Agnieszka Knap: What Could It Be? – enamelled copper plate object (one of four)
From ritual performance and classical horse dressage conceived as art, to interpretations of ambiguous images… The second day of examination continues with What Could It Be? Of jewellery and perception; a project by Agnieszka Knap, invoking the spirit of psychiatrist Hermann Rorschach and interconnecting craftsmanship, perceptual processes and psychoanalytical psychology. Four out of the ten inkblot images that constitute the Rorschach test have been transformed to three-dimensional objects, cast in multicoloured enamel on 0.1 mm copper plate – thinner than eggshell – and the written text reflects (upon) the process of meaning-making as a parallel to the making of an object.
Gert Germeraad: Rationality, Intuition and Emotion
The title of Gert Germeraad’s work could have been a running head for the exhibition as a whole; his own project, a labour of empathy and sincerity, combines sculptural representations of French children disappeared in Auschwitz with large abstract drawings and a profoundly personal text. The three sculptures are modelled in a detached, non-modernistic manner, by adapting measures taken from photos of the lost children. The drawings – there are four of them – similarly vary in size. Text, drawings and sculptures together establish a space of utmost darkness pervaded by light and love.
Ivar Sviestins is the photographer behind the Global Photo Project, representing nothing less than humanity itself in a reverse motion of statistic numbers back to individual human beings. The series of portraits picture citizens of a specific country; the choice is made to match the country’s life expectancy data, the framing is strict. And again – paradoxically – the impersonal, almost rigid, set-up helps to uncover the dignity of each person. The course project takes this one step further, through a set of animations; artistically exploring relations between the individual and the collective, between the portrayed person and the beholder, between the moment and the flow of time.
The last examination work, the video installation Whitewash by Antonie Frank, also touched on personal identity and human rights issues; her starting point is her native Canadian origin, only recently recognized. Two video projections were displayed simultaneously, literally down-to-earth, on the lowest part of two adjacent walls, a third one hovering above; black-and-white newsreel cuts, featuring First Nation people of Canada and the US, alternating with freshly made interviews with native Canadians reflecting on their stolen history.
The themes keep coming back, reappearing like the strands of a rope.