BIO


Martyna Benedyka







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Futures Photography, Camera - Centro Italiano per la Fotografia
2022



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DongGang International Photo Festival,
South Korea
22 July 2022 - 30 June 2023




                                






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De Structura, Tallinn, Estonia
2022-2023



Classix in Art Classix Festival 2022




Little Book of Information Design From Analogue To Digital And Back 



Cel Del Nord Virtual Residency, Orista, Barcelona, Spain
2020

WORK IN PROGRESS





Martyna Benedyka: How To Document Sound?









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Fragments, Light

and Sound




I often painted fragments of things because it seemed to make my statement as well as or better than the whole could.

G . O ' K e e f f e






Photo: In-ruins

ARTIST STATEMENT


To me, the fact that no two photographic prints are ever exactly the same is a perfect analogy of how I view painting. Photography has taught me that memory is fragile and uncertain and through my painted surfaces memories are recorded and transformed. Modest in scale and subject, my works become fleeting moments of distorted reality.

Examining ideas of existence and being, I look for the essence of a person through the essence of an object. The camera becomes a link between an intense description of the world of things and my own response to it. My works are fragments that act like poetic signs; I would like to encourage people to slow down and to see the poetry of everyday life. Through the process of cumulative observation some of my favourite motifs are endlessly copied while others, once pushed to the edge, simply vanish. The diversity of my work unites the idea of looking behind what is seen, which is my main concern.


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Contacts: Email or Instagram

[Misc.]




I was impressed about Benedyka's concept of memory: the impossibility of identically replicating two photos, after all, what forces us to do, if not starting with a redefinition of the perceived, revising the signifier associated with a memory, to a single fragment to the extent that the deceptive and misleading memory arbitrarily returns us in relation to what we have seen?
In the painting "Knife on the Table" (Oil on Wood, 2016), reinforcing the concept of contact emphasized by the icastic encounter of surfaces, the dimensional connections are grasped, just like the knife that cuts the eye in the short film “Un chien Andalou” (Luis Bunuel 1929), the surrealistic translation of a visual expression that becomes reality capable of projecting us to a higher level of perception. Similarly, bringing out the boundary between conscious and unconscious, the artist gives shape to a dividing line to stare the memory as an absolute sign.


Text: Ivan Bissoli





Do You Remember When (Conversation I)
Why The World Looks They Way It Does (Conversation II)



Before The Mirror




Woman In White




Table With Cheese︎


Roof︎




Industrial Landscape






Triptych (Apron, Camera Boxes, Garden)︎




Knife On The Table︎


       

Still Life



2021-2022         



In Memory Of My Feelings

Archaeoacoustics or examining sound in the past


Castello di Squillace


SOLO SHOW - i.e. Art Projects

OPEN STUDIO - In Ruins Art Residency


https://www.youtube.com/watch?v=xmUmBvpNumU


https://soundcloud.com/martyna-benedyka/o-virga-ac-diadema-hildegard-von-bingen-martyna-benedyka

https://issuu.com/martynabenedyka/docs/in_memory_of_my_feelings-martyna_benedyka




First part of a sound/art project realized during my art residency in an ancient Italian town, in the region of Calabria. 
In my works (sound-drawing-photography), I investigate themes like the translation of archeology and subjective experiences into general history.
I examine how the idea of archaeoacoustics is understood and narrated.



Drawings and photographs in response to:


a piece created by blending my vocals (12 voices) in the interpretation of a fragment of a medieval piece by Hildegard von Bingen "O virga ac diadema" (Praise for the Mother)

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as well as


the soundscapes
fragments of information
archaeology of sounds
the ruins
visible and clandestine
feelings and emotions
natural phenomena
my stories.


    

Image: Martyna Benedyka, 2021, Fragment 1, Fragment 2







Image: Martyna Benedyka, 2021, Fragment 3






Image: Martyna Benedyka, 2021, Fragment 4






Image: Martyna Benedyka, 2021, Fragment 5





Image: Martyna Benedyka, 2021, Fragment 6, Fragment 7





“Composed by Hildegard von Bingen, a saint, mystic and medieval composer, the song is an ode to an olive branch which, free from original sin, becomes a source of life and a symbol of the mother's womb. Martyna's voice provides a vivid image when it is grafted into the context of centuries-old olive groves such as those that cover the surroundings of Squillace, restoring the sense of that god inherent in nature so dear to Bingen and that only art can embody in the human body. Archaeoacoustics, an interdisciplinary methodology used by the artist, includes archeology, ethnomusicology, acoustics and digital modelling, allowing for a concrete consonance between sounds of the past and those of the present.”

In-Ruins Art Residency






Image: Martyna Benedyka, 2021, Fragment 8





    

Image: Martyna Benedyka, 2021, Fragment 9, Fragment 10









Image: Martyna Benedyka, Room 1, Installation View, Castello di Squillace, 2021









Installation Views






Fragile Vessel
Silent Sticks




Italy 1044
In Memory Of My Feelings


Missing Corners
Praise For The Mother



Re-sounding
Sprig




In Blossom
Untitled




The Stage
Terra




The First Of All Trees









In-ruins Art Residency, Squillace, Calabria, Italy
OPEN STUDIO, Castello di Squillace

Listen now on 

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sound installation
drawing and analogue photography





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