anja krakowski

  "Artefacto (beyound us) es una pieza escultórica reticular basada en los elementos estructurales de las ramificaciones radiculares del micelio. El proyecto se inspira en la La Teoría del Actor-Red (ANT), cuya importancia radica en que trata lo tecnológico en la explicación del mundo, de un modo equivalente a la manera en que se trata lo social, es decir considerando el conocimiento como una construcción en red en la que intervienen múltiples agentes y donde no se distingue entre humano y no-humano. La artista, en lugar de domesticar o de someter la fuerza orgánica, cede el protagonismo a los procesos y los tiempos de la naturaleza. Se confronta una estructura geométrica estable con un procedimiento orgánico inestable: construyendo a partir del micelio se permite que el propio “agente” esté siendo representado, a la vez que interviene de un modo activo en su propia representación -más allá del control de la propia artista. Artefacto (beyound us) podría func...

Ibero-American Video Exhibition: "Multipla: Mujer Artista Rexiste" (Multipla: Woman Artist Resists) Museum of Art of the Federal University of Ceará Fortaleza, Brazil Curator: Lilian Amaral Starting August 21, 2019   The demand for sand grows year after year. In addition to its use for road and housing construction, the demand from the fracking industry has been added in recent years, which uses sand along with chemical components and water to fracture the dense rock formations that hide oil and gas. This strong demand is surpassing the supply and driving up the price of this raw material, which is encouraging the creation of groups of poachers who 'hunt' sand on deserted beaches and even in the sea. Sand is the second most consumed raw material by humans after water, a natural resource which is the main reason for wars in the 21st century and is also very abundant in the Western Sahara occupied by Morocco. The history of sand trafficking ...

"While drawing inspiration from subjects relate to borders and limits - in terms of both constraint and transgression – we pay attention to the implications, entanglements and displacements that are produced within the geographically, historically, economically, socially charged and constructed territories shaped by capitalism and internationalism."   Through a complex edition of images that refer to iconoclasm, along with recitations based freely on 1984 by George Orwell and Funes the Memorious by José Luis Borges, a narrative is constructed that refers to a memory condemned to its own contradiction -between hypermnesia and the desire to erase everything - projecting a moment in which the future has already passed and the past is still present.

Dos Domas. Video installation. Two cannel. 2019   A central element articulates the entire space. The figure of the horse associated with the double relationship between the wild and the domesticated, the colon and the colonized, brings us closer to the way in which historical events are today experienced in all their speed and excess of information creating a continuous conflict with the construction of a collective memory.   https://valenciaplaza.com/la-artistaanja-krakowski-inaugura-su-exposicion-enrambleta

RIGHT HERE, RIGHT NOW, RIGHT THERE, RIGHT THEN - the dog at quarter past three , Espai La Rambleta, Valencia, Spain, 2019             Concepts and ideas are travelers and yet current ideologies try to fix them. Frozen, in shape and under artistic pretext, they rise to glorify an event, a historical moment or a precise power. Under changing perspectives (of history, context or positioning) statues become an anachronisms of collective identities, revealing inequalities and asynchronies. [...] Right now [...] is conceived as an fictional essay   that explores the complicate relationship between memories, collective identities and foundational myths and with signs of fixation, in a time characterized by the apparent immediacy and its emphasis on the eternal here and now. Through accumulation of images, objects and layers of information, a narrative insists on its own contradicting nature, caught between the Borges's hypermnesi...