RED BAR # 85. FROM THE CYCLE: BARS (2019) Photography by Marta Lesniakowska

Photography, 15.8x15.8 in
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W moim cyklu „Bary” nic nie jest jednoznaczne. Przez zaparowaną szybę niewyraźne postacie pogrążają się w czerwono-pomarańczowej poświacie. Pozornie zwykła, przypadkowa scena, od której odgradza nas metalowa poręcz przecinająca diagonalnie kadr, jest niepokojąca, mroczna, oniryczna, i w moim pamiętającym spojrzeniu dialoguje z estetyką kina noire[...]
W moim cyklu „Bary” nic nie jest jednoznaczne. Przez zaparowaną szybę niewyraźne postacie pogrążają się w czerwono-pomarańczowej poświacie. Pozornie zwykła, przypadkowa scena, od której odgradza nas metalowa poręcz przecinająca diagonalnie kadr, jest niepokojąca, mroczna, oniryczna, i w moim pamiętającym spojrzeniu dialoguje z estetyką kina noire i fotografią uliczną Saula Leitera. Odwołuje się z jednej strony do strategii Pabla Picassa sugerowania tylko sceny, a nie przedstawiania jej mimetycznie („Moulin de la Galette”, ok. 1900). A równocześnie do kadrów otwierających debiut filmowy Tony’ego Scotta „The Hunger” (1983) z wnętrzem nowojorskiego nocnego klubu, gdzie światła ledwo przebijają się przez papierosowy dym. Sięgam tu do stosowanej np. w modernistycznej poezji strategii obiektywej korelacji (objective correlative): zestawiania konkretnego przedmiotu lub zjawiska tak, by wywołać emocję u czytelnika - jak w „Nierzeczywistym mieście” Thomasa S. Eliot’a, który w gęstej brunatnej mgle skrywającej Most Londyński znalazł mroczność i chaotyczną fragmentaryczność nowoczesnej metropolii. Jak w wielu moich fotografiach używam tu także środków filmowych wypracowanych w niemieckim ekspresjonizmie i definiujących styl film noire oparty na tzw. niskiej tonacji/niskiego klucza oświetleniowego (low key), czyli wizualnego efektu obrazu o ciemnej skali szarości. Redefiniuję ten styl w rozproszonym kolorze, rozmyciach i nieostrości. Tak zorganizowane pole obrazowe determinuje psychofizjologię recepcji, ewokując negatywne emocje, smutek, dezaprobatę, dramatyzm itp. Moja fotografia transmediuje więc z modernistyczną fotografią, by pytać, jak i dlaczego rezonuje on w dzisiejszej fotografii metamodernistycznej, którą uprawiam. Fotografia pochodzi z większego cyklu „Bary”. (ml)
Fotografia wystawiona:
1/ XVIII Biennale Plakatu Fotograficznego, Płock 2015, Polska, reprodukowana w: Katalog XVIII BPF 2015 s. 17
2/ 12th International Photography Exhibition “Mask” 2018, Cerkno Museum, Słowenia.
3/ 49 Aukcja Sztuki Młodej, Galeria „Pragaleria”, Warszawa, Polska 2021

Fotografia reprodukowana w artykule: Olimpia Gaia Martinelli, Portrait d'Artiste:Marta Lesniakowska, "Artmajeur Magazine" 2023 nr 26 p. 38-40.

In my “Bars” series, nothing is clear. Through the fogged glass, indistinct figures plunge into a red-orange glow. The seemingly ordinary, random scene, from which we are separated by a metal railing cutting diagonally through the frame, is disturbing, dark, dreamlike, and in my memorable view dialogues with the aesthetics of cinema noire and Saul Leiter's street photography. It refers, on the one hand, to Pablo Picasso's strategy of merely suggesting a scene rather than depicting it mimetically (“Moulin de la Galette,” c. 1900). And at the same time to the opening frames of Tony Scott's film debut “The Hunger” (1983) with the interior of a New York nightclub, where the lights barely pierce through the cigarette smoke. I'm reaching here for the strategy of objective correlative used, for example, in modernist poetry: juxtaposing a particular object or phenomenon in such a way as to evoke an emotion in the reader - as in “Unreal City” by Thomas S. Eliot's “The Unreal City,” which found the darkness and chaotic fragmentation of the modern metropolis in the thick brown fog hiding London Bridge. As in many of my photographs, I also use here the cinematic means developed in German Expressionism and defining the style of film noire based on the so-called low key/low light key (low key). That is, the visual effect of an image with a dark gray scale. I redefine this style in diffuse color, blurs and out-of-focus. Such an organized image field determines the psychophysiology of reception, evoking negative emotions, sadness, disapproval, drama, etc. My photograph thus transmediates with modernist photography to ask how and why it resonates in the metamodern photography I practice today. The photograph is from the larger series “Bars.” (ml)
Photograph exhibited at:
1/ XVIII Photo Poster Biennale, Plock 2015, Poland, reproduced in: XVIII BPF 2015 catalog pp. 17
2/ 12th International Photography Exhibition "Mask" 2018, Cerkno Museum, Slovenia.
3/ 49th Auction of Young Art, "Pragaleria" Gallery, Warsaw, Poland 2021.

Photograph reproduced in the article: Olimpia Gaia Martinelli, Portrait d'Artiste:Marta Lesniakowska, 'Artmajeur Magazine' 2023 no. 26 p. 38-40.

Collector's digital photography, color. Digital print on Hahnemühle Photo Rag Baryta 315g (semi-flash), archival paper, acid-free. signed on the front and on the reverse, dated 2019, print 2022. Size: 40x40 cm, paper 50x50 cm. not glued, without frame. Certificate of Authenticity. Without damages. Archived file: L1070885.DNR
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Marta Lesniakowska is an artist photographer but also, at the same time, historian and art critic, she does research on visual culture. This is what determines his approach to photography: a strategy[...]

Marta Lesniakowska is an artist photographer but also, at the same time, historian and art critic, she does research on visual culture. This is what determines his approach to photography: a strategy of the “look that remembers”, which recalls familiar images from the history of art in order to transmit/intertextualize them. Her dialogue with them consists in asking herself if it is possible to evoke their meanings and what they are or can be today. She is fascinated by light - its role in the construction of the image, the parergon that creates the image. This is why, in street photography, she analyzes the interplay of light and dark, the relationship between sharpness and blur and the interpenetration of images as simultaneous realities. In this way, she brings out the mysterious character of the city, referring to the aesthetics of black cinema and to the master of 20th century street photography, Saul Leiter.(ml)

When she takes photographs, nothing is more or less important to her; his gaze is often governed by the principles of minimalist poets: an economy of detail, the discovery of subtexts and insinuations hidden in invisible objects and bits of everyday reality.

Marta Lesniakowska lives and works in Poland. His works are part of public collections (National Museum in Wroclaw, Museum of Bydgoszcz) and private collections (Netherlands, Denmark, Germany, Sweden, Switzerland, United States).

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Photography | 15.8x15.8 in
$2,294.4
Photography | 15.8x15.8 in
$2,294.4
Photography | 15.8x15.8 in
$2,294.4
Photography | 15.8x15.8 in
$2,294.4

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