At the BWA City Gallery in Bydgoszcz (which has the most poignant introduction of any art gallery I've seen so far: "WHAT"), the Polygonum exhibition which opens on October 14th to showcase the Polish region's visual talents has some tasty discoveries.
"Movemental" by Tomasz Dobiszewski does look a little like a furniture catalogue. And yet there is something wrong with this catalogue. It does not clarify, it does not simplify, but multiplies, undoes the tight order of things. It lets the picture breathe, opens it up, as if it was obvious: the reverse is necessary, the negative, the outline - everything our gaze seems to take for granted. Dobiszewski adds nothing, he just cuts out and moves,allowing the rhythms to become juicier through the absurd joy of things fitting like in a reverse puzzle. Do things become undone, this way, or are they put more clearly into their necessity? After all, this is the space for the space this is.
Another tasty moment requires distance.
Evidently, it's not about the painting. But the painting seems an important introduction (and the floor, and the floor). This creature, to the right (unfortunately I didn't write down the name or author), stands as its own double. It should not be approached (really, definitely, in cases like this I understand why beauty needs distance). As any mirage, it is only what it seems, a reflection, a game of angles, a line and a line and a line. It rings a bell, and another, and I wonder, is there a way of keeping it there, of not getting closer, of remaining within the illusion that there is something beyond, just a little more plenty.
