https://martynabenedyka.com martynabenedyka.com Tue, 29 Jul 2025 10:39:07 +0000 https://martynabenedyka.com en https://martynabenedyka.com/Homepage-1 Sun, 20 Sep 2020 21:02:04 +0000 martynabenedyka.com https://martynabenedyka.com/Homepage-1 MARTYNA BENEDYKA BIO ABOUT WORKS SHOP CONTACT NEWS <img width="1502" height="1912" width_o="1502" height_o="1912" data-src="https://freight.cargo.site/t/original/i/5e3d8e1cb09fe467d5ab68650827532dc984f2520a35da9c49c564c090e74aa3/1991-by-Martyna-Benedyka.jpg" data-mid="158511927" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/5e3d8e1cb09fe467d5ab68650827532dc984f2520a35da9c49c564c090e74aa3/1991-by-Martyna-Benedyka.jpg" /> ︎ <img width="3031" height="4547" width_o="3031" height_o="4547" data-src="https://freight.cargo.site/t/original/i/c0ff8840cc172cfa045f22cff44ac3bd7814c0610d88979f5f434cd6b5cb422e/obsessions-expo14.JPG" data-mid="114036927" border="0" src="https://freight.cargo.site/w/1000/i/c0ff8840cc172cfa045f22cff44ac3bd7814c0610d88979f5f434cd6b5cb422e/obsessions-expo14.JPG" /> Polish visual artist and soprano based in France. Her practice primarily spans painting, drawing, photography, and site-specific installation. Her work begins with images taken from archives, everyday life and personal documentation, and is further shaped by philosophical questions about perception, memory, and meaning. Fragments are repeated, displaced or transferred across different materials and formats, where they lose their original context and take on unstable recognition. Through this process, she works with erasure, interruption, and the idea that images are seen but never fully fixed. She works across opera and concert repertoire ranging from late Baroque to contemporary music. Voice, sound and language appear within her installations and interdisciplinary works as part of the same system of perception. Soprano practice → Music Website https://martynabenedyka.com/BIO Sun, 07 Apr 2019 20:32:29 +0000 martynabenedyka.com https://martynabenedyka.com/BIO <img width="813" height="1200" width_o="813" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1cafe103acba6d0855cb1ba61ec2e89db93d6638e67a85b3c75cf1ef45e13a16/02.08.25-studio.jpg" data-mid="247843903" border="0" data-scale="49" src="https://freight.cargo.site/w/813/i/1cafe103acba6d0855cb1ba61ec2e89db93d6638e67a85b3c75cf1ef45e13a16/02.08.25-studio.jpg" /> MARTYNA ANNA BENEDYKA b.1991 in Gdynia, Poland benedyka.m@gmail.com ︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎ linktr.ee/martynabenedyka︎ EDUCATION 2025-26 Baroque Vocal Performance and Interpretation, Francis Poulenc Conservatory, France 2021-25 Bachelor of Music Vocal Studies - Opera, Oratorio, Lied, George Enescu National University of Arts, Romania 2024 Baroque Singing - Early Music, Jāzeps Vītols Latvian Academy of Music, Latvia 2021-24 Music Teacher Training Certificate - Pedagogy, Psychology and Didactics, George Enescu National University of Arts, Romania 2010-14 First Class Bachelor of Arts (Hons) Art and Design - Fine Art Painting, Gray's School of Art, Scotland, UK CURATORIAL WORK January 2025 - March 2026Dialogues 4 - Inner Landscapes - Round Two, Dialogues Hybrid Art Project January - August 2024 Dialogues 3 - Inner Landscapes - Round One, Dialogues Hybrid Art Project MEMBERSHIPS Futures Photography, The Netherlands&nbsp; ︎ Art Contemporain en Bretagne a.c.b, France La Maison des Artistes, France Pool Collective, SwitzerlandFotobus Society, Germany SOLO EXHIBITIONS 2023 The Sublime – Dan Hatmanu Gallery, Iași, Romania 2020&nbsp;Rest Here – Aparte Gallery, Iași, Romania 2019&nbsp;Return – Palette Gallery, Warsaw, Poland 2021&nbsp;In Memory of My Feelings – i.e. Art Projects 2021&nbsp;Kintsugi – Contemporary Identities DUO EXHIBITIONS 2024 Interpiktorial – Kunstraum Arcade / Beethovenhaus, Mödling, Austria duo exhibition with Henriette Leinfellnercurated by David Komary (by invitation) 2014–2015A to/from B – Seventeen Gallery, Aberdeen, UKduo exhibition with Kaori Yamashitacurated by WAGON Naoko Mabon (by invitation) SELECTED GROUP EXHIBITIONS 2026 7 Aukcja Marzeń – DESA Unicum Auction House, Warsaw, Poland (by invitation) 7 Aukcja Marzeń – Bellotto Gallery, Warsaw, Poland (by invitation) 2025 Jólasýningin í Ásmundarsal – Ásmundarsalur Gallery, Reykjavík, Iceland (by invitation) Unage Iași Art Residency – Retrospective Exhibition, Octogon Gallery / Turkish Bath, Iași, Romania Black Box Guest Room – Der Greif, Munich, Germany (selected) Anonymous Drawings – Hyper Cultural Passengers, Hamburg, Germany Anonymous Drawings – Kunsthaus Erfurt, Germany Openbach Vincennes Summer Residency - Retrospective Exhibition, OpenBach Gallery, Paris, France 2024-2025 Anonymous Drawings – Kunstraum Kreuzberg/Bethanien, Berlin, Germany 2024 Collage Notes – Paris Collage Collective, Espace Canopy, Paris, France Playing With Reality – Collage Festival, Bucharest, Romania Unveiling Structures – De Structura, Telliskivi Creative City, Tallinn, Estonia The Killed Book – PhMuseum Days,&nbsp;Festival Internazionale della Fotografia, DumBO Spazio Bianco, Bologna, Italy The Object of Scorn – ISSP Riga Residency, Bolderāja, Riga,&nbsp;Latvia Museum of Repairing Reminiscences – Jamshed Memorial Hall,&nbsp;Karachi, Pakistan A Testament to Loss – Too Tired Project They Are Watching – Gallery25, Perth, Australia Glimpse – AIR Krems, Krems an der Donau, Austria 2023 (make) belief – Der Greif Guest Room, Munich, Germany (selected) Untitled #1 – Exposed Torino Foto Festival / Futures Photography -&nbsp; C2C Festival, OGR Torino,&nbsp;Italy Strange Times and Improbable Encounters – Tanners’ Bastion Gallery, Târgu Mures, Romania Unveiling Structures –&nbsp;Juxtapose Art Fair, Godsbanen, Aarhus, Denmark Unveiling Structures – Kogo Gallery, Tartu, Estonia Past &amp; Present – Der Greif, Pavillon 333 at Pinakothek der Moderne and ZIRKA, Munich, Germany Experience Peace – 36th Stuttgarter Filmwinter Festival for Expanded Media – Stuttgart, Germany &nbsp; 2022–2023 De Structura – cross-border exhibition &amp; solo performance, Estonia Eureka – DongGang International Photo Festival, South Korea Algorithmic RS AV&nbsp;Exhibition –&nbsp; Internationales Digitalkunst Festival,&nbsp;Stuttgart, Germany Experience Peace – Classix Festival, Romania (by invitation) Meet The Artists – Photo Romania Festival, Cluj-Napoca, Romania 2021 Obsessions – Photographic Exploration Project,&nbsp;Tête Gallery, Berlin, Germany My Love Is Your Love – Every Woman Biennial, Superchief Gallery, New York, USA In Memory of My Feelings - Open Studio Exhibition, Castello di Squillace, Calabria, Italy National Art Salon - Brăila Art Gallery, Brăila, Romania 2020–2021 Attempt 2020 – Jan Tarasin Art Gallery, Kalisz, Poland 2020 Poem Vizual II – Galeria Labirint, Iași, Romania Parade of the Schwitters’ Army, Kolaj Institute / Merz Gallery, USA / UK 2017–2018 Themersons 5 – Themersons Festival, Plocka Art Gallery, Plock, Poland Big Village, Small World – Collagistas Festival, Temple Bar Gallery + Studios, Dublin, IrelandThe Sketchbook Project – USA / Canada Artoteka – Wrocław, PolandGrande Biednale – Warsaw, Poland 2015–2016 Day of the Dead – Dada Centennial Exhibition, The International Museum of Collage, Assemblage and Construction, USA Apricity – Wall Projects Gallery, Scotland (by invitation) Oliva in Painting – Gdansk, Poland Waves – Summerhall, Edinburgh, UKFederation of British Artists – Futures – London (by invitation)Winter Exhibition – Wall Projects Gallery, Scotland (by invitation) Artsyland 8 – Wall Projects II, The Old Rope Gallery, Scotland (by invitation) 2012–2014 Gray’s School of Art Degree Show – Aberdeen, UK Pre-Degree Show – Edinburgh, UK SPD Annual Painting Awards – Aberdeen, UK Stars in My Eyes – Schwartz Gallery, London, UK The Seven Habits of Highly Anomalous People – Gray's School of Art, Aberdeen, UK SELECTED ARTIST TALKS 2024 Making a Dummy&nbsp; – Book presentation, Festival Internazionale della Fotografia, DumBO / Spazio Bianco (Bologna, Italy) Artist talk&nbsp; – ISSP Riga Residency (Bolderāja, Riga, Latvia) 2022 Invited artist talks&nbsp; – Confluence II Online Artist Residency (School of the Arts, USM / i.e. Art Projects), Penang, Malaysia (talks for resident artists) Artist talk&nbsp; – In Memory of My Feelings, i.e. Art Projects (solo exhibition) 2021 Contemporary Painting Form From a Contemporary Painter’s Perspective&nbsp; – DEBATES Series, Mihai Ursachi House (Iași, Romania) 2015 Cultural Interchange Beyond Languages and Locations – Wagon / Seventeen Gallery (Aberdeen, UK) GUEST ARTIST INTERVIEWS 2021 Forme Uniche, Italy 2021 The Bagel Hole, Canada SELECTED SCHOLARSHIPS, AWARDS &amp; GRANTS 2025 Finalist — Andrew Downes Performance Prize, Ruddock Performing Arts Centre (Birmingham, UK) 2024 Finalist — Artist’s Book Award / Premio Libro d’Artista, Studio Boîte (Italy) Winner — Erasmus+ Grant, Jāzeps Vītols Latvian Academy of Music (Latvia) ArtCabbage Prize — Honourable Mention 2023 Winner — Culture Moves Europe Mobility Grant (EU / Belgium) Winner — Heather B. Mattera Opportunity Scholarship (New York, USA) 2022 Winner — Futures Photography Artist Membership (Netherlands) Winner — Photo Romania Festival Portfolio Review (Romania) Winner — Classix-in-Art Music Grant (Romania) 2021 Artist of the Month — NNC Gallery &amp; Magazine (London, UK) 2014 Robert Brough Memorial Painting Scholarship (Scotland, UK) 2009 Scholarship for Artistic Achievements (Poland) 2003 Presidential Scholarship (Poland) RESIDENCIES 2025 OpenBach Painting Residency, Paris, France 2024 ISSP Riga Photography Residency, Latvia2024 AiR Niederösterreich, Krems, Austria2023 At Home in Hundorf, Romania 2022 De Structura Forum, Tallinn and Narva, Estonia 2021 In ruins Residency, Squillace, Calabria, Italy&nbsp;2020 Cel del Nord Virtual Residency, Spain2020 Artalpha Painting Residency, George Enescu National University of Arts, Romania SELECTED MASTERCLASSES &amp; WORKSHOPS 2025–2028MAGNUM PHOTOS x FUTURES – Learn with Magnum Photos (Futures Artist) 2025Handmade Accordion Bindings for Photobooks – Elizabeth Castaldo 2023–2024Folio – Masterclass on Photobook, PhMuseum / Witty Books (selected) 2023Unveil x Futures Photography – Futures Artist 2023Storytelling with Photo Embroidery and Mixed Media – StrudelmediaLive (scholarship winner) 2023Online Tutoring – Emese Mucsi, Robert Capa Contemporary Photography Center Budapest (winner) 2022–2025MAGNUM PHOTOS x FUTURES – Learn with Magnum Photos&nbsp;(Futures Artist) (including seminars with Alec Soth, Jeroen Kummer, Ramon Pez) PORTFOLIO REVIEWS 2026Futures Photography&nbsp; — Natasha Christia (curator); Andrea Copetti (Tipi Bookshop); Amelie Schüle (Photoforum Pasquart); Emma Bowkett (FT Weekend Magazine); Taco Hidde Bakker (writer &amp; curator) 2025 Futures Photography — Magnum Photos / Centre photographique Rouen Normandie 2024&nbsp; Futures Photography — VOID / The Eriskay Connection / Robert Capa Contemporary Photography Center;The Photographers' Gallery, London (online) — Clare Grafik 2023&nbsp; Futures Photography — ISSP Riga / Galerie Les Filles du Calvaire / PhotoIreland / Magnum Photos 2022&nbsp; Futures Photography — Circulation(s) / FOMU / Fotogalleriet Oslo 2022&nbsp; Futures Photography Annual Meeting — CAMERA – Centro Italiano per la Fotografia: portfolio reviews with Taiyo Onorato &amp; Nico Krebs / Organ Vida / Fotofestiwal Lodz BOOKS &amp; PHOTOBOOKS 2025 The Killed Book (work in progress) 2023 Kintsugi — self-published 2014 On The Border&nbsp; —&nbsp; artist book (unique copy) PHOTOBOOK FAIRS / SELECTIONS 2023 Tsundoku Art Book Fair, The Printworks, Dublin Castle, Dublin, Ireland︎ SELECTED PUBLICATIONS 2025 Blooming — ISSP Riga Weekly Planner 2026 (Riga, Latvia) 2023 Ritual — ISSP Riga Weekly Planner 2024 (Riga, Latvia) F-Stop Magazine — Black and White Issue (February 2023) 2022 Grupaj — Camera Cluj (Photography Publication) 2021 Contemporary Identities, Issue 9 — International Art Magazine Lenscratch — Fine Art Photography feature ArtConnect — Artists to Watch (Best of the Week) 2019Pushing Out The Boat Magazine (Scotland, UK) 2015 Pushing Out The Boat Magazine (Scotland, UK) SELECTED PUBLIC COLLECTIONS 2025Anonyme Zeichner (Berlin, Germany) 2023Climate Art Collection (Berlin, Germany) 2020Schwitters Army / MERZ Gallery (Sanquhar, UK)George Enescu National University of the Arts (Romania) 2018Plocka Art Gallery (Plock, Poland)Brooklyn Art Library (Brooklyn, NY, USA) 2016International Museum of Collage, Assemblage &amp; Construction (Santa Fe, USA) PRIVATE COLLECTIONS JapanUnited Kingdom (Scotland, England)GermanyPolandRomaniaItalyCzechia SELECTED PRESS AND REVIEWS 2024 Interpiktorial, Kunst Net 2024 Konstellation piktoraler Positionen, Kultur Online 2024&nbsp;Interpiktorial Kooperationsausstellung mit AIR – ARTIST IN RESIDENCE Niederösterreich Martyna Benedyka, Henriette Leinfellner, Kunstraum Arcade2023&nbsp;The Sublime Solo Show, New Genres 2021&nbsp;La residenza artistica In-ruins, fra archeologia e arte contemporanea, Segnonline 2021 Patrimonio archeologico del Mediterraneo. In-ruins presenta l’open studio delle artiste Alrai, Benedyka e del duo italiano Ceresoli Cosco, weboggi.it, 31.07.21 2015 Polish Contemporary Art Organisation: Waves, Summerhall, Edinburgh, 07-27.11.15 2015 A to/from B – a year-long silent conversation, Wagon Art, 01.03.15 2015 Federation of British Artists - Futures 2015, Wall Street International/Meer, 16.01.15 ︎︎︎ © Martyna Benedyka 2014-2026 https://martynabenedyka.com/ABOUT Tue, 29 Jul 2025 10:39:07 +0000 martynabenedyka.com https://martynabenedyka.com/ABOUT My practice moves across painting, drawing, photography, embroidery, collage, video, and sound to explore how memory, identity, and beauty persist - often in fragile, fragmented forms. I work with personal and found materials that carry subtle traces of life and create new through layering, distortion, and repetition. These become visual and sonic echoes - gestures that blur the boundary between presence and absence. I am drawn to imperfection and the overlooked, those small details that hold emotional weight. My work does not attempt to preserve memory as truth but engages with its instability - its distortion, its silences, its beauty in erasure.Sound plays an equally important role in my installations, often composed of my voice and ambient recordings from intimate and outdoor spaces. Combined with tactile and visual elements, they create immersive environments that invite the viewer to slow down and engage with what is barely visible or barely heard. Martyna Benedyka <img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/8be39f896fc0672620f6e5514efd3564a4601af6ae3d9ecd5d3d964163ff07d9/IMG_20210810_in-ruins.jpg" data-mid="238602896" border="0" src="https://freight.cargo.site/w/1000/i/8be39f896fc0672620f6e5514efd3564a4601af6ae3d9ecd5d3d964163ff07d9/IMG_20210810_in-ruins.jpg" /> 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.Ivan Bissoli ︎︎︎ © Martyna Benedyka 2014-2026 https://martynabenedyka.com/CONTACT Mon, 23 Mar 2020 11:37:35 +0000 martynabenedyka.com https://martynabenedyka.com/CONTACT Contact For collaboration, commission and purchase inquiries - feel free to get in touch. benedyka.m@gmail.com linktr.ee <img width="2747" height="2747" width_o="2747" height_o="2747" data-src="https://freight.cargo.site/t/original/i/4a181d3384fc4d73ab87a0fd0ada49174c352a31afc0cdbec11c418079f4ac79/Martyna-Benedyka_2025.jpg" data-mid="240984522" border="0" data-scale="13" src="https://freight.cargo.site/w/1000/i/4a181d3384fc4d73ab87a0fd0ada49174c352a31afc0cdbec11c418079f4ac79/Martyna-Benedyka_2025.jpg" />Subscribe to my NEWSLETTER <img width="670" height="978" width_o="670" height_o="978" data-src="https://freight.cargo.site/t/original/i/5a0aef22cf0f64a408363eb930354e54f5fede833a92428abe4affed4461b0a9/Old-Ideas.jpg" data-mid="64589510" border="0" data-scale="90" src="https://freight.cargo.site/w/670/i/5a0aef22cf0f64a408363eb930354e54f5fede833a92428abe4affed4461b0a9/Old-Ideas.jpg" /> ︎︎︎ https://martynabenedyka.com/NEWS Wed, 08 Apr 2020 14:29:56 +0000 martynabenedyka.com https://martynabenedyka.com/NEWS Subscribe to my&nbsp;NEWSLETTER︎ ︎︎︎ <img width="1105" height="651" width_o="1105" height_o="651" data-src="https://freight.cargo.site/t/original/i/45aded1377400fb2c9a47dbff4d869a77d9180884a4fd9f6a56913378e3833b1/DESA_poziom_czarne.jpg" data-mid="245633619" border="0" src="https://freight.cargo.site/w/1000/i/45aded1377400fb2c9a47dbff4d869a77d9180884a4fd9f6a56913378e3833b1/DESA_poziom_czarne.jpg" /> <img width="960" height="564" width_o="960" height_o="564" data-src="https://freight.cargo.site/t/original/i/d9a99bab19823ea9280e2e1dd3eccb797de924e4064712a42d899dd271e488cc/Jolasyningin-i-Asmundarsal-2025.jpg" data-mid="241004486" border="0" src="https://freight.cargo.site/w/960/i/d9a99bab19823ea9280e2e1dd3eccb797de924e4064712a42d899dd271e488cc/Jolasyningin-i-Asmundarsal-2025.jpg" /> <img width="4000" height="2827" width_o="4000" height_o="2827" data-src="https://freight.cargo.site/t/original/i/1810e80fd2f092044f14db9d7f5db87c8432eab09125b007604bf745587b2148/Avoided-Objects-I.jpg" data-mid="241182486" border="0" src="https://freight.cargo.site/w/1000/i/1810e80fd2f092044f14db9d7f5db87c8432eab09125b007604bf745587b2148/Avoided-Objects-I.jpg" /> <img width="1080" height="600" width_o="1080" height_o="600" data-src="https://freight.cargo.site/t/original/i/c1d72a8218c1c26d00e6dacf339dca6831d438150bd12cbbe7572fe4644af4f5/Unage-Iasi-Art-Residency-11.11---29.11.2025.jpg" data-mid="240630528" border="0" src="https://freight.cargo.site/w/1000/i/c1d72a8218c1c26d00e6dacf339dca6831d438150bd12cbbe7572fe4644af4f5/Unage-Iasi-Art-Residency-11.11---29.11.2025.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/80fe3783d4dafc64fa3d7848347312dabf45ca2801f58cb594ec2d7aaf248746/weekly-planner-2026-issp.jpg" data-mid="240380020" border="0" src="https://freight.cargo.site/w/1000/i/80fe3783d4dafc64fa3d7848347312dabf45ca2801f58cb594ec2d7aaf248746/weekly-planner-2026-issp.jpg" /> <img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/682b721315fb8bab46e98e765697ae668a55992b544f7bf9ef343ead4d185da8/Insta_Expo-lt-en-rsidence.png" data-mid="237920691" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/682b721315fb8bab46e98e765697ae668a55992b544f7bf9ef343ead4d185da8/Insta_Expo-lt-en-rsidence.png" /> <img width="586" height="744" width_o="586" height_o="744" data-src="https://freight.cargo.site/t/original/i/a0c80100911b34e5b1b4c878cd1d9b208a5d23802c485e9a6882899b748e1934/OpenBach.png" data-mid="235850328" border="0" data-scale="63" src="https://freight.cargo.site/w/586/i/a0c80100911b34e5b1b4c878cd1d9b208a5d23802c485e9a6882899b748e1934/OpenBach.png" /><img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/087d56674c43090498f7f542cbbd9084f9034b2d8ed68e3b912759ffbb1f0922/Hypercultural-Passengers-Hamburg.png" data-mid="233882822" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/087d56674c43090498f7f542cbbd9084f9034b2d8ed68e3b912759ffbb1f0922/Hypercultural-Passengers-Hamburg.png" /> <img width="2500" height="1800" width_o="2500" height_o="1800" data-src="https://freight.cargo.site/t/original/i/6d77400073319659eef2c97b9c457a031337ae87598ea7a9dfc89808dacc8226/Mockup-1112-back.jpg" data-mid="227293282" border="0" data-scale="74" src="https://freight.cargo.site/w/1000/i/6d77400073319659eef2c97b9c457a031337ae87598ea7a9dfc89808dacc8226/Mockup-1112-back.jpg" />You can now preorder my new Photobook! <img width="2500" height="1800" width_o="2500" height_o="1800" data-src="https://freight.cargo.site/t/original/i/fc38f832ba159784cf24262365a95f76f201d309cc19437dafb98e3b5b077347/Mockup-1112-front.jpg" data-mid="226710150" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/fc38f832ba159784cf24262365a95f76f201d309cc19437dafb98e3b5b077347/Mockup-1112-front.jpg" />Happy to share that I’ll be publishing my book with the Snap Collective! Preorders will start next week—more details coming soon! Stay tuned! <img width="320" height="568" width_o="320" height_o="568" data-src="https://freight.cargo.site/t/original/i/76fe53a24449eb0f9add941ccab801bb5d4ad24758f588941b50c2be81cb1a46/Feb-promotion-Singulart.png" data-mid="226736226" border="0" data-scale="39" src="https://freight.cargo.site/w/320/i/76fe53a24449eb0f9add941ccab801bb5d4ad24758f588941b50c2be81cb1a46/Feb-promotion-Singulart.png" /> <img width="900" height="1273" width_o="900" height_o="1273" data-src="https://freight.cargo.site/t/original/i/b356e181c3a4f1cf528f3f6dc3360de566b37357864b1b5e097d5b3bf528702a/2024-collagenotes.jpg" data-mid="223099613" border="0" data-scale="42" src="https://freight.cargo.site/w/900/i/b356e181c3a4f1cf528f3f6dc3360de566b37357864b1b5e097d5b3bf528702a/2024-collagenotes.jpg" /> <img width="900" height="506" width_o="900" height_o="506" data-src="https://freight.cargo.site/t/original/i/f9f4acbdc2aedc599e18fe35d1dd3cdff2346a9737270a32a4bfa93ca6138c47/Kunsthaus-Erfurt-7.2-28.3.2025.png" data-mid="226736223" border="0" data-scale="80" src="https://freight.cargo.site/w/900/i/f9f4acbdc2aedc599e18fe35d1dd3cdff2346a9737270a32a4bfa93ca6138c47/Kunsthaus-Erfurt-7.2-28.3.2025.png" /><img width="1200" height="628" width_o="1200" height_o="628" data-src="https://freight.cargo.site/t/original/i/3b43c1e41ff0f9dfc59ca1cef42d0066e05d4db3ded66cde24a48b69c5f4502f/Opening_Banner-600x3142x.jpg" data-mid="221282134" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/3b43c1e41ff0f9dfc59ca1cef42d0066e05d4db3ded66cde24a48b69c5f4502f/Opening_Banner-600x3142x.jpg" /> <img width="1134" height="907" width_o="1134" height_o="907" data-src="https://freight.cargo.site/t/original/i/b0ffee46c27b3a34edb91189709712c31c9fdb03cc4fdef4d3ff0d2181caaa3c/interpiktorial_air_24_mail_96.jpg" data-mid="219714237" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/b0ffee46c27b3a34edb91189709712c31c9fdb03cc4fdef4d3ff0d2181caaa3c/interpiktorial_air_24_mail_96.jpg" /> <img width="1080" height="2124" width_o="1080" height_o="2124" data-src="https://freight.cargo.site/t/original/i/85cce2d6ce5f65436fb16843de1d5d6ee4b7424ad22e03ae3c99a8cb7b7de71d/The-Killed-Book-in-Bologna-1.jpg" data-mid="217456908" border="0" data-scale="35" src="https://freight.cargo.site/w/1000/i/85cce2d6ce5f65436fb16843de1d5d6ee4b7424ad22e03ae3c99a8cb7b7de71d/The-Killed-Book-in-Bologna-1.jpg" /><img width="1080" height="1301" width_o="1080" height_o="1301" data-src="https://freight.cargo.site/t/original/i/a26cf16d4c6ce63daa9411375ce5b113ef31a1dadb2da7532d2257d54b95cc69/1724234751424.jpg" data-mid="217456907" border="0" data-scale="26" src="https://freight.cargo.site/w/1000/i/a26cf16d4c6ce63daa9411375ce5b113ef31a1dadb2da7532d2257d54b95cc69/1724234751424.jpg" /> <img width="1728" height="1114" width_o="1728" height_o="1114" data-src="https://freight.cargo.site/t/original/i/7fcf4433319a940ad6ba1d36d1591d9493def3080489a098895b243a4dacf206/premio-libro-d-artista---Martyna-Benedyka.jpg" data-mid="217456847" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/7fcf4433319a940ad6ba1d36d1591d9493def3080489a098895b243a4dacf206/premio-libro-d-artista---Martyna-Benedyka.jpg" /> Tra le centinaia di candidature che abbiamo ricevuto, siamo felicissime di annunciare i finalisti e le finaliste della prima edizione del premio Libro d’Artista di Studio Boîte. <img width="2058" height="632" width_o="2058" height_o="632" data-src="https://freight.cargo.site/t/original/i/7f896e4f7b59345560785e98e3831d45291d6ebc210b0786c39f003307823aaa/Dialogues-LOGO.png" data-mid="213331319" border="0" src="https://freight.cargo.site/w/1000/i/7f896e4f7b59345560785e98e3831d45291d6ebc210b0786c39f003307823aaa/Dialogues-LOGO.png" /> Dialogues 3 - Inner Landscapes <img width="3000" height="2115" width_o="3000" height_o="2115" data-src="https://freight.cargo.site/t/original/i/96bceaf4568a449a137512cf3470d12013e0d463f1e30d2d98d0dc27f48dd8d0/Einladung_Glimpse_.jpg" data-mid="213331318" border="0" data-scale="73" src="https://freight.cargo.site/w/1000/i/96bceaf4568a449a137512cf3470d12013e0d463f1e30d2d98d0dc27f48dd8d0/Einladung_Glimpse_.jpg" /> Open Studio Show at AIR Krems 2024 <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/b1d1ca6df4a713d55b59ae8407e10cd6a8151b8dd22b27ed32a9601a79fc89b6/C2C.jpg" data-mid="195932452" border="0" data-scale="100" src="https://freight.cargo.site/w/800/i/b1d1ca6df4a713d55b59ae8407e10cd6a8151b8dd22b27ed32a9601a79fc89b6/C2C.jpg" /> C2C x FUTURES PHOTOGRAPHY x EXPOSED TORINO PHOTO FESTIVAL x UNSTATED on November 5th, 2023 at OGR Torino, Italy <img width="225" height="225" width_o="225" height_o="225" data-src="https://freight.cargo.site/t/original/i/c21fcf456f13a54717fe2c1a205b4c32a97cf37ceb83586464e7662ebbba3d71/guest-room-der-greif.png" data-mid="195932659" border="0" data-scale="100" src="https://freight.cargo.site/w/225/i/c21fcf456f13a54717fe2c1a205b4c32a97cf37ceb83586464e7662ebbba3d71/guest-room-der-greif.png" /> October 2023 Selected by Daniel Boether-Smith (CCP Australia) &amp; Tanvi Mishra, (make) belief, Guest Room Der Greif, Munich, Germany <img width="818" height="694" width_o="818" height_o="694" data-src="https://freight.cargo.site/t/original/i/c424492f6ba4e80381071a96052fe85d5d4718451e05230fea939b5c7a9c9d97/strudel.png" data-mid="192394869" border="0" data-scale="65" src="https://freight.cargo.site/w/818/i/c424492f6ba4e80381071a96052fe85d5d4718451e05230fea939b5c7a9c9d97/strudel.png" /> September 2023 Winner of the Heather B. Mattera Opportunity Scholarship, NYC, US KINTSUGI PHOTOBOOK available now at The Library ProjectIreland's Art Bookshop Mon-Fri 11am-6pm, Sat &amp; Sun 12-6pm4 Temple Bar Street, D02 YK53, Dublin, Ireland &amp; online at The Library Project <img width="3129" height="2252" width_o="3129" height_o="2252" data-src="https://freight.cargo.site/t/original/i/78384d54112b110c8de2b1195c9f7eaf7e633259a5891ca224e4bd8d428e7442/Cover_MB.jpg" data-mid="192394606" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/78384d54112b110c8de2b1195c9f7eaf7e633259a5891ca224e4bd8d428e7442/Cover_MB.jpg" /> <img width="310" height="163" width_o="310" height_o="163" data-src="https://freight.cargo.site/t/original/i/2b3843233cf800069bb22e4594cabd49740efc3e6f7eddf7f70f1df2054322d2/Tsundoku.png" data-mid="184569134" border="0" data-scale="100" src="https://freight.cargo.site/w/310/i/2b3843233cf800069bb22e4594cabd49740efc3e6f7eddf7f70f1df2054322d2/Tsundoku.png" /> <img width="2500" height="1308" width_o="2500" height_o="1308" data-src="https://freight.cargo.site/t/original/i/b152675bec956aaa9cb5117c7bd97257868942e7ea4e43578da13534be360901/Unveiling-Structures.png" data-mid="184502448" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/b152675bec956aaa9cb5117c7bd97257868942e7ea4e43578da13534be360901/Unveiling-Structures.png" /> <img width="1663" height="2646" width_o="1663" height_o="2646" data-src="https://freight.cargo.site/t/original/i/774d89de24c4061d8c75fd1da24d81fff2ab9849b300e887d893ab6a24bb6f85/Martyna-Benedyka_Art-Show_The-Sublime.jpg" data-mid="183411513" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/774d89de24c4061d8c75fd1da24d81fff2ab9849b300e887d893ab6a24bb6f85/Martyna-Benedyka_Art-Show_The-Sublime.jpg" /> <img width="960" height="960" width_o="960" height_o="960" data-src="https://freight.cargo.site/t/original/i/d5fcf64f3c0cf48ab5713e0ff08955d8e2fc31810dd782e27e003d2d4c668a94/past---present.jpg" data-mid="179311912" border="0" data-scale="68" src="https://freight.cargo.site/w/960/i/d5fcf64f3c0cf48ab5713e0ff08955d8e2fc31810dd782e27e003d2d4c668a94/past---present.jpg" />Soon @Past &amp; Present with Der Greif @Pavillon 333 &amp; Pinakothek der Moderne &amp; ZIRKA, Munich <img width="4000" height="2250" width_o="4000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/65df3ffffea425eeb1aeb7539103d9d43d714b8ee1d5d81006e4821e3fbdcc8d/s7_page-0001.jpg" data-mid="178705719" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/65df3ffffea425eeb1aeb7539103d9d43d714b8ee1d5d81006e4821e3fbdcc8d/s7_page-0001.jpg" />Video Sound Archive June 2, 2023 <img width="3401" height="2586" width_o="3401" height_o="2586" data-src="https://freight.cargo.site/t/original/i/1c82736d7d065733fb1d475efdb47c2524588d4648b2affb2ec76956e4b95c77/Still-from-Experience-Peace---Martyna-Benedyka.jpg" data-mid="159985669" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/1c82736d7d065733fb1d475efdb47c2524588d4648b2affb2ec76956e4b95c77/Still-from-Experience-Peace---Martyna-Benedyka.jpg" /> EXPERIENCE PEACE in IDKF &amp; 36. STUTTGARTER FILMWINTERFESTIVAL FOR EXPANDED MEDIA, 2023 <img width="1080" height="1062" width_o="1080" height_o="1062" data-src="https://freight.cargo.site/t/original/i/de97d0615c7778def9e43033ff6f42a60d0c3fcab9d55adff05aef91e6dfde05/20221108_225828.jpg" data-mid="158452593" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/de97d0615c7778def9e43033ff6f42a60d0c3fcab9d55adff05aef91e6dfde05/20221108_225828.jpg" /> <img width="674" height="479" width_o="674" height_o="479" data-src="https://freight.cargo.site/t/original/i/a0e36f7cffe147279a2d23b139a766697686530cdf017bbcbd5a634840927c48/dongang.png" data-mid="145754901" border="0" src="https://freight.cargo.site/w/674/i/a0e36f7cffe147279a2d23b139a766697686530cdf017bbcbd5a634840927c48/dongang.png" />Winner 2022 DONGGANG INTERNATIONAL PHOTO FESTIVAL, South Korea 2022-2023 <img width="943" height="617" width_o="943" height_o="617" data-src="https://freight.cargo.site/t/original/i/882e1dbab437a5451d91ce1512b07caea965386de1445af2e1d8e8c0bd1e11b3/Captur-ecran-1490.png" data-mid="144283162" border="0" data-scale="70" src="https://freight.cargo.site/w/943/i/882e1dbab437a5451d91ce1512b07caea965386de1445af2e1d8e8c0bd1e11b3/Captur-ecran-1490.png" /> Futures Photography Winner 2022 <img width="1001" height="1001" width_o="1001" height_o="1001" data-src="https://freight.cargo.site/t/original/i/173754a791e4c83d6cf48db0b39b12e5a6085da6d5b12014efe73bc0b61a27c6/de-structura.jpg" data-mid="138488691" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/173754a791e4c83d6cf48db0b39b12e5a6085da6d5b12014efe73bc0b61a27c6/de-structura.jpg" /> Winner 2022-2023 <img width="526" height="526" width_o="526" height_o="526" data-src="https://freight.cargo.site/t/original/i/df5d3f63d6bb649ed9484319bbe9c993708d0fa6f4db0a4ea798d36efc7aa6ec/photo-romania-festival.jpg" data-mid="138488696" border="0" data-scale="41" src="https://freight.cargo.site/w/526/i/df5d3f63d6bb649ed9484319bbe9c993708d0fa6f4db0a4ea798d36efc7aa6ec/photo-romania-festival.jpg" /> Winner 2022 <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6823355721939868a972cd778111bce0c67ee71526ae8ff6960ffd8650ab75b0/photo_2022-03-21_11-47-25-1.jpg" data-mid="137894392" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/6823355721939868a972cd778111bce0c67ee71526ae8ff6960ffd8650ab75b0/photo_2022-03-21_11-47-25-1.jpg" /> Guest Artist Talks March - April 2022 <img width="1587" height="2245" width_o="1587" height_o="2245" data-src="https://freight.cargo.site/t/original/i/56661045f0e84de685fd8a60c4bbdbe8be53423ac4c2c26fd04b25cbe81e5465/Martyna-Talk-Smaller.jpg" data-mid="133827140" border="0" data-scale="56" src="https://freight.cargo.site/w/1000/i/56661045f0e84de685fd8a60c4bbdbe8be53423ac4c2c26fd04b25cbe81e5465/Martyna-Talk-Smaller.jpg" /><img width="437" height="676" width_o="437" height_o="676" data-src="https://freight.cargo.site/t/original/i/91e6e8271c30a69637c85df1b0484b41529af661aec6aa9f1b6f7dcb8c86e7cd/Captur-ecran-1099.png" data-mid="133654012" border="0" data-scale="58" src="https://freight.cargo.site/w/437/i/91e6e8271c30a69637c85df1b0484b41529af661aec6aa9f1b6f7dcb8c86e7cd/Captur-ecran-1099.png" /> <img width="3307" height="4678" width_o="3307" height_o="4678" data-src="https://freight.cargo.site/t/original/i/4043bea8f13002a6ddd19d54a406ef8db9de7e15235e6a1d15817bdb8eb5f404/in-memory-of-my-feelings-poster-1.jpg" data-mid="133413126" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/4043bea8f13002a6ddd19d54a406ef8db9de7e15235e6a1d15817bdb8eb5f404/in-memory-of-my-feelings-poster-1.jpg" /> <img width="1952" height="2402" width_o="1952" height_o="2402" data-src="https://freight.cargo.site/t/original/i/661e76a2412799bcacb4d94f0e78ad88a4c44880b7238b59160a5d5dff51ee8b/20210728_175228.jpg" data-mid="132456002" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/661e76a2412799bcacb4d94f0e78ad88a4c44880b7238b59160a5d5dff51ee8b/20210728_175228.jpg" /> InterArt Feature ARTIST INTERVIEW invited by FORME UNICHE&nbsp; &amp; In-Ruins<img width="387" height="292" width_o="387" height_o="292" data-src="https://freight.cargo.site/t/original/i/09a856761c8354b01013819cbfa5ca91b0c7eba4ee75ff0fba0494edbdddd1bc/Captur-ecran-178.png" data-mid="121717905" border="0" data-scale="89" src="https://freight.cargo.site/w/387/i/09a856761c8354b01013819cbfa5ca91b0c7eba4ee75ff0fba0494edbdddd1bc/Captur-ecran-178.png" /> ARTIST INTERVIEW&nbsp; invited by&nbsp; <img width="909" height="909" width_o="909" height_o="909" data-src="https://freight.cargo.site/t/original/i/bae46f816a3806290eda37c1833ef0fb1a62db13da4657ec809c4cb14bc5c385/IMG_20210924_185355_902.jpg" data-mid="119835129" border="0" data-scale="36" src="https://freight.cargo.site/w/909/i/bae46f816a3806290eda37c1833ef0fb1a62db13da4657ec809c4cb14bc5c385/IMG_20210924_185355_902.jpg" /> Pastel Serenity Zine Moment ARTIST OF THE MONTH NNC GALLERY, London <img width="201" height="251" width_o="201" height_o="251" data-src="https://freight.cargo.site/t/original/i/8165b72ce99a4ab0a58f5a2eab02211d0b52d42a8e369e25ef186258279b921e/descrcare.jpg" data-mid="118384455" border="0" data-scale="81" src="https://freight.cargo.site/w/201/i/8165b72ce99a4ab0a58f5a2eab02211d0b52d42a8e369e25ef186258279b921e/descrcare.jpg" />OPEN STUDIO IN-RUINS ART RESIDENCY, CALABRIA, IThttps://www.rainews.it/tgr/calabria/notiziari/index.html?/tgr/video/2021/08/ContentItem-e569e82e-af90-44d2-ba8f-1261712c1522.html <img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/2b69ca0973fbbb9eb151a7ae553c4008950839bb5ff210de49de190aa96bb08c/IMG_20210804_184136_641.jpg" data-mid="118402230" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/2b69ca0973fbbb9eb151a7ae553c4008950839bb5ff210de49de190aa96bb08c/IMG_20210804_184136_641.jpg" /> <img width="1500" height="1397" width_o="1500" height_o="1397" data-src="https://freight.cargo.site/t/original/i/91d123e5a86d017a2a035122d6910b41199df6ab7f51a8c1ac9a69a220cbdf5a/Asset-6LOGO.png" data-mid="87645117" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/91d123e5a86d017a2a035122d6910b41199df6ab7f51a8c1ac9a69a220cbdf5a/Asset-6LOGO.png" /> <img width="600" height="848" width_o="600" height_o="848" data-src="https://freight.cargo.site/t/original/i/0f42e862427caecced7ea96715fe43b3bc82417d307623ba21c87e1f0bab12ee/25734078_b8b8_4ada_987c_c6812a01f234.jpg" data-mid="115181463" border="0" src="https://freight.cargo.site/w/600/i/0f42e862427caecced7ea96715fe43b3bc82417d307623ba21c87e1f0bab12ee/25734078_b8b8_4ada_987c_c6812a01f234.jpg" /> <img width="1587" height="2245" width_o="1587" height_o="2245" data-src="https://freight.cargo.site/t/original/i/93af8068d861e51c186447c461a904b836e7b2004ef32551bbd5caa3dfc45f09/Kintsugi-Poster-Solo-with-Logo.png" data-mid="115181459" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/93af8068d861e51c186447c461a904b836e7b2004ef32551bbd5caa3dfc45f09/Kintsugi-Poster-Solo-with-Logo.png" /> <img width="593" height="560" width_o="593" height_o="560" data-src="https://freight.cargo.site/t/original/i/a4fd8f56490c79e6e9195046c676a3a7018d0b19aea618e0868669671edf4e42/Captur-ecran-5.png" data-mid="111541603" border="0" src="https://freight.cargo.site/w/593/i/a4fd8f56490c79e6e9195046c676a3a7018d0b19aea618e0868669671edf4e42/Captur-ecran-5.png" /> THE PURPOSEFUL MAYO MAGAZINE <img width="960" height="960" width_o="960" height_o="960" data-src="https://freight.cargo.site/t/original/i/41f06f22520e0da090b995fcb420eeb363643fc7d6fe4ca80e049281b4ceb5b5/new-york-im-in.gif" data-mid="110286919" border="0" data-scale="75" src="https://freight.cargo.site/w/960/i/41f06f22520e0da090b995fcb420eeb363643fc7d6fe4ca80e049281b4ceb5b5/new-york-im-in.gif" /> <img width="3031" height="4547" width_o="3031" height_o="4547" data-src="https://freight.cargo.site/t/original/i/c0ff8840cc172cfa045f22cff44ac3bd7814c0610d88979f5f434cd6b5cb422e/obsessions-expo14.JPG" data-mid="114097361" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/c0ff8840cc172cfa045f22cff44ac3bd7814c0610d88979f5f434cd6b5cb422e/obsessions-expo14.JPG" /> OBSESSIONS PEP Collective exhibition July 2021 Tête Gallery, Berlin <img width="659" height="494" width_o="659" height_o="494" data-src="https://freight.cargo.site/t/original/i/68bffc04996136e45b3f7a38d8cc32c34275513dfaf11c6a17d99f0daebd38d9/unnamed-1.jpg" data-mid="109498086" border="0" src="https://freight.cargo.site/w/659/i/68bffc04996136e45b3f7a38d8cc32c34275513dfaf11c6a17d99f0daebd38d9/unnamed-1.jpg" /> <img width="659" height="495" width_o="659" height_o="495" data-src="https://freight.cargo.site/t/original/i/bcb3ade42bfe4452edfdd19e96051637b0704c10b010be3e0b7bd1105f203ca7/unnamed.jpg" data-mid="109497859" border="0" src="https://freight.cargo.site/w/659/i/bcb3ade42bfe4452edfdd19e96051637b0704c10b010be3e0b7bd1105f203ca7/unnamed.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/933fdba92267f6728c3cf90e59179af63e60c1be190417aa2ac559b985bf09fd/Contemporary-Painting-Form-From-Contemporary-Painter-s-Perspective.-What-is-necessary-by-Martyna-Benedyka.jpg" data-mid="109539498" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/933fdba92267f6728c3cf90e59179af63e60c1be190417aa2ac559b985bf09fd/Contemporary-Painting-Form-From-Contemporary-Painter-s-Perspective.-What-is-necessary-by-Martyna-Benedyka.jpg" /> <img width="1433" height="2048" width_o="1433" height_o="2048" data-src="https://freight.cargo.site/t/original/i/aae2daf9a87422eab75757b92fee63a96f1b5bb1275922ff318cfbe5a78a3d81/Martyna-Benedyka-Artist-Talk-Debates.jpg" data-mid="109498306" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/aae2daf9a87422eab75757b92fee63a96f1b5bb1275922ff318cfbe5a78a3d81/Martyna-Benedyka-Artist-Talk-Debates.jpg" /> <img width="2875" height="4087" width_o="2875" height_o="4087" data-src="https://freight.cargo.site/t/original/i/d171df80a2c3f00ff2f006583d3536a6c64b402a2fc4b69645849e01a3a1b81f/New-Music_Martyna-Benedyka.jpg" data-mid="108702962" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/d171df80a2c3f00ff2f006583d3536a6c64b402a2fc4b69645849e01a3a1b81f/New-Music_Martyna-Benedyka.jpg" /> <img width="1500" height="1492" width_o="1500" height_o="1492" data-src="https://freight.cargo.site/t/original/i/642a26881f964c4b56f746f6bf52b30340f52e7d41de43a9cf999305f2afb8a1/FLDQ_LOGO.png" data-mid="108705051" border="0" src="https://freight.cargo.site/w/1000/i/642a26881f964c4b56f746f6bf52b30340f52e7d41de43a9cf999305f2afb8a1/FLDQ_LOGO.png" /> In-ruins Art Residency <img width="1056" height="1056" width_o="1056" height_o="1056" data-src="https://freight.cargo.site/t/original/i/3cc41923561df1dd4ad4f0c0376bb9cec7ec0de389151061b1fdb8e6431db6a9/In-ruins-16.05.21.jpg" data-mid="108592692" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/3cc41923561df1dd4ad4f0c0376bb9cec7ec0de389151061b1fdb8e6431db6a9/In-ruins-16.05.21.jpg" /> ︎︎︎ © Martyna Benedyka 2025 https://martynabenedyka.com/SHOP Sun, 19 Jun 2022 20:36:59 +0000 martynabenedyka.com https://martynabenedyka.com/SHOP SHOP You can collect my work through these platforms: KINTSUGI&nbsp; Photobook, A5 format Direct studio edition Buy from artist︎︎︎&nbsp;€34Signed copy Available via selected bookshop:The Library Project ︎ <img width="4380" height="5804" width_o="4380" height_o="5804" data-src="https://freight.cargo.site/t/original/i/c3cd10a69588d0c792e8cc14116d856b8156ed4517477b131092cb7502c0b61e/Cover_Martyna-Benedyka.jpg" data-mid="247902215" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/c3cd10a69588d0c792e8cc14116d856b8156ed4517477b131092cb7502c0b61e/Cover_Martyna-Benedyka.jpg" /> Instagram @martyna_benedyka Big CartelDirect studio sales, inc. posters, special and open editions SHOP NOW︎︎︎ ArtmajeurFull portfolio, inc. prints and open editions SHOP NOW︎︎︎ Email:For enquiries: benedyka.m@gmail.com ︎︎︎ https://martynabenedyka.com/Selected-Projects Mon, 23 Mar 2020 19:29:04 +0000 martynabenedyka.com https://martynabenedyka.com/Selected-Projects Selected Projects Inquiries &amp; Commissions: benedyka.m@gmail.com ︎︎︎ https://martynabenedyka.com/The-Sublime Tue, 27 Jun 2023 18:09:53 +0000 martynabenedyka.com https://martynabenedyka.com/The-Sublime The Sublime&nbsp; 2023 ︎ Another source of the sublime is infinity; if it does not rather belong to the last. Infinity has a tendency to fill the mind with that sort of delightful horror, which is the most genuine effect, and truest test of the sublime. There are scarce any things which can become the objects of our senses, that are really and in their own nature infinite. But the eye not being able to perceive the bounds of many things, they seem to be infinite, and they produce the same effects as if they were really so. We are deceived in the like manner, if the parts of some large object are so continued to any indefinite number, that the imagination meets no check which may hinder its extending them at pleasure. Whenever we repeat any idea frequently, the mind, by a sort of mechanism, repeats it long after the first cause has ceased to operate. After whirling about, when we sit down, the objects about us still seem to whirl. After a long succession of noises, as the fall of waters, or the beating of forge-hammers, the hammers beat and the waters roar in the imagination long after the first sounds have ceased to affect it; and they die away at last by gradations which are scarcely perceptible. If you hold up a straight pole, with your eye to one end, it will seem extended to a length almost incredible. Place a number of uniform and equidistant marks on this pole, they will cause the same deception, and seem multiplied without end. The senses, strongly affected in some one manner, cannot quickly change their tenor, or adapt themselves to other things; but they continue in their old channel until the strength of the first mover decays. (1757)A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful Edmund Burke The concept of the sublime in philosophical aesthetics and art history is mainly understood as the quality of greatness. Edmund Burke, an Irish-born philosopher, claimed that the sublime is the most powerful experience. He also argued that sublimity and beauty were mutually exclusive. Burke presented his theory that beautiful objects are small and delicate, while sublime ones are dark and terrifying. Fascinated by this concept, I have chosen a series of different-sized paintings which touch on themes of monumentality as an aura of greatness, and little beauties in our lives that are inseparable from their fragility. One of the sources of sublimity is infinity. Exploring the infinite, we experience a deeper, often unforgettable, sense of wonder. Here, the infinity is realized through cropped compositions, blackness, repetition, and the potential to evoke a mixture of emotions and feelings in the viewer. According to Burke, beauty brings relaxation and sublimity brings tension. The paradox of the sublime arises when we find peace in the things that overwhelm us. Both captivate us, despite the dangers. I decided to express the sublime and the infinite, referring to the sense and power of the image in the real world. Depriving it of details, a rather enigmatic selection of paintings evoke notions of the sublime as an aesthetic experience and a monumental vision that strikes the viewer with power and raises the boundless question of whether the sublime in art can coexist with beauty. (2023)Martyna Benedyka <img width="1320" height="1889" width_o="1320" height_o="1889" data-src="https://freight.cargo.site/t/original/i/98f14f94f8c837438d1e8571f3ffe96ed835fc0ecca685a5e8acb7122fe3426a/20230625_175910.jpg" data-mid="183466850" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/98f14f94f8c837438d1e8571f3ffe96ed835fc0ecca685a5e8acb7122fe3426a/20230625_175910.jpg" /> Peephole, 2023 oil on wood &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="1825" height="2196" width_o="1825" height_o="2196" data-src="https://freight.cargo.site/t/original/i/3de06272cda7c6783b2467db336be017199943c2d0aa797fc7d82f53e3bda15d/20230625_192102.jpg" data-mid="183466856" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/3de06272cda7c6783b2467db336be017199943c2d0aa797fc7d82f53e3bda15d/20230625_192102.jpg" /> The Monument, 2023oil on linen <img width="2327" height="3103" width_o="2327" height_o="3103" data-src="https://freight.cargo.site/t/original/i/572cea806149c336e9aa5519a89ebfb0efb5aaa1e8a45c280628317c996ba2ad/20230625_182945.jpg" data-mid="183466851" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/572cea806149c336e9aa5519a89ebfb0efb5aaa1e8a45c280628317c996ba2ad/20230625_182945.jpg" /> Ceramic Mushroom, 2022 oil on linen <img width="1473" height="1902" width_o="1473" height_o="1902" data-src="https://freight.cargo.site/t/original/i/6304263b12ca0d1990d348c5b590f92ddf8aab013dabed754fcc003a9cd28666/Before-the-Mirror--2021_Martyna-Benedyka300.jpg" data-mid="183466859" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/6304263b12ca0d1990d348c5b590f92ddf8aab013dabed754fcc003a9cd28666/Before-the-Mirror--2021_Martyna-Benedyka300.jpg" /> Before The Mirror, 2021 oil on canvas <img width="1882" height="1397" width_o="1882" height_o="1397" data-src="https://freight.cargo.site/t/original/i/97b899930d93dac5e320210487546af8e8098f2d4b256d6ccddb0cafbe2eb50b/20230625_182657-1.jpg" data-mid="183466889" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/97b899930d93dac5e320210487546af8e8098f2d4b256d6ccddb0cafbe2eb50b/20230625_182657-1.jpg" /> The Paradox Of The Sublime, 2023 oil on canvas <img width="1000" height="1104" width_o="1000" height_o="1104" data-src="https://freight.cargo.site/t/original/i/345da14de535a92349bd9c7e71026f9e28d5329f4842f226e148cf855d75d8d1/IMG_9911_o.jpg" data-mid="183466892" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/345da14de535a92349bd9c7e71026f9e28d5329f4842f226e148cf855d75d8d1/IMG_9911_o.jpg" /> Woman, 2014 oil on wood <img width="2500" height="3082" width_o="2500" height_o="3082" data-src="https://freight.cargo.site/t/original/i/ed009fa58ba98a33da713d0d2c57a2949c4333e07327ce112347a7ab34444412/oeuvre_candidate.jpg" data-mid="248100295" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/ed009fa58ba98a33da713d0d2c57a2949c4333e07327ce112347a7ab34444412/oeuvre_candidate.jpg" /> Do You Remember When (Conversation I), 2021-22oil on canvas &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; <img width="2696" height="3462" width_o="2696" height_o="3462" data-src="https://freight.cargo.site/t/original/i/d7149a11d0e2c6bf30c8bdcc5f7d7eeaf357183e829b5d2f83ca26567c2ef4a4/20230625_180947.jpg" data-mid="183466853" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/d7149a11d0e2c6bf30c8bdcc5f7d7eeaf357183e829b5d2f83ca26567c2ef4a4/20230625_180947.jpg" /> Why The World Looks The Way It Does (Conversation II), 2021-22 ︎ oil on canvas <img width="1981" height="2562" width_o="1981" height_o="2562" data-src="https://freight.cargo.site/t/original/i/c364d6f44aa05f039b3fa3a3575ca0ad984fe8a961ca3895b2b5e2e59739925d/20230625_195233.jpg" data-mid="183466858" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/c364d6f44aa05f039b3fa3a3575ca0ad984fe8a961ca3895b2b5e2e59739925d/20230625_195233.jpg" /> Caryatid, 2023oil on canvas <img width="1089" height="1472" width_o="1089" height_o="1472" data-src="https://freight.cargo.site/t/original/i/2dbf511e50d4f6bcd1f8e65e29d598db504e16d87158c3b97140942885a17cae/20230625_182126.jpg" data-mid="183470399" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/2dbf511e50d4f6bcd1f8e65e29d598db504e16d87158c3b97140942885a17cae/20230625_182126.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Queen, 2023 oil on canvas <img width="601" height="768" width_o="601" height_o="768" data-src="https://freight.cargo.site/t/original/i/91f76bf823edda7f8244c60d2833d9cdc6dec9f1b7d8c94ca4b0defa4f73a61a/benedyka_m_two_sisters_2017_20190315_1979571092.jpg" data-mid="183466893" border="0" data-scale="78" src="https://freight.cargo.site/w/601/i/91f76bf823edda7f8244c60d2833d9cdc6dec9f1b7d8c94ca4b0defa4f73a61a/benedyka_m_two_sisters_2017_20190315_1979571092.jpg" /> <img width="1000" height="1267" width_o="1000" height_o="1267" data-src="https://freight.cargo.site/t/original/i/6b9fec053ff15a3ff8a97506c667aae9a735ca79bd8bde72a398eb74c78e7822/benedyka_m_primitive_plant_2017_20190315_1180714141.jpg" data-mid="183466895" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/6b9fec053ff15a3ff8a97506c667aae9a735ca79bd8bde72a398eb74c78e7822/benedyka_m_primitive_plant_2017_20190315_1180714141.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Two Sisters, 2017-18 oil on wood Fragility (Primitive Plant), 2017-18 oil on wood <img width="1977" height="2563" width_o="1977" height_o="2563" data-src="https://freight.cargo.site/t/original/i/d6f7e45fee99f50208774ad0abdad55aa8beff760282e5288879e3cae75a32cf/20230625_181948.jpg" data-mid="183466854" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/d6f7e45fee99f50208774ad0abdad55aa8beff760282e5288879e3cae75a32cf/20230625_181948.jpg" /> Portrait (Beauty), 2023oil on canvas <img width="2778" height="3236" width_o="2778" height_o="3236" data-src="https://freight.cargo.site/t/original/i/ee33ce3b63341018a6dd7bb58fd0fecef8302af0e9b189dd41e361c4f736b350/20230615_164341.jpg" data-mid="183466862" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/ee33ce3b63341018a6dd7bb58fd0fecef8302af0e9b189dd41e361c4f736b350/20230615_164341.jpg" /> The Art Of Singing ︎ Oil on canvas, 2023 ︎︎︎ https://martynabenedyka.com/The-Beautiful-Within-The-Sublime Thu, 31 Oct 2024 09:42:01 +0000 martynabenedyka.com https://martynabenedyka.com/The-Beautiful-Within-The-Sublime The Beautiful Within The Sublime&nbsp;2024 Interpiktorial 12 October - 16 November 2024 Kunstraum Arcade, Beethovenhaus, AustriaMartyna Benedyka and Henriette LeinfellnerDuo Show curated by David Komary︎ <img width="1440" height="938" width_o="1440" height_o="938" data-src="https://freight.cargo.site/t/original/i/8bdadea2497ca9c1eb7c3320624d78f5f40f0e3ed6c1fd95185998b5399f7e85/Whale--2024-by-Martyna-Benedyka.jpg" data-mid="220699261" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/8bdadea2497ca9c1eb7c3320624d78f5f40f0e3ed6c1fd95185998b5399f7e85/Whale--2024-by-Martyna-Benedyka.jpg" /> Whale, 2024 Oil on Linen <img width="1430" height="1440" width_o="1430" height_o="1440" data-src="https://freight.cargo.site/t/original/i/9add73ef3c337e87113a2a2efd770b96f14afa44970666f33efe9ac721b81178/Sheds-Antlers--2024-by-Martyna-Benedyka.jpg" data-mid="220709881" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/9add73ef3c337e87113a2a2efd770b96f14afa44970666f33efe9ac721b81178/Sheds-Antlers--2024-by-Martyna-Benedyka.jpg" /> Sheds (Antlers), 2024Oil on LinenPhoto: Martyna Benedyka The Beautiful Within The Sublime If black and white blend, soften, and unite A thousand ways, is there no black and white? Alexander Pope [1] I have always been fascinated by the fact that we can never fully comprehend the magnitude of the gigantic monuments, landscapes, or creatures due to their size or beauty, let alone the vastness of the universe. This inability to judge and sometimes to separate beauty and an almost malevolent, yet elegant, sublime and its infinity, inspired me to explore the two types of aesthetic experience in response to painting. The origins of the word sublime, which comes from the Old French limite (a boundary) and the Latin sublimis (lofty, eminent, distinguished), paint an intriguing picture of how the sublime [das Erhabene] became a boundless form, a phenomenon revealing our powerlessness in determining any limits to what we encounter. In his philosophical treatise The Critique of Judgment, German philosopher Immanuel Kant argued that beauty and sublimity must coexist in art. This contrasts with Irish thinker Edmund Burke who said that sublime and beautiful are mutually exclusive. They then agreed that the sublime is monumental and simple, while the beautiful must usually be small and ornate. However, unlike Kant, Burke argued that the sublime is the most powerful physical experience, rooted in the senses rather than the power of reason. When speaking of beauty, Kant saw it as purposiveness without purpose [Zweckmäßigkeit ohne Zweck]. What is surprising is how the philosopher claims that beautiful objects have certain (splendid) visual properties, such as symmetry, and should therefore be seen as having a purpose, albeit one that is not specific. The sublime, on the other hand, is what he describes as chaotic and unstructured, something that frightens us, that is actually purposeless. It follows that he expands on Burke’s concept that beauty is a pure and refined quality, similar to a very smooth and fragile object, whereas the sublime remains dark and terrifying.&nbsp; Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt. Immanuel Kant [2] The sublime in Kant's perception is found in formless, suprasensory and infinite objects, in which we find both pain and pleasure. The shape of the object we observe can seem pleasurable, evoking thoughts of purity and harmony, as well as what the philosopher himself called negative pleasure (pleasure which is possible only by means of a displeasure [3]). Burke, in turn, separated the two, pointing out that beauty can only result from pleasure, whereas pain must originate from the sublime. However, he believed that in specific circumstances, perhaps when overwhelmed by the infinite, we are able to feel a delightful horror akin to joy. When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are, delightful, as we every day experience.&nbsp;Edmund Burke [4] In the context of infinity and eternity, pleasure, pain and even death, the Rorschach mirror effect comes to mind. This test, developed by Swiss psychiatrist and psychoanalyst Hermann Rorschach, is used by psychologists to test personality traits. Test participants are shown a series of inkblots that reflect shapes and objects in order to reveal a deeper sense of the most poignant or distressing memories. Here I have used this concept to contemplate unusual idiosyncrasies, similar to experiencing the (subjective) beauty in the sublime. The perspective can shift in an instant, connecting to very personal, often vulnerable, fragments of life amidst the realm of imagination and the realm of the mind, amidst the beautiful and the horrific. Beauty is present in the mixture of predictable and chaotic situations, occasionally tense but shielded from potential danger. I often avoid acknowledging that it has a limited form due to its structure. Diversity, uniformity, and imperfection must all be present within its confines. Immersing myself in the sensory experiences of beauty leads to the gradual breaking down of those feelings as the sublime is triggered. Investigating their boundaries to understand how they relate to painting under the Kantian and Burkean philosophies can be likened to painting passionately at times, a sensation that is both unsettling and breathtaking, attempting to reduce terror in search of the ideal sublime. It is irrefutable that the combination of imperfect beauty and perfect sublimity can evoke profound and mysterious inner experiences. Certain paintings may appear weighty and emit a sense of dullness. Nevertheless, by including intricate elements, they draw the viewer into a space characterized by a balanced blend of beauty and the sublime. Just like philosophy, painting does not provide definite answers, if it provides any at all, and that aspect intrigues me. The act of painting transforms into an eternal ritual, a private universe that can be as overwhelming as the awe-inspiring monumental landscapes. Trying to adorn and outline the immensity may result in futility. In these intimately scaled paintings, I feel compelled to reinterpret both philosophical ideas, almost deconstructing the aesthetics to reflect on the perception of harmony and chaos, without losing focus. In the greatness and obscurity of things, I concentrate on the power of a sole picture or memory until it becomes a hallucinatory scene, similar to silently gazing at a nonexistent ocean horizon, and I dwell on the beautiful in the sublime. Text: Martyna Benedyka Burke, Edmund. Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, 1757 [4]Kant, Immanuel. The Critique of Judgement, 1790 [3]Kant, Immanuel. The Critique of Pure Reason, 1781 [2]Pope, Alexander. An Essay on Man: Epistle II, 1734 [1] <img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/e5afa35a5b9ac95b1b2a7cb1ea3af9b69381b729d3d08eff81c0fb352379e9a2/Sheds-Antlers--2024-by-Martyna-Benedyka-view-1.jpg" data-mid="220699259" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/e5afa35a5b9ac95b1b2a7cb1ea3af9b69381b729d3d08eff81c0fb352379e9a2/Sheds-Antlers--2024-by-Martyna-Benedyka-view-1.jpg" /> Sheds (Antlers), 2024Kunstraum Arcade, Beethovenhaus Installation ViewPhoto: Martyna Benedyka <img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/85e8f9896beb97eb153447cef010359036d346db26e79ceba575d981d5019949/The-Death-Of-A-Gentle-Giant--2024-by-Martyna-Benedyka.jpg" data-mid="220714832" border="0" src="https://freight.cargo.site/w/1000/i/85e8f9896beb97eb153447cef010359036d346db26e79ceba575d981d5019949/The-Death-Of-A-Gentle-Giant--2024-by-Martyna-Benedyka.jpg" /> The Death Of A Gentle Giant, 2024Oil on Linen Photo: Martyna Benedyka <img width="1440" height="938" width_o="1440" height_o="938" data-src="https://freight.cargo.site/t/original/i/913e9e46a6de06a3cc6000c8a2998013fe977498b36655ca97e162a876c95101/Whale--2024-by-Martyna-Benedyka-view-1.jpg" data-mid="220699297" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/913e9e46a6de06a3cc6000c8a2998013fe977498b36655ca97e162a876c95101/Whale--2024-by-Martyna-Benedyka-view-1.jpg" /> Whale, 2024 Kunstraum Arcade, Beethovenhaus Installation View Photo: Martyna Benedyka ︎ Interpiktorial Kooperationsausstellung mit AIR – ARTIST IN RESIDENCE Niederösterreich Künstlerinnen: Martyna Benedyka, Henriette Leinfellner Die diesjährige Kooperationsausstellung von kunstraumarcade und AIR – ARTIST IN RESIDENCE Niederösterreich bringt zwei künstlerische, betont piktorale Positionen in Konstellation, deren Gemeinsamkeiten sich in Momenten der Abstraktion sowie der inner- und zwischenbildlichen „Erinnerung“ zeigen. Während die österreichische Künstlerin Henriette Leinfellner druckgrafisch-prozesshaft auf Kartografien rekurriert, um Bildräume imaginären Reisens zu evozieren, geht die polnische Künstlerin Martyna Benedyka, die im Jänner zu Gast bei AIR in Krems war, in kleinformatigen Malereien der Dialektik innerbildlicher, malerisch verhandelter Phänomene der Nähe und Distanz, des Großen versus Kleinen, sprich des Bildhaft-Sublimen nach. Bei beiden Künstlerinnen finden sich Formen inner- und zwischenbildlicher Erinnerung, einmal in Form imaginär-mnemischer Rückgriffe (Leinfellner), das andere Mal in außerbildlichen, interikonischen Verweisen und Anspielungen (Benedyka). Martyna Benedykas kleinformatige Malereien stellen auf gewisse Weise, ästhetikgeschichtlich betrachtet, Paradoxien, wenn nicht gar Antagonismen dar. Die Künstlerin beschäftig sich bereits mehrere Jahre mit der Kategorie des Sublimen, des Erhabenen. „Ich war schon immer fasziniert von der Tatsache, dass wir das Ausmaß gigantischer Monumente, Landschaften oder Kreaturen aufgrund ihrer Größe oder Schönheit niemals vollständig erfassen können, ganz zu schweigen von der Weite des Universums. (…) Die Ursprünge des Wortes Erhabenheit, das aus dem altfranzösischen limite (Grenze) und dem lateinischen sublimis (erhaben, bedeutend, vornehm) stammt, zeichnen ein faszinierendes Bild davon, wie das Erhabene zu einer grenzenlosen Form wurde, einem Phänomen, das unsere Ohnmacht offenbart, keine Grenzen für das setzen zu können, was uns begegnet“ so die Künstlerin. Benedykas durchaus auch theoretisch ansetzende Auseinandersetzung dreht sich dabei insbesondere um zwei Philosophen der Aufklärung, Edmund Burke und Immanuel Kant. Während Burke (noch) die Auffassung vertrat, dass sich Erhabenheit und Schönheit gegenseitig ausschließen, vertrat Kant die Ansicht, dass Schönheit und Erhabenheit in der Kunst koexistieren können, wenn nicht gar sollen. „Während das Schöne begrenzt ist, ist das Erhabene grenzenlos, so dass der Geist in der Gegenwart des Erhabenen, wenn er versucht, sich vorzustellen, was er nicht kann, Schmerz über das Scheitern, aber Vergnügen bei der Betrachtung der Unermesslichkeit des Versuchs empfindet“. (Immanuel Kant) Die Künstlerin zielt in ihrer ästhetischen Befragung des Sublimen nicht auf eine Auflösung jener gegensätzlichen ästhetischen Pole, des Schönen und des Erhabenen, sie schafft vielmehr eine Art Interferenzfeld, das sich zudem im betont Kleinen ereignet, um in ebendieser piktoralen, innenbildlichen Verdichtung eine Paradoxie, eine Kontradiktorik ästhetischer Kräfte zu schaffen. Gerade in diesem Zustand der Schwebe, der Spannung, liegt die stille Kraft jener Miniaturen, die sich am Grenzenlosen, Entgrenzten, Überwältigenden abarbeiten. Benedyka schafft so eine geradezu paradoxe Bildlichkeit, die eine Immersion des Blicks im Nahen evoziert. Die auf den ersten Blick manchmal beinahe als Miniaturen erscheinenden Malereien bilden in ihrem Nebeneinander jedoch kein loses Gefüge, sondern vielmehr ein zwingendes Stakkato, das in der eingeforderten Nahsicht den Blick, die Lektüre des Betrachters herausfordert und auch nicht einfach wieder zur Ruhe gelangen lässt. Die Künstlerin arbeitet, und hierin finden sich Gemeinsamkeiten mit Henriette Leinfellner, mit Momenten der Reduktion, der Abstraktion, ja der Löschung von Details. Benedyka entkoppelt das Bildgeschehen auf diese Weise vom Abbildhaften, Referenziellen, sie überführt Momente der Darstellung und Abbildung in ein innerbildliches, semiabstraktes, durchaus in Flächigkeiten und Kolorit übersetztes Bildgeschehen, das mehr auf empfindsame Resonanz denn auf ein Dekodieren des Abgebildeten abzielt. Dem Abstrahieren kommt dabei eine doppelte Funktion zu. Einerseits wird das Gesehene vereinfacht, schematisiert, aufs Wesentliche reduziert, andererseits aber wird es verschlüsselt, unlesbar gemacht und auf diese Weise sowohl geheimnisvoller, diskreter als auch latent atmosphärisch-unheimlich. So konfrontiert die Künstlerin den Betrachter in The Mountain’s Brow mit einer schematisch mehr angedeuteten denn abgebildeten Bergspitze, die nach oben hin im Atmosphärischen, im Diffusen des Nebels zu verschwinden scheint. In Portrait (Beauty) schafft die Künstlerin im Rekurrieren auf Darstellungsweisen des 19. Jahrhunderts ein stark abstrahiertes Seitenbildnis einer Frau. Großes, Erhabenes, Unendliches trifft im Nebeneinander der Bilder somit unvermittelt auf Miniaturhaftes, Zierliches, Gezähmtes. Mehr noch, das Gegensätzliche, Unvereinbare ist jedem einzelnen Bild auch selbst inhärent. Das Portrait (The Statue of Unity) zeigt beispielsweise auf kleinstem Raum (Bildraum) die größte existierende Statue der Erde, die in Gujarat in Indien zu Ehren des Unabhängigkeitsaktivisten Vallabhbhai Patel errichtet wurde. In Whale richtet die Künstlerin den Blick schließlich wiederum auf das Erhabene der Natur, diesmal nicht im Sinne eines Landschaftsphänomens, sondern in Form eines geteilten „Portaits“ des größten Meerestiers, des Wals. In einer Art Diptychon teil die Künstlerin hier den Bildraum, sie abstrahiert die Darstellung nicht nur, sondern gibt dem Auge des Wals, das dezidiert traurig anmutet, ein eigenes bildhaftes Wirkungsfeld, um mit dem Betrachter über und durch das Bild und die bloße Darstellung hinweg relational, wenn nicht gar (an)klagend in Beziehung zu treten. Das Aufeinandertreffen antagonistischer Kräfte im und durch das Bild stellen – jenseits der jeweiligen Darstellungs- und Abstraktionsgeschehen – das eigentliche Material, das tatsächliche „Sujet“ Benedykas dar. Sie zielt auf ein Spannungsfeld, das eine aktive Lektüre des Betrachters herausfordert, ohne dabei zu einem Ende, zu einer Conclusio zu gelangen. „Wie die Philosophie so gibt auch die Malerei keine endgültigen Antworten, und das fasziniert mich: Der Akt des Malens verwandelt sich in ein Ritual, ein privates Universum, das ebenso überwältigend sein kann wie die ehrfurchtgebietendsten monumentalsten Landschaften. (…) In der immersiven Größe und damit einhergehenden Unbestimmtheit der Dinge konzentriere ich mich auf die Kraft des einzelnen Bildes, bis es zu einer halluzinatorischen Szene wird, ähnlich wie der stille Blick auf einen nicht existierenden Meereshorizont.“ Während sich das Weite, gar Unendliche bei Benedyka in kleinsten Bildern verdichtet, aber auch durch kleinste Bilder evoziert findet, rekurriert Henriette Leinfellner auf eine nicht unverwandte, nicht weniger expansive Blickregie – die Kartografie. In Henriette Leinfellners Druckgrafiken der Serie Spazio incognito wird der Betrachter einer besonderen Form piktoraler Simultanität konfrontiert. Man sieht nicht ein Bild, sondern eine Art Doppel. Die Künstlerin „teilt“ den querformatigen, panoramatisch anmutenden Bildraum in zwei Bereiche, zwei Hälften, die nicht nur farblich und materialsprachlich sondern auch perspektivisch und szenisch gänzlich unterschiedliche Bildräume zu sehen geben. Jenseits dieser Aufteilung des Bildraums, der noch eine gewisse Statik und Territorialität erkennen lässt, weisen Leinfellners Bilder oftmals Spuren auf, die eine zeitliche Dimension und zudem eine Art Leserichtung evozieren. Diese Temporalisierung des Blicks, des Raums, widerspiegelt nicht nur ein Moment der Dynamisierung, des Sich-Bewegens, des Reisens, das Leinfellners Bildsprache durchzieht, hier zeigt sich auch ein grundlegendes Verständnis Leinfellners von Raum und Räumlichem, das vom Zeitlichen und von Verzeitlichung nicht zu trennen ist. Raum und Bild, also auf den ersten Blick in sich Ruhendes, gar „Statisches“ erscheint so stets auch als Veränderliches, Permeables. Und mehr noch, rezeptionsästhetisch gedacht: Raum und Bild lassen sich von Formen der Verzeitlichung – durch Erleben, Erfahrung, durch ein Werden im Sein – nicht trennen. Bei Leinfellner finden sich mehrfach Verweise auf den Topos des Reisens. Karten, Zuggleise, ähnliche Farbspuren, Bewegungsunschärfen. Leinfellner bedient geradezu ein Repertoire von Bildern, Signifikanten und Chiffren des Reisens. Die Künstlerin verwendet diese jedoch weder in einem gestischen oder darstellerischen Sinn, noch bloß auf dokumentarische Art und Weise. Wenngleich die Karten – dies können Flugkarten aber auch einmal militärische Karten sein – eine nüchterne, verobjektivierende Anmutung vermitteln, so werden diese im Prozess des Druckens, der Bildgenese, von ihrer Referenz gelöst. Die Künstlerin bettet durchaus prozesshaft-intuitiv die Karten in ein semiabstraktes Bildgeschehen ein. Durch Färbung, Abstraktion, Überschreibung wird jene oftmals nüchterne, rigide Blickregie (der Karte) in den Hintergrund gedrängt. Die Karte wird geradezu palimpsestartig zum Bildgrund, eine Folie, auf der die Künstlerin Spuren, Gesten und Bildschichten „einträgt“, die auf Erfahrung und Subjektivem gründen. Erinnertes wird so schichtenweise auf- und eingetragen. Das Druckverfahren wird so per se zur Figuration des mnemisches Denkens Leinfellners – eines Denkens und Handelns in Lagen und Schichten. Die Künstlerin erzählt auf diese Weise durchaus persönliche Geschichten, die nicht schlichtweg nachvollzogen werden wollen, sondern den BetrachterInnen selbst als Tableau imaginären Reisens gegenübertreten. Leinfellners Bilder bilden dabei Momente imaginären Reisens weniger ab, sie eröffnen vielmehr einen kontemplativ-reflexiven Raum der Betrachtung, der den projektiven Anteil des Blicks wesentlich aktivieren und miteinzubinden sucht. Ein weiteres markantes bildsprachliches Moment in Leinfellners Arbeiten bilden Verweise und Analogien zu Eindrücken des Zugfahrens. Nicht umsonst sind eine Vielzahl von Leinfellners Drucken Querformate mit durchaus panoramatischer Anmutung. Panoramatischer Blick und Zugfahren bilden nicht nur eine gewisse formale Analogie bzw. zeigen innerbilddynamische Ähnlichkeiten, sie widerspiegeln einen dezidiert blickgeschichtlichen Zusammenhang. Der „Ausblick“, das Plaisir des souveränen Aus- und Überblicks, das blick- und kulturgeschichtlich stets auch mit Formen visuellen Konsums (Aussichtsturm, Hochhaus, Zugfahren, Autofahren, Kino) einhergeht, wird bei Leinfellner jedoch innenbildlich „gebrochen“, man könnte auch sagen, einer Art Kadrierung unterworfen. Durch die Teilung des Bildraums und die damit einhergehende Polyperspektivität (und Polychronie) richtet sich, wenn die einzelnen Bilder und Bildbereiche auch auf „Realem“ wie Karten, Fotografien rekurrieren, nicht länger auf Wirkliches, „Gegebenes“. Die Künstlerin schafft sowohl in den zwei „Einzelbildern“ als auch in deren Wechselspiel ein Narrativ, das Blick und Denken zwischen Realem, Erinnertem (konkreter Reisen) und Imaginärem changieren lässt. Der Blick richtet sich so nicht länger auf eine tatsächliche als vielmehr auf eine imaginäre, in hohem Grade auch innere Reise. Der Begriff des Reisens wird so zur polysemen, durchaus mentalen Figur, einer Denkfigur, die Visuelles mit Reflexivem, Konkret-Erlebtes mit Analogien des Lebens, ja des Seins selbst engführt. Der „kartierende“, souveräne, vermessende, endpersonalisierte Blick von Oben trifft bei Leinfellner auf ein bestimmtes „erlebendes“ Subjekt. Der vermeintlich unschuldige, „neutrale“ Blick der Karte, der per se und immer schon politisches Instrument war (ein Regulativ des Ein- und Ausschlusses über die Festlegung von Grenzen, Zugehörigkeiten usw.) steht hier einem konkreten Augenpaar, einem Subjekt der Wahrnehmung im exemplarischen Sinn gegenüber. Der Blick, ja der perzeptive Vorgang per se, erweist sich bei Leinfellner keineswegs als eindirektional. Sehen ist hier vielmehr, im Wechselpiel mit projektiven Anteilen des Blicks, ein reziproker wie auch relationaler Vorgang, nicht nur zwischen Aktuellem und Imaginärem, sondern, ontologisch viel bedeutender, zwischen Bild, Blick, Subjekt und Welt. Text: David Komary Curator <img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/d34fe8061b0dbe31dc926c45d856d721754c4c8094bf2619efb0205b24c6375c/Installation-view.jpg" data-mid="220712367" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/d34fe8061b0dbe31dc926c45d856d721754c4c8094bf2619efb0205b24c6375c/Installation-view.jpg" /> Interpiktorial Duo Show, Kunstraum Arcade, Beethovenhaus, 2024Installation View (grosser Raum) Photo: Martyna Benedyka(From the left: Martyna Benedyka, Atlas II, 2024; Henriette Leinfellner, Trayectos 0, 2024; Martyna Benedyka, The Mountain’s Brow, 2024, Before The Mirror, 2021, The Death Of A Gentle Giant, 2024, Whale, 2024) <img width="2568" height="3243" width_o="2568" height_o="3243" data-src="https://freight.cargo.site/t/original/i/fc90aa1d33328f233fd2c084955da20fd3664a416b31299f40aeb98a5994a9a2/Portrait-Statue-Of-Unity--2024_Martyna-Benedyka.jpg" data-mid="224715289" border="0" src="https://freight.cargo.site/w/1000/i/fc90aa1d33328f233fd2c084955da20fd3664a416b31299f40aeb98a5994a9a2/Portrait-Statue-Of-Unity--2024_Martyna-Benedyka.jpg" /> Portrait (Statue Of Unity), 2024 Oil on Linen <img width="1500" height="1982" width_o="1500" height_o="1982" data-src="https://freight.cargo.site/t/original/i/1c13b48b7b2df6f28e65512e4d9b5dba0794f2deebe606923db4670690c813ad/Atlas-II-Epee-Mask--2024_Martyna-benedyka.jpg" data-mid="224715594" border="0" src="https://freight.cargo.site/w/1000/i/1c13b48b7b2df6f28e65512e4d9b5dba0794f2deebe606923db4670690c813ad/Atlas-II-Epee-Mask--2024_Martyna-benedyka.jpg" />Atlas II (Epee Mask), 2024 Oil on Linen <img width="2277" height="1811" width_o="2277" height_o="1811" data-src="https://freight.cargo.site/t/original/i/0b38b907059d3fc14adafe80bbeb3397fa5a149436c6371dec5cd5eeee2043ff/Sheds-Antlers-by-Martyna-Benedyka.jpg" data-mid="225553123" border="0" src="https://freight.cargo.site/w/1000/i/0b38b907059d3fc14adafe80bbeb3397fa5a149436c6371dec5cd5eeee2043ff/Sheds-Antlers-by-Martyna-Benedyka.jpg" /> Sheds (Antlers), 2024Oil on Linen <img width="2587" height="3318" width_o="2587" height_o="3318" data-src="https://freight.cargo.site/t/original/i/9e916b45384ea3b2697bc54b67b99c774aa376d93faec1edf61b4267e2589c8b/The-Mountain-s-Brow--2024_Martyna-Benedyka.jpg" data-mid="224716342" border="0" src="https://freight.cargo.site/w/1000/i/9e916b45384ea3b2697bc54b67b99c774aa376d93faec1edf61b4267e2589c8b/The-Mountain-s-Brow--2024_Martyna-Benedyka.jpg" /> Mountain’s Brow, 2024 Oil on Linen<img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/7628b013378e7a6baf809c13fd35d009b2d527b57675c6422b62dceb64a10f98/Before-The-Mirror--2021-and-Mountain-s-Brow--2024_Martyna-Benedyka.jpg" data-mid="224716348" border="0" src="https://freight.cargo.site/w/1000/i/7628b013378e7a6baf809c13fd35d009b2d527b57675c6422b62dceb64a10f98/Before-The-Mirror--2021-and-Mountain-s-Brow--2024_Martyna-Benedyka.jpg" /> Interpiktorial, Installation View, 2024 Kustraum Arcade, Beethovenhaus Photo: Martyna Benedyka https://martynabenedyka.com/Rest-Here-Ramai-aici Tue, 12 May 2020 13:35:11 +0000 martynabenedyka.com https://martynabenedyka.com/Rest-Here-Ramai-aici Rest Here |&nbsp; Rămâi aici 2020&nbsp; Oil on Canvas part III <img width="851" height="1024" width_o="851" height_o="1024" data-src="https://freight.cargo.site/t/original/i/a26f6fb961ca59bccf80c6d88054df03df5f81bebdf556309125ff2979d550cc/Martyna-Benedyka_Forest_oil-on-canvas_2020.jpg" data-mid="70684704" border="0" data-no-zoom src="https://freight.cargo.site/w/851/i/a26f6fb961ca59bccf80c6d88054df03df5f81bebdf556309125ff2979d550cc/Martyna-Benedyka_Forest_oil-on-canvas_2020.jpg" /> Forest <img width="2948" height="2067" width_o="2948" height_o="2067" data-src="https://freight.cargo.site/t/original/i/db7eeb538cf8b5cda5e418ec763b3cd45e10f7ca0fffca2d7a9bb499a13e9c49/Martyna-Benedyka_The-Woman-Who-Loves_oil-on-canvas_35x25-cm_2020.jpg" data-mid="70685007" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/db7eeb538cf8b5cda5e418ec763b3cd45e10f7ca0fffca2d7a9bb499a13e9c49/Martyna-Benedyka_The-Woman-Who-Loves_oil-on-canvas_35x25-cm_2020.jpg" /> The Woman Who Loves <img width="2920" height="2064" width_o="2920" height_o="2064" data-src="https://freight.cargo.site/t/original/i/ea6e67978a4d2999b808b55e7d6741740d3fb33630befe764a5c2e44ba3dd2f3/Martyna-Benedyka_Rhythm-Garden_oil-on-canvas_35x25-cm_2020.jpg" data-mid="70685005" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/ea6e67978a4d2999b808b55e7d6741740d3fb33630befe764a5c2e44ba3dd2f3/Martyna-Benedyka_Rhythm-Garden_oil-on-canvas_35x25-cm_2020.jpg" /> Rhythm <img width="2586" height="2139" width_o="2586" height_o="2139" data-src="https://freight.cargo.site/t/original/i/8098b9f31a74c92623d5caf301ff666780357a34accf0c6b07e20737caae5645/Martyna-Benedyka_Patience_oil-on-canvas_30x25-cm_2020.jpg" data-mid="70685003" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/8098b9f31a74c92623d5caf301ff666780357a34accf0c6b07e20737caae5645/Martyna-Benedyka_Patience_oil-on-canvas_30x25-cm_2020.jpg" /> Patience <img width="2779" height="1839" width_o="2779" height_o="1839" data-src="https://freight.cargo.site/t/original/i/b66cdc539dcd04dd94a3dcc4bc43593157d32bdaab82388de910ba069b6d7fb7/Martyna-Benedyka_Two-Hands_oil-on-canvas_70x50-cm_2020.jpg" data-mid="70685009" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/b66cdc539dcd04dd94a3dcc4bc43593157d32bdaab82388de910ba069b6d7fb7/Martyna-Benedyka_Two-Hands_oil-on-canvas_70x50-cm_2020.jpg" /> Two Hands Silver Gelatin Printpart II<img width="1199" height="1799" width_o="1199" height_o="1799" data-src="https://freight.cargo.site/t/original/i/880c019081c5e1dea6546d9e5e9219c50fc1ee302dfd77c9fa00fae7e1c7f2da/Martyna-2.jpg" data-mid="71995430" border="0" data-scale="100" data-no-zoom src="https://freight.cargo.site/w/1000/i/880c019081c5e1dea6546d9e5e9219c50fc1ee302dfd77c9fa00fae7e1c7f2da/Martyna-2.jpg" /> Time And Its Passage <img width="900" height="1437" width_o="900" height_o="1437" data-src="https://freight.cargo.site/t/original/i/2081dc3784957f7535f1e609d4d3f869c6a88765ba9b570f31425d017177193c/Martyna-1.jpg" data-mid="88690004" border="0" data-scale="100" src="https://freight.cargo.site/w/900/i/2081dc3784957f7535f1e609d4d3f869c6a88765ba9b570f31425d017177193c/Martyna-1.jpg" />The Main Thing Is Not To Hurry Graphite on Paper part I <img width="2288" height="3452" width_o="2288" height_o="3452" data-src="https://freight.cargo.site/t/original/i/9be2039c3541b124490534d41aaa0b5bb5dacfa735e537a66d2c57cb5d6721a0/Poster-Image_Martyna-Benedyka.jpeg" data-mid="71995349" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/9be2039c3541b124490534d41aaa0b5bb5dacfa735e537a66d2c57cb5d6721a0/Poster-Image_Martyna-Benedyka.jpeg" /> Rhythm I cannot think of anything more exciting than art made out of the ordinary. Paying attention to the overlooked obvious. The beauty of everyday. The appearance of things. The surface of things. Seeing things as we are. All those places we feel that are boundless. Patterns in time. Our routines which define the rhythm of our lives. Each painting contains the memory of the past. A split between the physical thing and the idea of a thing. Unusual harmonies. A series of small things brought together, not by impulse but careful consideration. Existence Existentialism brings me back to the here and now. I have always been interested in this idea of where you are at the exact time and place, which is not like any other time and place. The immediate present and its meaning. How I can paint the same things differently, depending on my relationship to my own necessities. Focusing on the process per se. The viewer is the subject. One cannot be indifferent to the beauty of the obvious. Sometimes while painting it is as though you wish to be nowhere. One is glad to be in a place that lacks sharp edges. Stasis Trees epitomize stasis. A standing still. Dwelling on the beauty. Not accidental but intentional. Not only feeling it, but expressing it. How to express the true inner relationships between figures and objects. The art of between. The art of being neither art not nature, but both. Fragments that cut into our thoughts. The exactitude of the mark. Time After some time the vision changes. Something that metamorphoses into other forms. With each experience, new forms appear. They go on in circles. The eyes become attuned to seeing minute variations. How fast the time passes when you rest your eyes on someone or something. Between simplicity and complexity. How I can paint the same thing differently. The balance between delight and labour. One thing can lead to another endlessly, depending on when you stop. Always unfinished. Resting – in time and space. List of Considerations, Rest Here, 2020 <img width="1887" height="3039" width_o="1887" height_o="3039" data-src="https://freight.cargo.site/t/original/i/4e7ace75ac96d9e0d0cc8222e43869e812d63b3fc23cf7631060af2a5d61faaf/La-pensee.jpg" data-mid="71996071" border="0" data-scale="58" data-no-zoom src="https://freight.cargo.site/w/1000/i/4e7ace75ac96d9e0d0cc8222e43869e812d63b3fc23cf7631060af2a5d61faaf/La-pensee.jpg" /> La pensée (after Rodin), reference drawing Solo Show, Artalpha Art Residency, 2020, George Enescu Academy of Fine Arts, Romania PAINTING Rhythm, The Woman Who Loves 25x35Patience, Forest 25x30 Two Hands 50x70 PHOTOGRAPHY Time And Its Passage, 30x21 The Main Thing Is Not To Hurry, 30x21 DRAWINGList of Considerations, 29x21 La pensée, 29x21