You are not interested in the medium as such. (Actually I am.) In interviews you often emphasize that a painting or a photograph executed with utmost perfection is met with your indifference. (Unless it is good.) You do not ascribe much meaning to the process of creation either. (I do very much.) For you, it is a kind of recycling of already existing images. (It is how perception works.) Are you then interested mostly in meanings, in mutually canceling and mutually excluding meanings that are inherent in the images that are difficult to grasp? (Sometimes.) Your works are often filled with contradictions, for example between knowledge, theory, facts, speculations, guessing (it can be seen as such) — which was examined by a project called “Free Doom” that discussed the problem of ‘apocalypse.’ (It was about the end of the world.) You are considered a mystic of the 21st century, (really?) an artist who presents the mysticism of the everyday, which seems a contradictory term in itself. (It is not.) Where does the need to combine the everyday with the cosmic come from? (Uncertainty principle.)
It seems that in your latest exhibition, “528 Hz” at Karma International, you let yourself ‘get carried away.’ (Exquisite resonance.) It was an exhibition the main purpose of which was to examine the spaces that emerge in the heart [Hertz in German], not in the mind. (Heart is the new mind.) It is an exhibition where we can see paintings, photography, drawings and video works; where the object is blurred (what is the object?) and the subject matter includes images of hearts, forms and patterns found in the street or created by yourself. (Synchronicity as usual.) All of them seem to be related to something that cannot be seen directly in the pictures, which is difficult to grasp. (Art?) A motif that somehow links all of them is a spiral line. (Golden mean.) What does it mean for you and why does it usually take the shape of the heart? (Within the heart is all knowledge.) Why is it so important and meaningful for you? (This is the way and it is the time.)
Certain sound waves are able to provoke different reactions: from fear, exhaustion and apathy to manic and riotous behavior (ELF and HAARP projects) to a sense of love and relaxation. (Solfeggio frequencies: the frequency of sound waves that strengthen the sense of love in people, and may even have healing properties.) How does the project entitled “528 Hz” relate to this rule? (Directly.)
In your works there often recur the motifs of excess and nothingness at the same time. (A little.) They rarely appear directly; they are rather a result of interpretation, a narration that takes place between objects and images. (?) So, on the one hand you seem to be claustrophobic — as if you were overwhelmed by signs, images, messages — and on the other hand there is a need for finding a space of emptiness, a void: an immaterial, spiritual space. (Or the opposite of that.) Is there any correlation between your artistic work and your attempts to find your place in the world? Or maybe it’s the other way round — you try to adjust the world to your expectations? (That might well be.)
Lidia Krawczyk is an artist and art critic. She is currently collaborating with Bunkier Sztuki, Krakow.
Agnieszka Brzezanska was born in 1972 in Gdansk, Poland. She lives and works in Warsaw and Berlin.
Selected solo shows: 2010: DAAD, Berlin; Kunsthaus Baselland, Basel; Hotel, London. 2009: Karma International, Zurich; Kamm, Berlin. 2008: Karma International, Zurich. 2007: BROADWAY 1602, New York.