'Akumulator' (Polish for ‘battery’), 2019 is a reconstruction - using some original elements - of the gym in the squatted basement of a block of flats in which the teenaged Dudek used to hang out with his mates - also involved in football hooliganism - in the late 90's. Features equipment made from whatever was lying around. The image is a more recent sculptural version of weights made from an old radiator.
Hajra Waheed: from the ‘Anouchian Passport Series: Women with Amulets, 1-9’ 2008-11. The full series reproduces 198 passport photos taken by Armenian photographer Antranik Anouchain between 1935-70 in his Triploi studio. They were chemically transferred on to a new surface, then rendered in graphite by the Canadian-born Saudi, an elaborate process which enhances our sense of connection to the anonymous individuals. The British Museum's mal-titled Room 90 show 'Pushing Paper' scores on every other count: an exemplary selection of 56 post-1970 works, free, helpfully themed, and with concisely informative work-by-work descriptions such as I'd like to have written myself.
Alix Marie: 'Les Gaetianes' 2016 consists of pornographic magazine images scanned, printed on poly satin fabric and censored by the hanging, so tempting to viewer to spread out and reveal them. The title - at least for me - adds to the mystery. Typical of Marie in conjoining what a photograph and a skin can hide, and shown in 'Counter Acts' as one of the works young artists with a University of Arts background alongside many Turner winners and shortlistees to give a history of its artists' inter-connections.
Patricia Treib explained how she uses the 'script' of a drawing to make a full scale painting in a day, using flat,wide brushes with paint thinned to an ink-like consistency and working on the floor. The scripts are always based on observations in the world, but presented so that they cannot be recognised immediately, though the titles tend to give hints. Much of the unrecognisability arises from her strategy of concentrating on the negative spaces around objects as much as on the objects themselves, making what is marginal more prominent and 'displacing the logic of space'. She uses colour similarly to help 'sculpt the space'. 'Patina' 2019 is named after the colour taken from ancient Etruscan bronzes, and features a clock as its most prominent form - it looks a little urn-like, but some of the numerals are visible. Treib likes to start from items of personal significance, and her father was a clock repairer.