benches

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

„Ławeczki”, Festiwal Sztuki Survival 10, Stadion Oławka, Wrocław 2012

The seats seem to be carefully labeled and allocated, but why is it that the Prime Minister is supposed to sit down next to a loser, a sports official between a foreign visitor and a former artist, while a photographer next to a sculptor? At a glance, Aleksandra Sojak-Borodo used her simple, white letters glued onto the seats to introduce order by deciding who should sit where in the Oławka stadium, but in fact she undermined this order. The empty pitch melancholically drifts away somewhere towards the horizon while the spectacle is being played in the rows of seats in the stadium and the more something is wrong here, the more interesting it gets. The artist combines two semantic orders, contrasting the major players from the world of art (a promising artist, a curator) with those from the world of sport (an injured player, an official), which results in both of them losing credibility. “The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living”, Guy Debord noted. The semantic noise in the language which positions individuals both in the culture of art and in the physical one eventually turns out to be ‘a language of common separation’.

 

Xawery Stańczyk (catalogue of  Survival 10 Art Review)