Marta Deskur: CORONATION, 2004
geboren 1962 in Krakau, Polen, lebt und arbeitet in Krakau. Deskur studierte an der École des Beaux Arts in Aix-en-Provence. Ihre Foto- und Videoarbeiten wurden u.a. bei der 1. Prag Biennale, Le Guern Warschau sowie im Ludwig Museum Budapest präsentiert. Im KULTUM wurde Deskur in den Ausstellungen „Marta Deskur. NOT TO BE TOUCHED“ (2006), „GESTURES OF INFINITY. Religion und Emotion in einer globalisierten Welt“ (2007), „RELIQTE“ (2010), „reliqte, reloaded: Zum Erbe christlicher Bildwelten heute” (2015/16) und „VULGATA. 77 Zugriffe auf die Bibel“ (2017) gezeigt.
born in Krakow, Poland, in 1962; lives and works in Krakow. Deskur studied at the École des beaux arts in Aix-en-Provence, France. Her photo and video works were shown i.a. at the 1st Prague Biennale, Le Guern Warsaw, and in the Ludwig Museum, Budapest. Deskur’s works were shown in the KULTUM in the exhibitions “Marta Deskur. NOT TO BE TOUCHED“ (2006)“GESTURES OF INFINITY. Religion und Emotion in einer globalisierten Welt“ (2007), and “RELIQTE“ (2010)
Marta Deskur: CORONATION, 2004
Charity/brotherly love is a concrete service to others: Realized as a lightbox, “Coronation” is a single picture from a larger series showing different windows of a house (“Home”). These offer insight into different everyday activities of a family such as cooking, eating, washing, or sleeping. A foot is shown in this work, and a terry towel is handed over to dry it. Supported by the white of the background, which gets a special aura through the lightbox technology, one is moved close to ritual actions although only everyday activities are depicted. Marta Deskur pinpoints her interest in the picture at the border between secular and sacral image perception. In addition, the formal solutions of these gestures of the everyday seem to make use of the collective memory of the Western history of the image: One is reminded of well-known archetypes time and again. In “Coronation”, the title presents us with an ad ditional riddle: Apparently, it does not go together with the pictorial content. But in fact, Marta Deskur employs it to hint at the historical pictures her new creations are based on. This is the period in her oeuvre when she was extensively dealing with Christian iconography. Here it is Fra Angelico’s painting “Coronation of the Virgin” in the Louvre, which she had been able to study in the original time and again when she lived in Paris for several years. Her attempt to read pictures that make up our culture with the media of today quite often goes hand in hand with astonishing reinterpretations: Not the crown is presented here but the towel to dry one’s feet. Here, the nobilitation of Mary’s perfection turns into Jesus Christ’s ritually elevated gesture of farewell before his suffering—or it is transformed into ordinary body care in a family’s everyday life as a service to others.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 392-393