Agata Ingarden’s solo presentation at LISTE consists of works selected from her graduation project, The House. Starting points for the works are, a lodging house on the Adriatic coast, emptiness and boredom. The artist’s invented narratives fill these spaces.
The stories emerge from gray ceramic vases/amphoras, glazed inside, opening at the bottom. These objects, produced to transport goods in ancient times, become containers for words – modern mythologies, modifying and transforming the voice in their sculpted forms. Their outside surfaces present tags – written residuals of stories that have been diffused within them.
Other works function as screens. Their forms – resembling a sun-bed, a solar panel or a coastal cliff – evoke a sense of warmth and comfort. Reminiscent of surveillance radars or satellite antennas, recalling sunflowers or mirrors turned towards the sun or the viewer.
Technically, the panels are filled with acoustic foam covered with crystallized salt. Salt settles on these panels like layers of dust or perhaps overheard stories. The amphoras transmit, the screens focus and cumulate, the foam absorbs, the salt preserves.
There are nine short novels being diffused from the vases. These take place somewhere on a Mediterranean island in a holiday house. The six videos show different aspects of the House as an uninhabited location. Represented environment vibrates, moved by electricity, whispering news from television screens, changing tides and weather, coordinated animal movements. Found objects merge with sculptures and become animated. It is unsure wether this curious set has been affected by the events described in the novels, or, if it is about to provoke them.
The location is transformed by the camera’s semi-objective, documentary-like point of view into a self-organized microcosm, where unfolding narratives modify the landscape and where fictions emerge from the reality we look at.