The Day I Went Insane, 2019
Acrylic, oil and pigment stick on linen
208.3 x 190.5 Size (cm)
82.0 x 75.0 Size (in)
Opening: 14.02.2020, 19h
Portikus is pleased to announce Liberty, Laura Langer’s first institutional solo exhibition.
The exhibition presents a new series of works, which are site-specific to Portikus. Seven paintings refer to the architecture, its function and its organization. The result is a body that informs itself cyclically, using repeated images, corresponding phrases, and the imperative position to generate relations, and to reinterpret the spaces in which they are displayed. What kind of authority does the building have? How is it organized? Can it be reorganized?
Painted fiberglass, shot blasted gold-plated metal, leather, rosewood-veneered wood, refrigerator components
187 x 84 x 40 cm (73 5/8 x 33 1/8 x 15 3/4 in.)
Executed in 2002, this work is a prototype for an edition in green of 6 plus 2 artist’s proofs. Produced by The Gallery Mourmans, the Netherlands.
£200,000 — 300,000
The Gallery Mourmans, Maastricht
Private Collection, Belgium
London, Royal Academy of Arts, Allen Jones RA, 13 November 2014 – 25 January 2015, no. 67, p. 110 (another colour variant exhibited and illustrated, p. 111)
Organized by Kasia Sobucka
Featuring Katarzyna Perlak
Young Curators, New Ideas V
July 17 – 21, 2019
Trumbull and Porter Hotel Detroit
Courtesy of Detroit Art Week
Photography Paul-David Rearick
Politics and feelings have been a driving force behind the development of Katarzyna Perlak’s practice. She’s most influenced by her experiences as a woman, queer, Eastern European and an immigrant. The starting point for her work is often autobiographical, which she then expands into intersubjective dialogues, tapping into ideas of desires and shared vulnerabilities, collective memory and history and asks what the tradition is, whom does it belong to and how can it be reclaimed by those that are marginalized within it?
While continuously revisiting hope, affect, helplessness and strategies of coping with situations of crisis – political or personal – Katarzyna’s works have become increasingly engaged with text and semantics. She investigates the epistemological transference from ‘utopian visions’ to ‘utopian feelings’ and consequently the shift from the spatially oriented notions of utopia to those that are time oriented and based in ‘utopian experiences’.
Wish Landscapes will explore experiences of exhaustion and hope and deal with the subjects of migration and belonging through the portrayal and representation of stories and experiences. Wish Landscapes takes its title from Ernst Bloch’s definition of the relationship between contemporary notions of utopia, hope and horizon.