Art: Courtesy of the artist, Foksal Gallery Foundation and Fortnight Institute, New York. Photo by Jason Mandella
The 28-year-old Polish artist Agata Slowak told the writer and curator Alison Gingeras, who prepared the press materials for Slowak’s show at Fortnight Institute, that she “wanted to queer Jesus.” Her paintings are full of nails and stigmata — surreal, sadomasochistic images that depict male ruin and female power. Slowak wrote to me that she, a young woman in a Catholic country, occupies a “rupturing position.” She added, “I find it difficult to function in communities in general.
Slowak’s technique is partly classical. We think of the early Renaissance and Romanticism and Cranach, but also the kitsch-modernism of Picabia and the hyperrealist images of masturbation by Christian Schad. Slowak is painting her love life, her fantasies, and the murky night world of her desire. Gingeras calls it “auto-psychoanalysis.”
Art: Courtesy of the artist, Foksal Gallery Foundation and Fortnight Institute, New York. Photo by Jason Mandellaa naked couple stands in front of a burning building. The man is missing an eye, which is located in the woman’s mouth. He licks at it, as if to say, “This is mine. I want it back.” He is balding, effeminate, long, narrow. She is in control, gazing at the viewer. It’s a picture of dismemberment and defilement and decadence, though the couple exudes a strange sense of comfort.
These days, artists often crawl into older styles of painting and inject them with new electrifying subject matter. Cecily Brown repurposes de Kooning’s Abstract Expressionist nudes by adding women and unfamiliar narratives; Lynette Yiadom-Boakye uses the work of the Eight, an early-20th-century movement, to produce extraordinary scenes of everyday Black life; Betty Tompkins brings Chuck Close’s photorealism to scientific detail, zeroing in on dicks in vulvas.
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