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Discarded objects carry social inscriptions. Each fragment, whether whole or dissected, holds the imprint of its past life in a system of fabrication, circulation, and disposal. They stand as material traces of alienated labor, revealing how carelessly objects are abandoned once their extraction or function is worn out. As consumers, we stand at a comfortable distance from these processes, while remaining part of this nonstop cycle of industrial production and waste.
It is from these architectural residues that Julia Taszycka (b. 1992, Poznań, Poland) builds her compositions, using damaged ready-mades to expose an archive of a specific moment in time, and the unstable relationship between economic value and aesthetic value.
In “all the work i didn’t make,” there is no manipulation of materials; found objects are left as encountered, acting as visual agents of Lima’s production of commodities amongst vulnerable populations. Between New York City and Lima, th…
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Discarded objects carry social inscriptions. Each fragment, whether whole or dissected, holds the imprint of its past life in a system of fabrication, circulation, and disposal. They stand as material traces of alienated labor, revealing how carelessly objects are abandoned once their extraction or function is worn out. As consumers, we stand at a comfortable distance from these processes, while remaining part of this nonstop cycle of industrial production and waste.
It is from these architectural residues that Julia Taszycka (b. 1992, Poznań, Poland) builds her compositions, using damaged ready-mades to expose an archive of a specific moment in time, and the unstable relationship between economic value and aesthetic value.
In “all the work i didn’t make,” there is no manipulation of materials; found objects are left as encountered, acting as visual agents of Lima’s production of commodities amongst vulnerable populations. Between New York City and Lima, th…
