Interview: Anna Róza Kolacka

Anna Róza KolackaImage courtesy of Anna Róza Kolacka

Interview: Anna Róza Kolacka

 

Luca Curci talks with the artist Anna Róza Kolacka during VENICE INTERNATIONAL EXPERIMENTAL | OUT OF BORDERS in Venice.

Anna Róza Kolacka was born on 11 of May, 1992 in Poznań. She finished the full-time study of Master Degree at the University of Art in Poznań finished (with the mention) in June in 2016, actually. During her entire artistic activity she has taken part in many collective and individual exhibitions in Poland and abroad, e.g. in Shanghai (China), Mooste (Estonia), Cuenca (Spain). In 2014, I got Grand Prix of National Painting Contest of Franciszka Eibisch. She was nominated to the competitions and art awards, received a lot of scholarships for special achievements and took part in the international projects and residences.

 

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She also organised a few projects of artistic workshops for children and young people, connected with Polish educational institutions. Futhermore, she has actively participated in international and nationwide conferences and workshops and has published her texts and drawings. Recently, her master’s diploma “Heterotopy” was presented during the collective exhibition connected with the 36. Maria Dokowicz Competition for the best artistic diplomas in the Poznań International Fair. After the MA diploma, defended in the XII Painting Studio of prof. Janusz Marciniak and VI Studio of Sculpture and Action Space of Marcin Berdyszak, she got to PhD-study (at the same place), where she continues her education.

 

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Luca Curci – What do you think about the concept of VENICE INTERNATIONAL EXPERIMENTAL | OUT OF BORDERS? In which way did inspire you?

Anna Róza Kolacka – I think the concept of VENICE INTERNATIONAL EXPERIMENTAL | OUT OF BORDERS is great, because it consists the transmedial ideas. This event connects the history (e. g. of Palazzo Ca’ Zanardi, where the exhibition takes place) with contemporary artistic strategies. It seems to me that this kind of curator’s strategy gives a chance to reveal new meanings, something new inside presented artworks and between them. The choice of the artists from other disciplines (also architecture) gives a special possibility to really bend the rules. So the topic “OUT OF BORDERS” can come true on a few levels: in the space of individual artistic matter, the social level – the space of their meeting and the special context of the place and time of the exhibition. These kind of meetings are usually inspiring. I think sometimes the contemporary techniques, consisting of a lot of electronics can look old near the traditional oil painting – and the other way around as well. During the events like Venice International Experimental Festival the idea of the art historian Piotr Piotrowski to blur the borders between the history of art and the new phenomenons and focus on their matter, could be made real. Moreover, the experience of differences is always educative and helps to change the perspective for your own work.

 

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L.C. – Please tell me about your art/the artwork shown during our event.

A.R.K. – I have the occasion to show an example of my series titled “Crumbles of representation” where I’m trying to create the abstractive space using the small particles of some substances, e.g. broken Christmas baubles, glass, melted ice, etc. Using the micro-space I would like to create/make the macro-one. I want my painting to have a place “between” something well known (in reality) and something abstract. What is important in this series to make it all-over – so the crumbles fill all the canvas, trying to make some kind of harmony in the apparent disorder. In the next paintings I’m exceeding that rule, using other sizes of fragments and leaving the empty parts/spaces.

 

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L.C. – Are your artworks focused on a specific theme?

A.R.K. – Firstly, it was connected with the idea of the mirror which in history of art had a special meanings – Narcissus is regarded to be the inventor of painting, because he revealed the illusion of reflection when he broke it (by his touch and tears). More precisely, deconstruction of the mirror was the theme of my MA diploma. Now, I can see my paintings more universally, trying to connect them with the concepts of quantum physics and cosmology. I wouldn’t like to change my vision of painting and illustrate the scientific problems, but sometimes using the special atmosphere we know from the satellite photos, I would like to open the imagination of the potential viewer.

 

L.C. – Did you style change over the years? How?

A.R.K. – Of course. I started my MA degree painting realistic images included reflections of people in broken mirrors. Now, this kind of representation doesn’t interest me any more. Earlier, I painted the bodies inside foils. What’s interesting, the way of seeing, mixing the colors etc., didn’t change a lot; my techniques and knowledge developed, but the sensibility is still the same. Now, I feel that I’ve found my own place in the area of painting, but I have to move in this space and constantly proceed.

 

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L.C. – What about your artistic research?

A.R.K. – This is the most anxious time in my work and – what’s maybe the worst – it lasts almost all the time… When I’m preparing some new projects for the painting, I usually know what effect I have to obtain, but before it will exist, I must have some idea how to do it, usually make a small installation, hundreds of photo… and alternatively use this photo to have a general composition and idea of final painting. Sometimes, I’m trying to get some new project, but in the process, I return to older photo which I haven’t used yet, and it turns out to be more inspiring than something I’m occupied with now. I often have to repeat the photo, even three times, to get the effect I’m looking for. In addition, I’m trying to read a lot to have a wide context.

 

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L.C. – Are you interested in future collaborations with our organization?

A.R.K. – Yes, I’m interested in future collaborations with your organization, because heretofore IT’S LIQUID GROUP turns out to be a serious, influential institution.

 

L.C. – Do you think that this experience could be useful for artists and can contribute to increase personal background?

A.R.K. – Yes, I think that this experience could be useful for artists and can contribute to increase personal background, because the exposition of contemporary art in a XVI- century Palace can uncover new matters and show their authors something really new and surprising. Moreover, nowadays it’s not so easy to get a good promotion, which will involve a bigger social area and affect more than a group of curators, art critics and other artists. Maybe, these problems concern just the polish art environment… I don’t know, but The Festival in Venezia gives a chance to be promoted and, maybe, get the chance to exceed also the borders of local art market.

 

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