Dimensions: Egg: 122 x 147 x 122mm Plinth Designated size:500 x 500 x 500 mm
Copyright: © The estate of Edward Krasinksi, courtesy Foksal Gallery Foundation, Warsaw | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: At first glance, it feels like a riddle, almost absurd in its simplicity. A lone egg, perched atop a stark black and white plinth. Editor: This is Edward Krasinski's "Untitled," a piece that encapsulates his playful approach to spatial intervention. He was active from 1944-2004. Curator: The egg, of course, is laden with symbolism. Birth, potential, fragility, but its presentation here feels deliberately defamiliarized. Editor: Krasinski was very interested in challenging the conventional space of art with the use of everyday objects. It subverts traditional notions of display, and asks us about the interplay between the mundane and the monumental, doesn't it? Curator: Yes, and I'm reminded of the power dynamics inherent in display itself. The egg, vulnerable, placed on this plinth... it becomes a commentary on value, visibility, and what we choose to elevate. Editor: I see echoes of ancient creation myths, but refracted through the lens of postmodern irony. It's a thought-provoking confrontation of the ordinary and the symbolic. Curator: Absolutely, and it invites us to question the frameworks we use to understand not just art, but the world.
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T12624 is an artwork comprising an ostrich egg. It has been blown, which means that the contents of the egg have been removed through a small pinhole. The egg is a found object, which was included by Krasinski as a sculptural work alongside his mirror installation Untitled 2001(T12558), when it was first installed in 2001 at the Klosterfelde Gallery, Berlin. The egg was exhibited on a plinth, lying on its side, and several other untitled sculptural objects, including T12559, T12560 and T12567, were also exhibited on plinths of varying sizes. The ostrich egg was placed in a spatial relationship with these other sculptural objects, and with the mirror installation around it. In Krasinski’s 2000 exhibition L’Autre Moitié de l’Europe at the Jeu de Paume in Paris, a number of large blown eggs were exhibited on individual plinths of equal size, alongside an installation of photographs. Krasinski’s use of the egg as a sculptural object can therefore be seen as appropriating its visual and sculptural qualities as part of his own vocabulary of sculptural forms.
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