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The video does not have a clear beginning and end. Like the eponymous matter it overflows through the screen. The grain is poured over, piled up and put into the round bodily forms that rest on the protagonist's lap. In smaller and larger fragments, a naked female body emerges from under it. Parallel to this mystery of nature (next to the grain there are beets, parsley and geraniums) and female primordiality (the sound of breathing dominates in the background), scenes of the artist wearing a red jumpsuit and wig take place. The grain is replaced by white feathers. Subjectivity and intuition have replaced here the structural, systemic and analytical elements that characterized the experimental film of the previous decade. In these thoroughly sensual rituals, filled with both erotic and fetish elements, as well as references to archetypal meanings, Tyszkiewicz was ceaselessly performing using her body.

  • Object type:
    video
  • Year:
    1980
  • Duration:
    11 min 30 s
  • inv. no.:
    MNG/NOMUS/46/D
  • Własność:
    Deposit of the City of Gdańsk, part of the Gdańsk Collection of Contemporary Art
Teresa Tyszkiewicz, Ziarno, 1980. Depozyt Gminy Miasta Gdańska w ramach Gdańskiej Kolekcji Sztuki Współczesnej, fot. © Archiwum MNG
fot. © Archiwum MNG
  • Object type:
    video
  • Year:
    1980
  • Duration:
    11 min 30 s
  • inv. no.:
    MNG/NOMUS/46/D
  • Własność:
    Deposit of the City of Gdańsk, part of the Gdańsk Collection of Contemporary Art

The video does not have a clear beginning and end. Like the eponymous matter it overflows through the screen. The grain is poured over, piled up and put into the round bodily forms that rest on the protagonist's lap. In smaller and larger fragments, a naked female body emerges from under it. Parallel to this mystery of nature (next to the grain there are beets, parsley and geraniums) and female primordiality (the sound of breathing dominates in the background), scenes of the artist wearing a red jumpsuit and wig take place. The grain is replaced by white feathers. Subjectivity and intuition have replaced here the structural, systemic and analytical elements that characterized the experimental film of the previous decade. In these thoroughly sensual rituals, filled with both erotic and fetish elements, as well as references to archetypal meanings, Tyszkiewicz was ceaselessly performing using her body.

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