No 2 (82) 2010
April - June

Here I Make Everything New...

Texts describing her output define it in terms of the art of earth, female art, ephemeral art. Her installations and sculptures have been appearing, seemingly, just for a moment.

Marika Kuźmicz

Art historian, curator. She publishes texts on contemporary art.

Marika Kuźmicz

IN CASE OF THIS WORK, HOWEVER, THE CREATION, COMING INTO EXISTENCE, FRAGILITY are not closed notions, and certainly they will never be. Since the beginning of her creative path, Teresa Murak has been actively participating in the realization of all her pieces. A number of them have been handmade by her. Occasionally, she has worked on the project together with Mateusz Rembieliński, her son. She invites her friends and co-workers to take part in the creative process. This is what has happened in Lublin. She started working on the hyssop installation on June 2nd 2009. The artist and other participants of the project made a drawing on the green belt - in the vicinity of the Lublin Castle district (Podzamcze) - removing a narrow, two kilometers long strip of grass. Thus, they made a place to sow hyssop which originates at the foot of the Holy Trinity Chapel. This sow is to be continued by the artist in the future, by the same token, it will be a return to the source, to the very beginning. The Source. Stream. Water project was one of several installations by the artist presented in 2009. Murak has expanded the earlier marked area of her work, leading to subsequent scenes of The Score of Time and Place, Meetings on the Road, and the project under implementation since 2004, entitled The Meetings Bridge- Sculpture. The My Art Is Your Art installation (presented during the ArtBoom Visual Arts Festival in Cracow) has been a particular example of showing a former piece in a new context, thus offering a chance to get familiar with it once again. She has displayed the ten meter large projection of the Lady's Smock film on the Wawel Castle walls from the side of St. Idzi Church.

The elements, to be introduced later into the tissue of the city, are originally put on the map of Warsaw as points, spots and lines. Next, she compares the drawing with the mythical clew. Points on the map serve as lodestars and a pretext for reflection. A special mark on the map by Murak has been a monument The Pilgrim's Cross. Road. Prayer. Transformation. The project was running in the 2008 competition to commemorate the presence of Pope John Paul 2nd in Warsaw in 1979. The cross was planed to rise 25 m high, as the 1979 cross. Illumination was to be coming out from the depths of earth; the cross arms were to exude the flickering, white and red light sparkles at night. The bending pilgrim's cross has been only a fragment of the whole monument that was to be presented in various locations of Warsaw, connecting individual parts of the city.

The projects by Teresa Murak do not let one remain indifferent. They demand involvement, and what is more important, continuation of the once initiated effort, in other words, they call for responsibility. One should exaggerate neither their potentially therapeutic, nor cathartic function, though it is undoubtedly present in such pieces as The Sculpture Is Pulsating, The Score of Time and Place, (August 2008, the area in front of the 21st Expo Hall, Bem, St., Warsaw) which was presented close to the former KL Warschaw camp, or The Time Is Love (August 2009, Warsaw, Umschlagplatz Monument Square in Stawki district). In the latter, Murak has planted bindweeds to mark the anniversary of signing one of the fourth August agreements in Gdańsk. The Umschlagplatz Square had been prepared for this in advance. In 2007, Murak had planted there hyssop, the plant with purifying qualities, and a year later, she had sowed there wild flowers.

While occasionally touching upon places of the collective memory, including the ones we are unaware of, she has focused on these that are passed by everyday which history and past meaning we do not know. This does not mean, however, that they are absent from our subconscious.

Shortly, one can expect a subsequent scene of the work by the artist. This time, it will have a form of the Meetings Bridge-Sculpture. Providing the project is implemented, the area between Orla street and Aleja Solidarności avenue in Warsaw will be spanned by a glass foot bridge. The bridge will connect the private and public space. Thus, it will allow for meetings in multiple sense of the term, and it will eliminate the division into art places, non-art places, and - as Teresa Murak puts it - pre-art places.