‘Neither before, especially nor after’ by Marcin Berdyszak

Neither before, especially nor after.

A mundane object, which holds an intriguing presence, is a point of significance in regards to Marta Bosowska’s performance practice. Removed; relocated; abandoned; rejected; degraded – artefacts of various natures appear as independent bodies, assimilated from reality, where in most cases they have already been dissolved. Neither material existence nor scale are sufficient devices when attempting to recapture their visibility. The ‘practice of the everyday’ is showcased in stereotypical methods, transforming the object’s status once it inhabits the precise conditions of the museum exhibit. In the field of art, resourcing objects from surrounding environments is not said to be classified as anything innovative or particular. The strategy has been, and will proceed to be practiced, until, for reasons unknown, the already discovered rhetorics reveal news merits worthy of exploration, broadening the spectrum of our consciousness. The incorporation of vernacular elements in Marta Bosowska’s practice can be understood from the way she approaches performance as memory; a crucial argument when justifying methods of experiencing reality. Each object she uses, becomes a hermetic medium of memory, voicing its own history. Memory or the act of memorising, is what provokes the artist to use such objects. It is thus, Bosowska’s intention to prompt the audience to confront their own recollection – their abstract memory and the inability they have to penetrate it – rather then to preserve it in their cognisance.

In performance, she creates a new context for specifics objects –bell, swing, carousel- thus manifesting an innovative artistic intention: replacing the unaccessible part with the equally unapproachable here and now. Parallel to this, but not in the same discourse, it can be argued that in terms of hermetic memory, the more objects deployed, the stronger the presence becomes in Bosowska’s practice. The artist reveals a remoteness to these artefacts, confronting their different qualities, while simultaneously remaining in proportional reliance to the impervious memory of the original assimilated object. On theses grounds, an original formulated concept residues, defining the object as appropriated from reality, serving as mere material from which she constructs new existence. Surprisingly, this newly formulated existence doesn’t make anything clear or closer to us, therefore making us aware of our desire to acknowledge, understand and rationalise the art object – while indeed we are incapable of such undertakings, when one considers reality and its fragments.