Sariev project space, Plovdiv /
07.07 – 30.08 2014
Curated by Walter Seidl
Komitski takes everyday objects and unplugs them from their original context.
Like in rock music, when musicians play without electrical instruments, some parts of the original remain while others are altered.
One of the central installations at Sariev Contemporary is a water-pumping device, which reverses the logic of the objects in use. A generator pumps water through a hose into a rubber boot hanging from the ceiling. The boot operates as a showerhead letting the water sprinkle through its soles. Hence, the artist reverses the logic of the rubber boot to protect feet from water and instead turns it into a permeable device that questions the traditional use of objects. On the other hand, a traditional phone book takes the function of a bookshelf. Here, Komitski refers to the outdated use of heavy phone books, which are no longer in use due to Internet devices and apps, which do not require physical means of information. Hence, the phone book as an obsolete item becomes a shelf onto which books can be placed that were once in use but might never be read again.
On two occasions, the artist plays with the notion of shapes of gimmicks or industrial goods and manipulates them with an ironical twist. A white plastic ghost mask obtains a black hood with a red pom-pom, which turns it into an evil figure similar to horror movies, where doll creatures signify the evil forces. At the same time, notions of Edward Munch’s “The Scream” come into play. On the other hand, Komitski uses a hygienic plastic mat put into urinals to protect users from the smell. However, the artist frames it and turns it into a ready-made art object reminiscent of R. Mutt. Another element of this work is a printout of the original photo of the R. Mutt fountain, with the urinal cut out and the white space left empty. The connection to the mask is purely visual, the mask reminds of the urinal, but is taken from the 1996 movie “The Scream.” Hence, the works also make reference to Beuys’ message from 1964: “The Silence of Marcel Duchamp is Overrated.” A new moment in the artist’s oeuvre form collages, which take everyday urban and architectural situations that are sometimes placed upside down. What remains are distortions of a conventional gaze that directs viewers into a certain direction. Hence, Komitski challenges traditional notions of the gaze and tries to lead viewers to a new understanding of reality by questioning reality itself. The same goes for a collage, where cats are turned into cows or simply following the saying: “All Cats are Grey” (at night), which is also reminiscent of a song title by The Cure from 1981. What is real and what is not has to be decided by the spectator. There is no right or wrong, the only thing that matters is the viewpoint on conventional matters, which are bereft of any morals and thus cannot be perceived in a unilateral way.