DAGMARA GENDA

Installations
On Paper
Public Space
Curation
Writing
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mail@dagmaragenda.com
+49 (0)1573 1834 625

'Making Bad on History', or, 'Drawing Blood From the Same Old Stone.' (2020)

A spatial drawing was presented at Berlin Weekly. "Baroque garden sculpture forms the basis of Dagmara Genda's recent drawings, thus refocusing history through another distorting lens. Inky lines bleed Greek gods into comic super heroes, their ideal bodies not far removed from today's gym selfies, and the goddesses from before our common era have swelled into lubriciously lit Instagram queens. Perhaps the more we "make bad on history," the truer we are to its meandering path."

Wohnzimmer (2019)

Prompted by an eviction notice, I organized a group show in my Berlin apartment, in which I also participated as an artist. All the angles, windows, moldings and doors of my living room were drawn at a one-to-one scale and later limply rehung in the room itself. This exhibition was organized as a last good-bye to the 122-year-old apartment block, in which we, my partner and I, were the last tenants. Four over half a year, we lived completely alone in the partially gutted 30-tenement house.

Everything that's lost (2018)

All the snow was cut out of a book on the arctic and then exhibited pinned to walls. The shapes were also recorded, vectorized, organized smallest to largest, and laser cut from white pages. The pages were bound into a new book weighing approximately 100kg. The pages are flipped ceremoniously depending on how long the exhibition runs. By the end of the exhibition, the book is flipped through until the end.

Bush (2018)

A Common Laurel in London's Regent Park was photographed over the course of the spring months under varying weather conditions. The result was a wide variance of green captured in a plant whose colour was actually consistent. The photographs of leaves were used as a palette with which to make geometric shapes that speak to the history of painting, the picturesque, as well as private and public space. The Common Laurel is traditionally pruned into walls used to divide property.

Wall Tracing, Arp Museum (2017)

This tracing was done over the wall where the curatorial didactic is usually placed. From years of adhering and removing vinyl lettering, there is a distinct pattern of damage left on the wall. Angular scrapes can be found on the left and right hand sides, while the middle is so liberally painted that the remnants of latex seem to stream down like waterfalls. These elements were carefully traced out of the paint and form a visual didactic for "Was sich abzeichnet," a group exhibition about drawing.

Unfolded Niche (2017)

An in-situ studio drawing completed in a niche that was presumably once a door, was photographed, stitched together and printed on aluminum. Rather than exhibit documentation of the site-specific work, a new work was made that creates an impossible space meant to be inserted into different settings. Like the strange functionless niche in my studio, the large-scale print works on an architectural scale.

Raufaser (2016)

This was an in situ studio wall drawing completed during a 9-month residency at the Künstlerhaus Schloss Balmoral in Bad Ems, Germany. I noticed the ubiquity of Raufasertapete (literally translated as "rough grain wallpaper") which forms the background of many German households, including my bedroom and atelier. Using brush and ink, I traced out the grain of the wallpaper as well as the years of paint applied to it. I used a niche in my studio as the boundary for the drawing.

The sun's rays... (2016)

The sun's rays, as they passed through my studio skylight from early August to late-September, when they stopped reaching my walls at all is a site-specific studio wall drawing done during my residency at the Künstlerhaus Schloss Balmoral in Bad Ems, Germany.

cutting out the snow (2015)

Over the course of a year, I cut out all the images of snow from a picture book on the arctic. In this particular work the cut-outs are simply pinned inside vitrines like preserved butterflies or scientific specimens.

Beating the Bush (2015)

A Common Laurel in London's Regent Park was photographed over the course of the spring months under varying weather conditions. The result was a wide variance of green captured in a plant whose colour was actually consistent. The photographs of leaves were used as a palette with which to make geometric shapes that speak to the history of painting, the picturesque, as well as private and public space. The Common Laurel is traditionally pruned into walls used to divide property.

Panorama (2012)

This 25' long collage presents a Hieronymous Bosch-like view of the Canadian landscape. Using cliche depictions of the wilderness, the immersive space does not permit itself to be seen in one glance. Perspective is always at close range forcing one to focus on details.

Collapsed Building (2012)

This adhesive vinyl piece is a version of the apartment block I lived in as a small child in Poland. The design is based on a photograph and has undergone a complex, layered process of tracing and retracing to render it limp.

Limp Landscape (2010)

Over 60 years of landscape paintings from the Mendel Art Gallery's (Saskatoon, Canada) permanent collection were traced and rendered into one massive abstracted landscape. Limp Landscape continues my interest in regional practices, tradition and how these histories surface in contemporary art.

Screamers and Bangers : the wallpaper project (2008)

Using a technique of tracing, the paintings of Tom Thomson and the Group of Seven were abstracted into bright red, adhesive vinyl. Combined with images of animals either fucking or fighting, the work is intended as an irreverant homage to the manufacturing of art history, regionalism and tradition.

Jack Pine (2008)

Tom Thomson's iconic work Jack Pine was reproduced using screen-printed wallpaper whose repeated pattern consisted of Canadian animals having sex.

Zapraszam do wymiany korespondencji podczas izolacji do której zmusiła nas pandemia. Wystarczy pocztówka z wierszem, rysunkiem, bądź ulubionym przepisem z kuchni rodzinnej.

Czekam na wasze pomysły, a w zamian oferuję rysunek w formie kartki wielkości 10 x 15 cm. Całe przedsięwzięcie ma na celu powrót do tradycyjnej poczty która pozostawia trwały ślad.

W między czasie proszę o zgłoszenia do udziału w projekcie przez emaila do ustalenia szczegółów i formalności.

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This Fall, I am teaching two online courses at the Berlin Art Institute: "Drawing it out: an exploration into the possibilities of drawing," and "How do we talk about art?" For more information or to enroll please visit the Berlin Art Institute's site.