Marta Deskur: Visitation, 1999
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)
Doesn’t “Christian iconography”, which perished in modernity, simply depict ordinary life in the end? In French Salon painting of the nineteenth century it still was an expiring vehicle for already voided pictorial content. This is where the Polish artist Marta Deskur, who herself received artistic training in France, starts off. If we take a second look, she transfers the formulas which haven’t been used for a long time, into the present. In her art project “Family” from the nineteen nineties which stretched over several years she presents scenes from a fake family tree. “Family” deals with the (bourgeois, class-conscious, catholic ...) notion of family—but in reality her protagonists are no relatives but live together: on a stage, as a band, in summing up shared values such as music. The scenes of “Family” are almost exclusively presented in the form of lightboxes. They are ‘enlightened’ in the literal sense of a word that does not only mean ‘illuminated’ but also ‘having knowledge and spiritual insight’. The visual composition is characterized by the contrast of figures in the foreground—photos of people wearing clothing markedly typical for the time—and a gleaming white background. The latter monumentalizes the depicted figures and, at the same time, it evokes the history of painting—the one before the landscape came up as an image background. This is accompanied by pictorial patterns that seem familiar despite their alienness: a bowl where water is flowing in front of a man’s legs and woman’s hair hanging down; two young women reciting rhymes to each other like in this work. A cigarette can be seen in one hand. Here “visitation” must be translated in its biblical sense: Or, interpreted in a flashback: Mary and Elisabeth are singing their Magnificat to each other. (Seite 224-225)