Dominika Bednarsky installation views from solo exhibition "he wants to be the worst, cause he can’t be the best" at Gaa Projects, Cologne, Germany
Dominika Bednarsky installation views from solo exhibition "he wants to be the worst, cause he can’t be the best" at Gaa Projects, Cologne, Germany
Dominika Bednarsky installation views from solo exhibition "he wants to be the worst, cause he can’t be the best" at Gaa Projects, Cologne, Germany
Dominika Bednarsky installation views from solo exhibition "he wants to be the worst, cause he can’t be the best" at Gaa Projects, Cologne, Germany
Dominika Bednarsky  Muttermalpokal, 2022  Glazed ceramic  31 x 29 x 16 cm / 12 1/4 x 11 1/2 x 6 1/3 in
Dominika Bednarsky  Arschlochpokal, 2022  Glazed ceramic  31.5 x 33 x 17 cm / 12 1/2 x 13 x 6 2/3 in
Dominika Bednarsky  Spaghettipokal, 2022  Glazed ceramic  48 x 26 x 18 cm / 19 x 10 1/4 x 7 in
Dominika Bednarsky  Ohrenschmalzpokal, 2022  Glazed ceramic  34.5 x 15 x 14 cm / 13 1/2 x 6 x 5 1/2 cm
Dominika Bednarsky  Hackfleischpokal, 2022  Glazed ceramic  27.5 x 32 x 17.5 cm / 11 x 12 1/2 x 7 in
Dominika Bednarsky  Zwiebelpokal, 2022  Glazed ceramic  29 x 13 x 13 cm / 11 1/2 x 5 1/2 x 5 1/2 in
Dominika Bednarsky  Pickelpokal, 2022  Glazed ceramic  41 x 22 x 13 cm / 16 1/5 x 8 2/3 x 5 1/5 in
Dominika Bednarsky  Glatzenpokal, 2022  Glazed ceramic

Press Release

Dominika Bednarsky

he wants to be the worst, cause he can’t be the best

September 1 - November 5

Gaa Projects Cologne

 

Gaa Projects is pleased to present he wants to be the worst, cause he can’t be the best and exhibition of new ceramic sculptures by Dominika Bednarsky. This will be Bednarsky’s first exhibition with the gallery and will open with a reception on Saturday, September 3, from 5 - 8 pm.

 

A cup adorned with used Q-tips. A chalice spotted with pink and fleshy human orifices-pimpled and pocked. Referencing the body, these seemingly metallic ceramic vessels are not entirely of this time. Insistent on a dense materiality, they feel simultaneously refined and heavy, delicate and ancient. 

 

A trophy is draped in spaghetti. Another vessel, a handled cup decorated with bulging dots and small tufts of hair. You can feel the sunburn. The exposed skin. The rawness of things we usually prefer to leave hidden. The aspects of bodies that, when exposed, feel bare and revealed. The fleshy and concealed processes happening in our bodies. Our stomachs are growling, sometimes quietly, sometimes loudly, sometimes at inopportune moments, but all the same- the daily, private, and uncelebrated bodily things.

 

In he wants to be the worst, cause he can’t be the best, Dominika Bednarsky offers reminders of the triumph of failures. In her exhibition of awards, Bednarsky calls attention to the object of the trophy. In ancient times Greek and Roman trophies were made on battlefields and sites of military victories. Often made to resemble a warrior, trophies or tortropaeum were often figures formed from the branches of trees and the refuse of war— objects, amour from the defeated, lances, banners, and stakes fixed crosswise. To chronologically follow would be formalized and substantiated commemorative objects taking the form of pillars and monuments, becoming part of the architecture— civilizations formed around sites, greatness, and victory.

 

Goblets, chalices, even the Holy Grail— vessels of precious metals and sanctity, evolved into plastic figurines in athletic poses. Mass-produced and embellished with detritus of sporting events, paired with urn-like shapes, contemporary trophies still reference the ceremonial form of a cup—Bednarsky’s trophies pair seemingly timeless forms with a kind of humor and irony distinctly of our time.

 

A trophy for the most pimples, the most ear wax, the most beautiful butt hole, the best bald head, in these vessels, Bednarsky gives us permission to relish with both repulsion and wonder. Subverting the power of trophies, Bednarsky undermines something central to ideas of value, worth, and beauty. With playfulness and humility, pieces like Muttermalpokal, offers an award to the longest hair growing out of moles. Zwiebelpokal, Onion Cup, a prize for the best onion smell, or maybe proposes we all be awarded onions for our successes or all the things we embody to extremes, our marvels. What happens when the stakes are different? When the award isn’t recognition for being the most victorious, the first to conquer, but something more absurd, human, banal.

 

Expanding the perimeters of what is deemed, decent, admirable, and award-worthy, Bednarsky’s chalices offer consolation and an off-kilter celebration of the messy, visceral, and ordinarily un-award-worthy things that make our bodies ours.

 

Dominika Bednarsky (b. 1994, Schweinfurt, Germany) is a visual artist who utilizes ceramic processes to build site-specific installations and objects. Bednarsky currently studying Fine Art at Hochschule für Gestaltung in Offenbach, Germany. Solo exhibitions include, Pussy-Cat, Pussy-Cat, Where Have You Been?, CK Offspace at G2Kunsthalle, Leipzig, Germany; A Sitting and A Slurping and A Spitting and A Thinking, 1822 Forum, Frankfurt, Germany; and Snap Competition, Schleuse in den Opelvillen, Rüsselsheim, Germany. Her work has been featured in recent group exhibitions at the Galerie Anita Beckers, Frankfurt, Germany; Künstlerhaus Palais Thurn und Taxis Bregenz, Austria; Nassauischer Kunstverein, Wiesbaden, Germany; Kunstverein Wiesen, Germany; Opelvillen, Rüsselsheim, Germany, among others. Bednarsky lives and works in Frankfurt am Main.

 

he wants to be the worst, cause he can’t be the best will be on view through November 5.