Marseille Housing Unit’s rooftop displays a series of mythologic scenes: immaculate, athletic woman’s body, resistant, such as armor, shamelessly exposed to the impact of nature. A beautiful symbol of physical power and strength of ideas. I can hear a distant echo of Leni Riefenstahl’s poems about the body liberated by the sport. Although appropriate for the contemporary dance regime of exploitation and control of the own flesh, so different from classical ballet training strategy is like a sport in many dimensions.
At the illuminated arena, as a metaphor written on tablets of raw gray reinforced concrete, with two black Venus of Wilendorf and blue ornament creates strangely ominous form. Illusions of space, the feeling of weightlessness, a wild red, sharp blue and flattened form. Not-human, no longer anonymous, almost immaterial: it is after all the essence of abstract compositions of Juan Miro, close to his organic, sexual, full of ovals, but flat color shapes and cutting diagram.
These photographs remind me 60’s Vogue and futuristic space look full of geometry, pure, primary colors, dress-boxes of Cardin’s vinyl, Puccini’s plexiglas helmets and feeling of Kubricks “Space Odyssey”. Risky, in the obvious manner harmonious compositions are monumental, peeled with detail, and, paradoxically, extremely fresh. Silent, filled with serenity of contemplating architecture itself. Separating their own divisions, levels and curves, reflecting the rhythms of Corbusier windows and long shadows. Would not disturb the tense silence either noise of water poured out from the two basins, nor the rustle of the cape stopped halfway mocking of the gravity rights. The effect: stopping in the middle of inner traffic and letting the viewer’s own brain nerve to draw a pathway to finish what artist and the gravity did not show.
Words: dr hab. Anna Królikiewicz