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Hello, Modernity! / 11.10.2013 - 09.11.2013

Imagination of Julia Curyło works a bit like LHC – various elements of the visible world and past: contained in the art’s tradition and modern, real and imagined, perceived and processed. Fields, which we know from the physical terminology, here find their references in spiritual sphere – they affect and disappear, transform and vanish.

The particles whirling in this world, composed into the cobweb of meanings collide with each other. Yet somewhere in the background lingers the question about the presence and nature of that ‘God’s particle’, which adds mass to the others, weightiness, weight characteristic of a self-conscious, experiencing itself, essence. Worthy of admiration is the consistency with which the artist penetrates these very ambiguous and ambivalent borderlands between what is spiritual and material, transcendental and trivial, lofty and earthly. The equivocality or ambiguity which permeates Julia Curyło’s canvases results out of not yielding to the temptation of simple assessment of modernity, out of moralization or ‘engagement’, even if it was to be only ‘engagement’ on the behalf of ‘a good taste’. There is something in this stance that Thomas Mann described as “paradoxical nonuniformity and inconsistency of spirit and its attitude towards the problem of human. Spirit – said Mann – is multi-layered and any attitude to the mankind’s matters is for it possible, even the non-humanist or antihumanist one. Spirit is not a monolith, it does not constitute a coherent force, determined to mould the world, life and society in its image” .

One of the basic and most important roles of culture, and especially of art, is to integrate the spirit into reality, into the dialogue between human and the specific reality surrounding him, the specific things, people, time of year and day. Without that dimension he himself loses pertinence and becomes Elliot’s ‘hollow man’, a vacuum enclosed in a cuticle layer, unimportant, floating like ‘Lambs of God’ or ‘chicks’ in the air.

Julia Curyło, kura to Natalia LL, obiekt dmuchany, poliuretan, 2013

These inflatable props out of the artist’s paintings, floating perhaps in a subjective sense of freedom, or, devoid of insides, only external, lazy and satiated (as in the Breakfast on the Beach) represent a polysemous leitmotiv of Julia Curyło’s body of work. In that sense she has decisively reviewed and inverted the meanings in relation to the post-modern interpretations. The painting of mandala on one hand, contains in itself the prefiguration of full essence, cosmic order, and on the other hand, as in for instance Hindu art, the idea of eternal recurrence.

Curators: Ewa Sułek, Mirosław Jasiński

Video from the opening:


Galeria Miejska we Wrocławiu
ul. Kiełbaśnicza 28
50-109 Wrocław

(71) 344 67 20

Kule - projekt Lech Twardowski, wykonanie Wiesław Waszkiewicz
Logotyp - Marta Płonka