Thursday, November 17, 2011

BODY OF WORK












































With the support of Residency Unlimited and the Polish Cultural Institute, I'm delighted to invite you for Body of Work, my first solo exhibition in the United States. Body of Work is comprised of the videos Ready 2 Die (2009) and Backstage (2011).

OPENING RECEPTION // Fri Nov 18 / 8-11PM
EXHIBITION // through Sun Dec 11
GALLERY HOURS // Sat & Sun / 1-6pm and by appointment
for more info: www.splatterpool.com

SPLATTERPOOL ARTSPACE
138 Bayard St
Williamsburg / Greenpoint, Brooklyn NY 11222


from the press release:

Karol Radziszewski defines himself as a conceptual artist. His non media specific practice is shaped by the manipulation of the viewer to succumb to varying aesthetic constructs devised by the artist to play with the notion of “what constitutes art.”
One such construct is Radziszewski’s use and representation of the male body. Ready 2 Die (2009) and Backstage (2011) are manifestations of his captive attention to the concept of masculinity in contemporary culture. In both videos Radziszewski makes fantasies come true as he objectifies and sensually peeps through the camera lens. The artist captures his models/actors tenderly on camera as he directs them whilst never being intimate with his subjects.
Ready 2 Die is a black and white record of a video performance undertaken in the Muzeum Sztuki in Lodz (Poland). Its structure recalls the conventions of conceptual art, performance and body art of the 70s. Radziszewski frames what the viewer can see by imposing his point of view and playing with multiple cameras. Questioning the concept of performance art, the artist sums this work as an ambiguous action of conscious voyeurism and “dressing” a naked male body in art.
Filmed inside an art gallery, Backstage is a collaboration between Radziszewski and a group of young men who responded to an ad soliciting their participation. During each casting session, Radziszewski questions his subjects on the topics of shame, exhibitionism and voyeurism. This work not only provides a reexamination of the art historical difference between appearing naked and posing nude but also examines how people rationalize being without clothes in an art venue versus a public space. To break down mental barriers and overcome embarrassment, Radziszewski asks his models to gradually take off their clothes over the course of the session, and to his surprise many are ready to engage willingly for the sake of art.

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