NATALIA ZAŁUSKA GALERIE JOCHEN HEMPEL Lindenstrasse 35 D - 10969 Berlin
CV Natalia Załuska 1984, born in Cracow lives and works in Vienna 2008-2013 Academy of Fine Arts Vienna with Daniel Richter and Lisa Ruyter 2005-2008 Jagiellonian University Cracow and University of Vienna SOLO EXHIBITIONS The Mechanism of Small Chnges, Galeria Le Guern, Warsaw, Poland, 2014 Galerie Jochen Hempel, Berlin, Germany, 2014 Diplomausstellung, Atelierhaus, Academy of Fine Art, Vienna, Austria, 2013 RECENT GROUP EXHIBITIONS Bildbaumeister, Parallel Vienna, Austria, 2014 The Sky is Blue in Some Other Way: A Diagram of a Possible Misreading, Galeria Elba Benítez, Madrid, Spain, 2014 New Positions, Art Cologne, Cologne, Germany, 2014 extract III, Kunstforeningen GL STRAND, Copenhagen, Denmark, 2013 vis-á-vis, K12 Galerie, Bregenz, Austria, 2013 The Whisperers, Contemporary Art Center Matadero Madrid, Spain, 2013 Andratx on Paper, Kunsthalle, CCA Andratx, Spain, 2013 Minimal Compact, Christine König Galerie, Vienna, Austria, 2013 eg_nord eine Malereiausstellung, Semperdepot, Academy of Fine Arts Vienna, Austria, 2012 GRANTS / RESIDENCIES Artist-in-Residence, Cité internationale des Arts, Paris, France, Studio grant by Austrian Federal Ministry for Education, Arts and Culture, 2015/16 Artist-in-Residence, Art-Bellwald, Bellwald, Switzerland, 2015 Artist-in-Residence, CCA Andratx, Mallorca, Spain, 2014 Artist-in-Residence, Kunstnarhuset Messen, Norway, 2013 Alfred-Toepfer Stiftung F.V.S grant, 2011-2013 Project grant, Academy of Fine Arts Vienna, Austria, 2012 Artist-in-Residence, CCA Andratx, Mallorca, Spain, 2011 Project grant, Academy of Fine Arts Vienna, Austria, 2011 CATALOGUES extract III, Kunstforeningen GL STRAND, Copenhagen, Denmark, 2013 Curators Network, Vienna, Austria, 2013 COLLECTIONS Lentos Kunstmuseum, Linz, Austria Stiftung Ahlers Pro Arte, Hannover, Germany CCA Andratx, Mallorca, Spain
Adam Budak, 2014 Ascetic canvases of Natalia Zaluska (1984, Poland; lives and works in Vienna) express the poetry of form and thoughtfulness of artistic gesture. As studies of perception, they are inquiries into spatial and temporal qualities that define the painting and guide the spectator s gaze. The artist disturbs the painting s monochromatic silence by a radical cut into the suface s fabric, thus activating the planes and generating a sensual polylogue between the layers. Simultaneously nonchalant and controlled, her work is both smooth and violent, still and conversational, minimal and neobaroque. Masterfully choreographing geometry within a pictorial field, Zaluska transcends the painting s illusionism, reaching the levels of the sublime and a conceptual void. Her Untitled paintings of various formats, cut through and structured according to the artist s secret logic, are blank pages of rewritten histories, erased and removed, and reassembled again through a tiresome, sisyphusian labour, unveiling a palimpsest of a labyrinthine meaning in suspense. Thomas Miessgang, 2013 The works of Natalia Załuska conform to that aesthetic and intellectual mood of the post-heroic avant garde, which the revolutionary inventions of form of the previous decades use as building blocks / modules of a new, eclectic artistic language. Załuska s works, in which generally a variety of materials are combined with a great sensibility for textures and haptic qualities, frequently refer to natural impressions, yet these are condensed and abstracted into primary structures which appear to be minimalistic in their geometric clarity, without actually being Minimal Art. It is a question of the sensual variation of a limited vocabulary of forms and colours, which opens up directly into the confinement of a new, different perspective on small and minor alterations, on a variety of forms of relief-like bulges, and the limitless possibility of the combination of geometric basic forms. Natalia Załuska s works create a sensibility for micro-calibration of sight, similar to the constantly permuting, cellular tone-structure of the work In C by Terry Riley. Lines, colour fields, triangles and gradually shaded pastel tones intensify in varied repetitions / sequences into an aesthetic gesture which permits the recognition of a closed artistic vision, yet which in similarity always evokes the other. In a line of sight related to Polish Minimal Art, for example that of Edward Krasinski and Jaroslaw Flicinski, a sort of art emerges that approximates reality metonymically, and which, in the universality of a codified form of expression, always allows something distinctive sensually to flare up.
Installation view: each: untitled, 2014 dimensions variable
detail: untitled, 2014 180x160cm
Installation view: each: untitled, 2014 dimensions variable
untitled, 2014 50x30cm
untitled, 2014 46x33cm
Installation view: each: untitled, 2014 dimensions variable
untitled, 2014 25x20cm
untitled, 2014 180x160cm
detail: untitled, 2014 180x160cm
Installation view: each: untitled, 2014 190x160cm
untitled, 2014 190x160cm
untitled, 2014 190x160cm
Installation view: each: untitled, 2014 dimensions variable
untitled, 2014 190x160cm
detail: untitled, 2014 190x160cm
untitled, 2014 20x20cm
Photo credits 4, 6-9, 13, 16, 19 Uwe Walter, Berlin / 5, 10-12, 14-15, 17-18 Natalia Załuska