Christian Tomaszewski: On Chapels, Caves and Erotic Hopelessness

In his engaging essay, Adam Mazur writes: ‘At present, it is difficult to imagine precisely what Christian Tomaszewski’s reconstruction in Łódź of the atmosphere, scenes and objects from David Lynch’s Blue Velvet will look like.’ That is true. Yet to him, as to Ingrid Mössinger and Grzegorz Dziamski, it is clear that the installation will be fascinating. For could an exhibition by a ‘master at creating ambiguous, inconclusive situations that escape control’, as Grzegorz Dziamski described the artist, possibly be dull? As Ingrid Mössinger observes, since 2004 the artist has, ‘instead of individual museum displays, developed the concept of an endless installation that can be expanded and altered in any place over an unlimited period’, thereby giving his installations a ‘previously absent continuity in space and time’ and creating the impression that they are ‘eternal and, in their eternity, mysterious’. Christian Tomaszewski is a young artist who describes himself as ‘a person on the border between two cultures’. In an exceptionally interesting conversation with Tomasz Załuski, he states: ‘Life on the border between two worlds is interesting and stimulating, but also difficult, and certainly does not make it easier to participate in the artistic life of both cultures.’ Despite the difficulties, the artist fares well in both the United States and Europe. To me personally, Christian Tomaszewski is an exceptionally well-organised artist who understands a system that rewards diligence, activity and ingenuity. 

I invite you to visit Christian Tomaszewski’s exhibition at Atlas Sztuki, entitled On Chapels, Caves and Erotic Hopelessness. I am deeply convinced that it will be a fascinating encounter with an artist who will shine for years to come and attract audiences in large numbers.