Cyclicity, repetition, circulation. The audiovisual structure developed in the Gallery by Anna Zaradny takes the form of a looped composition spinning round between tumultuous emotion and cool intellect. It makes a disturbing journey within and at the same time upwards, from the absolute physical and mental bottom to the sweet heights of ecstasy. One’s passage through the exhibition is comparable with initiation, owing to involvement in a strange rite: devoid of mystic atmosphere, juxtaposing formal geometry with corporeality of matter, placing light side by side with darkness, setting sound against image. Its culmination brings an abstract, inner experience, when destruction and physical fatigue produce a sense of harmony and absoluteness.

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Anna Zaradny, RONDO DENOTING CIRCLE, 2016, site-specific installation Core, photograph by G. Mart / Studio FilmLOVE

The narrative follows a trail of objects, installations and performative acts building on figures significant to the artist: medieval religion reformer, visionary and composer Hildegard of Bingen, 19th-century pianist and piano music author Tekla Bądarzewska, contemporary composer and conductor Witold Lutosławski (1913–1994), modernist architect Krystyna Tołłoczko-Różyska (1909–2001) and musical avant-gardist Karlheinz Stockhausen (1928–2007). The works’ form and design are marked by the shape of circle and its derivations—mandala and spiral, building the exhibition in visual as well as spatial terms. While altering the building’s layers herself, Zaradny deconstructs their substance to visualise the remains arisen out of the process: rubble, dust and ash. The artist’s long-standing fascination with the Gallery’s brutalist architecture is also present in the very material aspect of the exhibited pieces, which make use of media utilised for the building’s construction: concrete, steel, iron, and glass. These complementary formal and ideological units, evoking experience of bodily exhaustion and purification that follows, compose a kind of biological and spiritual cycle, leading to deliverance and relief.

RONDO DENOTING CIRCLE picks up threads in Zaradny’s oeuvre tied to ambiguity in concepts and in relationships between intentions and form. Characteristically employing abstract means, prototypical architectonic and sound generating devices of minimalist style, light, white and black, the artist establishes a sensual, performative space, bearing visible signs of her physical existence and revealing her work methods: experiment as the basis for action, controlled chance, repetition, development techniques and processual approach.

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Anna Zaradny, RONDO DENOTING CIRCLE, 2016, view of the exhibition, photograph by G. Mart / Studio FilmLOVE
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Anna Zaradny, RONDO DENOTING CIRCLE, 2016, sound installation Sweetest Sound of Circulating Firmament, photograph by G. Mart / Studio FilmLOVE
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Anna Zaradny, RONDO DENOTING CIRCLE, 2016, multimedia object Rondo Denoting Circle, photograph by G. Mart / Studio FilmLOVE

ANNA ZARADNY — sound and visual artist, composer, instrumentalist. Characteristic of her creative practice is integration of music, sound art and visual arts, manifesting itself in the multichannel installations and objects as well as spatial-musical compositions she constructs. Solo displays authored by Zaradny include Pass/ed (No Local, Krakow, 2010), Tongue of Venus (Starter Gallery, Warsaw, 2012) and Reconstruction (Starter Gallery, Warsaw, 2015). Zaradny’s works have been featured in many collective exhibitions, including Early Years (KW Institute for Contemporary Art, Berlin, 2010), As You Can See: Polish Art Today (Museum of Modern Art, Warsaw, 2014), Mere Formality (Labirynt Gallery, Lublin, 2015) and The Silence of Sounds (Wrocław Contemporary Museum, 2016). In 2011 she was included among the finalists of “VIEWS Deutsche Bank Foundation Award” and received the audience prize. Zaradny frequently performed at Polish and international music festivals, such as In Between (Chicago, 2001), Hafarot Seder Festival (Tel Aviv, 2007), “What is Music?” (Sydney/Melbourne, 2009), Unsound (New York, 2011 and London/Krakow, 2013), EMFP Festival (Tokyo, 2011) and El Nicho Aural Festival (Mexico City, 2014), as well as at the Polish Composers’ Union’s “7+7=70” Festival of Seven Trends (Warsaw, 2016). Having for many years curated the late Musica Genera Festival of experimental and improvised music, she continues to run the Musica Genera record label. Her discography covers both solo records and collaborations—with, among others, Burkhard Stangl, Robert Piotrowicz, Christian Fennesz and Kasper T. Toeplitz. Zaradny also creates music for stage plays and performative acts. | www | soundcloud

The exhibition space will host Anna Zaradny’s performance Go Go Theurgy during the opening, due to begin at 7 pm. In addition, two concerts will give the opportunity to experience the artist’s musical output: first by Noetinger/Piotrowicz/Zaradny trio, on October 7th in ICE Kraków (as part of the Sacrum Profanum festival), then by Zaradny unaccompanied, on October 20th in the former Forum hotel (as part of the Unsound festival).