The Humping Pact, 2012
In the exhibition I FAIL GOOD at beursschouwburg, Brussels
The query that crops up right away with the idea of “visual art as knowledge production” is: “what sort of knowledge?” Hard on its heels “What marks out its difference, its otherness?” Should we not rather speak of non-knowledge – activity that is neither hard-nosed know-how nor its ostensible opposite, ignorance?
The question is especially pertinent in today’s expanding knowledge economy that we should not only see as a “technological development” but as an emerging overall condition of living that I prefer to speak of as the “grey-matter” environs. “Visual Art as Knowledge Production” involves sundry epistemic engines and contraptions that we might broadly refer to as “Thinking Through the Visual”. What do such modes of knowing entail? How do they tick?
Click on the image to see the video!
Kasia Fudakowski, In the Event of Sculpture, 2009
Steel, rigid foam, resin, spray paint, magnets
Trained as a sculptor, Kasia Fudakowski (1985) combines in her sculptural works materials, forms and narratives in a playful spirit, while her performances are marked by a mordant irony and self-irony.
The artist’s failure to win the prestigious Baloise prize at Art Basel this year, and the possible reasons for this, form the basis of Second Chance. In the performance, Fudakovski focuses on deconstructing the fixed ideas we may hold about the nature of failure, with a specific emphasis on the complicated relationship between women in a competitive environment; in particular, she examines the common accusation that women are unwilling to be competitive, accepting failure before even competing.
Kasia Fudakowski, Lower your ambitions (blue), 2015
Art Basel, 2015
Scott Reeder, Bad Ideas, 2013
Lisa Cooley Gallery, NY
Fraustellungen is a non-collaborative publication by the artist Kasia Fudakowski and gallerist Jennifer Chert. This two-sided leporello presents the artist’s four exhibitions from her Fraustellungen series: Enthusiastinnen (2012), Pessimistinnen (2013), Stoikerinnen (2014) and finally Sexistinnen to be presented at Art Basel Statements 2015. Each side is designed respectively by artist and gallerist, demonstrating two opposing aesthetic approaches to the work, the tug of war of forced collaboration, and reinforces the blatant destructive nature of self-sabotage.