Filmoteka Muzeum

This time, Teresa Tyszkiewicz’s confrontation with the matter is pursued in a way closely resembling analysis, even though the artist’s strategy is still based on the spontaneous expression of subjective experiences and impressions. Tyszkiewicz arranges situations where she can devote herself to conducting various “tests” on her objects in order to locate their central meaning and come up with their archetypal image. At the same time, she triggers numerous references and meanings, which she includes into the formal, visual and significative game.

The artist uses the most trivial matter and its primeval force of symbolic impact to create aesthetically refined images, abstract and beautiful in their own right. It is worth noticing the political threads tackled in the film (“Solidarity” weekly) and the struggle that the artist wages at the end with a heavy sack. The film comes to an end with a feminist-flavoured scene of submission after a failed attempt at revolutionising the stiff manner of perceiving gender and female sexuality.

References: D. Crowley, The Art of Consumption, in:1,2,3... Avant-gardes. Film/Art Between Experiment and Archive, eds. Ł. Ronduda, F. Zeyfang, Warsaw 2006; Ł. Ronduda, Polish Art of the 70s Avant-garde, Warsaw 2009.
 

(ŁM)