Born in 1974, Warsaw, Poland – Lives in Warsaw, Poland
The starting point for the works of Aneta Grzeszykowska is image, photo or video taken as much in its documentary aspect as in its ability to transform reality. If her work falls under the category of performance, with her own body as the star, she does not hesitate to use the simple manipulations of Photoshop and Second Life. In Headache, a naked and plainly female body (that of the artist herself), goes through a series of changes in a black void. It is in this blackness that the illusion comes to life—it dislocates the body and lends it an almost objectlike status that makes its dismemberment totally believable. Cleanly chopped, each limb performs a separate task, taking on a life of its own with an almost animalistic mystique, expressing a sort of rage against the senses, as the head becomes a martyr—the hand pulls her hair, the head spits on the hand, the hand slaps the head, the four limbs gang up to hit the head that breathes and suffers, falls inanimately, pulled up by the hair to reunite with the trunk, legs, and arms of a reconstituted body, in a larval state, but completely off-kilter. There is a surrealist aspect—almost cartoonish—to the dismemberment scene with a naturalistic treatment of the image that places the body front and center in a harsh light. In this violent relationship between the head (passive victim, incapable of its own defense) and the rest of the body emerges a kind of revenge of those who attain autonomy from their leader. This physical disconnection of the limbs echoes a form of psychological discontinuity of the personality. By exposing the self, the artist’s body parts against this unrealistic surface, a form of objectification and selfanalysis is brought about. Beyond the visibly onanistic dimension, the staging can be understood as a metaphor for the ambivalent relationship of dependents and the autonomy of independent parties in a collective that organizes them, on articulations of power, and on subjectivity.