scotch tape stuck to it, and the mirrors are hung so that the tape on their backs is also at a height of 130cm from the floor. The mirrors, all facing in the same direction, reflect the surrounding architecture, the black backs of the other mirrors with their blue strips, and the continuous blue strip on the wall. This creates the illusion of a space that both recedes and advances depending on the viewpoint of the visitor. Of course, viewers entering the visual field created by the mirrors are also reflected, and so may disrupt the real and reflected continuity of the blue line. T12558 was first installed in 2001 at the Klosterfelde Gallery, Berlin, alongside several untitled sculptural objects, including T12559, T12560, T12567 and T12624, which were exhibited on plinths of varying heights. Krasinski often included works he had produced in the 1960s and 1970s in his later installations, or incorporated photographs of them into his subsequent works (see T12559). The inclusion of older works within a newer installation creates a tension between the past and the present, whilst Krasinski’s use of mirrors, in conjunction with his signature blue tape, is part of his ongoing exploration of notions of infinity and space.

© The estate of Edward Krasinski, courtesy Foksal Gallery Foundation, Warsaw

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Intervention 15

Edward Krasinski, Intervention 15  1975

T12568 is an axonometric painting, with black acrylic lines depicting a white three-dimensional geometric object on a black background. The term ‘axonometric’ refers to a drawing method used to represent a three-dimensional object on a two-dimensional support – vertical lines are drawn to scale, but the diagonals are distorted in order to give the illusion of depth and volume. The painting also features Krasinski’s signature blue Scotch tape, which has been positioned so that it appears to pass from the wall to the left of the painting onto the canvas, following the contours of the three-dimensional object depicted, and continuing onto the wall to the right of the painting. The strip, which is usually positioned at exactly 130cm from the ground, is therefore subjected to the inner logic of the image.

© The estate of Edward Krasinski, courtesy Foksal Gallery Foundation, Warsaw

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Intervention 27

Edward Krasinski, Intervention 27  1975

T12569 is an axonometric painting, with black acrylic lines depicting a diagram of a three-dimensional geometric object (a three-dimensional parallelogram or parallelepiped) on a white background. The term ‘axonometric’ refers to a drawing method used to represent a three-dimensional object on a two-dimensional support – vertical lines are drawn to scale, but the diagonals are distorted in order to give the illusion of depth and volume. The painting also features Krasinski’s signature blue Scotch tape, which has been positioned so that it appears to pass from the wall to the left of the painting, behind and through the canvas, following the contours of the three-dimensional object, and continuing from the canvas onto the wall to the right of the painting. Although the canvas is shown to be solid – by the logic of the tape – the object is not, as the tape is visible passing around three of the object’s four sides. The strip, which is usually positioned at exactly 130cm from the ground, is therefore subjected to the inner logic of the image.

© The estate of Edward Krasinski, courtesy Foksal Gallery Foundation, Warsaw

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Untitled

Edward Krasinski, Untitled  2001

T12624 is an artwork comprising an ostrich egg. It has been blown, which means that the contents of the egg have been removed through a small pinhole. The egg is a found object, which was included by Krasinski as a sculptural work alongside his mirror installation Untitled 2001(T12558), when it was first installed in 2001 at the Klosterfelde Gallery, Berlin. The egg was exhibited on a plinth, lying on its side, and several other untitled sculptural objects, including T12559, T12560 and T12567, were also exhibited on plinths of varying sizes. The ostrich egg was placed in a spatial relationship with these other sculptural objects, and with the mirror installation around it. In Krasinski’s 2000 exhibition L’Autre Moitié de l’Europe at the Jeu de Paume in Paris, a number of large blown eggs were exhibited on individual plinths of equal size, alongside an installation of photographs. Krasinski’s use of the egg as a sculptural object can therefore be seen as appropriating its visual and sculptural qualities as part of his own vocabulary of sculptural forms.

© The estate of Edward Krasinski, courtesy Foksal Gallery Foundation, Warsaw

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Untitled

Edward Krasinski, Untitled  1968

Untitled consists of a wooden block wrapped in black paper, onto which a black and white photographic image has been stuck. The image shows an exhibition of Krasinski’s works which took place in 1965 in the Krzysztofory Gallery in Kraków (reproduced in Breitwieser, pp.130–1). A stiff, painted wire flex has been placed over one corner of the block and pinned into place. The wire extends from where it is pinned in both directions and is shaped, forming curves. It has been painted so that from the middle section, which is white, it gradually becomes grey and then finally black at both ends. In the exhibition Edward Krasinski: Les Mises en scène, Generali Foundation, Vienna in 2006, the work was part of an installation of similar objects and it was displayed on a plinth (reproduced in Breitweiser, p.327). This is also how it was first displayed in 1968, at the Foksal Gallery in Warsaw (of which Krasinski was one of the founders). Krasinski often re-used objects he produced in the 1960s and 1970s in subsequent installations.

© The estate of Edward Krasinski, courtesy Foksal Gallery Foundation, Warsaw

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Untitled

Edward Krasinski, Untitled  1968

T12560 consists of two cardboard cylinders, painted black and positioned at opposite ends of a rectangle of hardboard, which has also been painted black. The cylinders are positioned on their sides and each is secured in place by a long nail. The left hand cylinder is labelled with a white adhesive letter A on the board in front of it, and it has a length of coarse string wrapped around it twice, so that it resembles a spool. The string extends several centimetres towards the other cylinder. The right hand cylinder is labelled with a white adhesive letter B; a short length of string, fixed to the top of the cylinder as if unwound from it, extends towards spool A. Both of the ends are stuck to the board, and have been painted red.

© The estate of Edward Krasinski, courtesy Foksal Gallery Foundation, Warsaw

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Untitled

Edward Krasinski, Untitled  1969, reconstructed 1978

T12567 consists of an upright cylindrical spool of unbleached string, positioned centrally at one end of a rectangular hardwood board. The board has been roughly painted black, and one end of the spool of string had been loosely unwound along the length of the board. The end of the string has been stuck down, and the tip has been painted red.

© The estate of Edward Krasinski, courtesy Foksal Gallery Foundation, Warsaw

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Art in this room

Untitled
Edward Krasinski Untitled 2001
Intervention 15
Edward Krasinski Intervention 15 1975
Intervention 27
Edward Krasinski Intervention 27 1975
Untitled
Edward Krasinski Untitled 2001
Untitled
Edward Krasinski Untitled 1968
Untitled
Edward Krasinski Untitled 1968
Untitled
Edward Krasinski Untitled 1969, reconstructed 1978