THE 59TH VENICE ART BIENNALE | POLAND PAVILION

This was my favourite pavilion at the Biennale. The pavilion was represented by Roma artist Małgorzata Mirga-Tas who works in the medium of textiles.

The pavilion was entirely adorned, floor to ceiling by a series of 12 large textile compositions separated by textile pilasters. My only criticism of the installation was that it was not perfectly designed to fit the space, for example there were areas where the textile had been cut to fit the architecture which had clearly not been designed but been cut ‘to fit it in’.

Małgorzata Mirga-Tas

Each of the 12 large scale textiles was separated into three horizontal segments between each pair of pilasters. This layout was extremely reminiscent of historic, religious frescoes such as those found in Catholic and Orthodox churches which often depict biblical scenes in a frieze like manner telling the story of Christ as one wonders through the holy space. Here there were a series of stories being told. The central of the three segments depicted each of the 12 zodiac signs set on a dark blue background referring to the starry, infinite skies from which astrological theory is based. And as one shifts from one of the zodiac signs to the next, the upper and lower friezes also shift in season in conjunction to the time of year represented by the sign. The use of astrology and time as central themes with the overall homage to religious art immediately made me feel as though I was wondering though a spiritual space.

Małgorzata Mirga-Tas

The lower frieze depicted contemporary, everyday life of the Roma in Europe and the upper frieze depicted the mythological journey of the Roma to Europe.

I think one of the things I loved the most about this installation was the placement of the depiction of everyday human activity, predominantly the activity of women, in this sacred-like framework. It immediately elevated humanity to a supernatural level that commanded a sense of reverence.

The way scenes and activities were rendered using textiles, with a few lines that perfectly captured gestures and facial expressions was masterful. I found the way that compositions were designed, and the play on perspective and scale was experimental and playful.

Małgorzata Mirga-Tas