Kuda Gierman. Jarosław Modzelewski, Marek Sobczyk

ryzyka co do w∏aÊciwych czy ostatecznych rozpoznaƒ (dysonans
poznawczy). W sumie zataczamy p´tl´ w wymiarze malarstwa,
równie˝ dzi´ki warstwom: powierzchnia* pracy z kolegami z Gruppy
w 1987, powierzchnia pracy JM i MS nad 16 obrazami w tym projekcie.
W tekÊcie, który jest namalowany na obrazie Pracownia, jest
mowa o zataczaniu p´tli od malarzy: Gilberta i Georga uwa˝ajàcych
siebie za rzeêbiarzy, przez malarzy JM i MS, do Juszczaka, historyka
sztuki skupionego na rozpoznaniu sztucznoÊci sztuki i Sempoliƒskiego
skupionego na indywidualnym wysi∏ku malarza w polnej bruêdzie.
* Zadanie: Porównywanie powierzchni: 1987 Kassel: Kuda Gierman
600x600 = 360 000 cm 2 do 2020 Warszawa, Niepor´t, Józefów,
Poznaƒ: [(1) Pan Kopernik… 230x360 = 82 800] + [(2) Replika
400x400 = 160 000] + [(3) Cztery kolory… 200x200 = 40 000] +
[(4) Blut und… 200x200 = 40 000] + [(5) Kuda das… 200x200 =
40000] + [(6) Nasza Guernica 350x770 = 269 500] + [(7) Gruppa
chce… 180x230 = 41 400] + [(8) Dwie kobiety 200x200 = 40 000]
+ [(9) Cranial… 180x230 = 41 400] + [(10) Pracownia 180x230 =
41400] + [(11) CZYSTOÂå 200x200 = 40 000] + [(12) Doppel-
Beuys… 180x230 = 41 400] + [(13) Dyl Sowizdrza∏ 140x120 =
16800] + [(14) Polentransport 150x75 = 11 250] + [(15) Dyl Ulenspegel…
193x131 = 25 283] + [(16) Stemple… 75x150 = 11 250]
= 942 483 cm 2 , co daje stosunek powierzchni 1:2,62.
Techologia. Obraz Kuda Gierman? Gruppy by∏ malowany farbami
olejnymi, a nasze wspólne obrazy sà malowane temperà jajowà. To
dwa ró˝ne Êwiaty, dla przyk∏adu: gdy postanowiliÊmy zamalowaç obraz
Gruppy na czerwono, by go skoƒczyç, olejne farby by∏y mokre i miesza∏y
si´ z k∏adzionymi na obraz czerwieniami, obraz uzyska∏ du˝à iloÊç
odcieni i wersji walorowych ró˝nych czerwieni. W temperze by∏oby to
niemo˝liwe, bo wst´pnie zasycha w ciàgu kilkudziesi´ciu minut po
po∏o˝eniu. Jednak gdy chodzi o prac´ Êwiat∏a w warstwach, to tempera
zdecydowanie wi´cej oferuje, obrazy sà w szczególny sposób rozÊwietlone,
a nawet Êwiecà w zapadajàcych ciemnoÊciach. Widaç kilka
osobnych warstw poprzez siebie, obrazy zachowujà cechy abstrakcji:
pewnà surowoÊç i czystoÊç, zarazem mo˝na Êledziç, jak by∏y malowane,
rozumieç je naturalistycznie, prawie ka˝dy krok mo˝na wyodr´bniç
i nazwaç; czasami dla nas wa˝ne stajà si´ same nazwy pigmentów.
together on a painting, facing the risk of correct or final diagnoses
(cognitive dissonance). As a result, we come to a full circle in painting,
with layers also playing a role: the surface* of our collective work by Gruppa
in 1987, the surface of the sixteen paintings made by JM and MS.
The text in the painting Workshop is about coming to a full circle, starting
from the two painters Gilbert and George who consider themselves
sculptors, through painters JM and MS, and ending with Juszczak,
an art historian focused on recognizing the artificiality of art, and Sempoliƒski
focused on the individual effort of a painter in a dirt furrow.
Task: Comparing the surfaces 1987 Kassel: Kuda Gierman 600
x600 = 360 000 cm 2 to 2020 Warsaw, Niepor´t, Józefów,
Poznaƒ: [(1) Mr Copernicus… 230x360 = 82 800] + [(2) Replica
400x400 = 160 000] + [(3) Four Colours… 200x200 = 40 000] +
[(4) Blut und… 200x200 = 40 000] + [(5) Kuda das… 200x200 =
40 000] + [(6) Our Guernica 350x770 = 269 500] + [(7) Gruppa…
180x230 = 41 400] + [(8) Two Women 200x200 = 40 000] + [(9)
Cranial… 180x230 = 41 400] + [(10) Workshop 180x230 = 41
400] + [(11) CLEANLINESS 200x200 = 40 000] + [(12) Doppel-
Beuys… 180x230 = 41 400] + [(13) Till Eulenspiegel 140x120 = 16 07
800] + [(14) Polentransport 150x75 = 11 250] + [(15) Dyl Ulenspegel…
193x131 = 25 283] + [(16) Palestinian… 75x150 = 11250]
= 94 2483 cm 2 , which gives us a surface ratio of 1:2,62.
Technology. The Kuda Gierman? painting by Gruppa was painted with oil
paint, while our collective paintings were painted with egg tempera. These are
two different worlds, for example: when we decided to paint the Gruppa
painting red in order to finish it, oil paints were wet and mixed with the
reds applied onto the canvas, the painting got a large number of shades
and colour values of red. We could not have made it with tempera because
it would have dried within a few dozen minutes after being put onto the
canvas. However, it is definitely tempera that offers more in terms of light
and its different layers, illuminating the paintings and giving them a glow
even when it gets dark. You can see several separate layers through
each other, the paintings retain their abstract features: certain severity and
purity. At the same time, you can trace back the way they were painted,
understand them naturalistically, almost every step can be distinguished
and named; sometimes the names of pigments become relevant.