presence, object, drawings, 2016
location: 48 Na Stoku Street area
When invited to participate in NARRACJE on Biskupia Górka, Honorata Martin, suggested not yet another object, projection or installation, which make most of the realizations for the festival; through their works and interventions in the neighbourhood, artists – add to the neighbourhood’s story. Simultaneously the past and the present of Biskupia Górka stand for the frame and the context of their actions. If artists are present here, it is through their realizations.
Honorata Martin has reverted this relation; instead of the presence of her artwork, she offered her presence. At the beginning of November, she started to visit Biskupia Górka spending some time here. She did not have any ready scenario for her presence, or answers what she was supposed to do, or what the artist might be needed for. She intended to devote some time to this place and to its locals. Biskupia Górka is a cosy neighbourhood, where someone from outside who wanders around without purpose, cannot go unnoticed. If someone didn’t pay attention she wouldn’t attract it. If someone wanted to talk to her, she had a conversation. Her following actions – drawings she made while at Biskupia Górka, the decision to build a wall at the top of steps leading to the district – are merely consequences of her presence at the spot.
Honorata Martin (1984) – a painter, performer, multimedia artist. She is a graduate of Fine Arts Academy in Gdańsk, she also studied at Mamara University in Istanbul. Martin reaches for various forms of expression (painting, drawing, video, performance, sculpture) but the basis for her creations is a direct experience. Following it, the artist goes beyond institutionalized arts, she tries to get rid of the barrier between the creator and the audience (the world) raised by such terms as “piece of art” or “exhibition”. She is interested in strong emotions accompanying fighting one’s own fears, looking for the limits of psychological, physical and emotional stamina; in consequence some of her performative actions are extreme or risky. When starting the creative process, she consciously avoids projecting its final results, so that she wouldn’t be closed to what is unpredictable but real.