2023 – Ongoing
Photographic Documentary
"Not to bear Witness, but to bear Presence", 2024
Research and Poster
In collaboration with Tudor Bratu
Offset, 420 × 594mm | Edition of 250
"In the desert of history every step forward seems a lurch towards a past that divulges itself as an unbound trace. This trace scatters as it attempts to form a path, while it simultaneously crosses the organ that propels it onwards. The resulting dichotomy becomes indicative of a linearity that is both leading, and disorienting – a dance that elegantly, yet covertly, omits the collision with a collective memory that is often presumed to be final. Remembrance seems hardly possible without this misleading dance, for the act of remembering carries within itself an act of betrayal – both a forgetting, and an absence. There is hardly a history without a submission to this movement, and therefore, hardly a history without an admittance to a perpetuation of betrayal, or to forgetting, or to absence. The blind admittance to this linearity suggests a missing language – a dialogue that cannot be held until words are formed and spoken, and then, with the greatest hesitation, left unbound. To chisel words into a stone not to form them, but to suggest the movement and the force that makes the cut. The gaze leads itself to the picture not to bear witness, but to bear presence. To trace a footprint not in order take the same path, but to deepen the imprints left behind. [...]"
Julia Waraksa (2024)
"A Bear Trap in No Man's Land", 2022
Publication and Accompanying Scenography
326p. 210 × 270mm | Edition of 20
"The Cult of Personality is Stained", 2021
Intervention in the Institution that lasted approximately 13 months (April 2021 to June 2022)
60 × 60mm | wooden frame
"The Poetry of Protest", 2019
Publication and Installation
60p. 210 × 270mm | Hand-bound | Edition of 10
2023–Ongoing
Photographic Documentary.
"Not to bear Witness, but to bear Presence", 2024.
Research and Poster
In collaboration with Tudor Bratu
Offset, 420 × 594mm | Edition of 250
"In the desert of history every step forward seems a lurch towards a past that divulges itself as an unbound trace. This trace scatters as it attempts to form a path, while it simultaneously crosses the organ that propels it onwards. The resulting dichotomy becomes indicative of a linearity that is both leading, and disorienting – a dance that elegantly, yet covertly, omits the collision with a collective memory that is often presumed to be final. Remembrance seems hardly possible without this misleading dance, for the act of remembering carries within itself an act of betrayal – both a forgetting, and an absence. There is hardly a history without a submission to this movement, and therefore, hardly a history without an admittance to a perpetuation of betrayal, or to forgetting, or to absence. The blind admittance to this linearity suggests a missing language – a dialogue that cannot be held until words are formed and spoken, and then, with the greatest hesitation, left unbound. To chisel words into a stone not to form them, but to suggest the movement and the force that makes the cut. The gaze leads itself to the picture not to bear witness, but to bear presence. To trace a footprint not in order take the same path, but to deepen the imprints left behind. [...]" Julia Waraksa (2024)
A Bear Trap in No Man's Land, 2022.
Publication and Accompanying Scenography.
326p. 210 × 270mm | Edition of 20
The Cult of Personality is Stained, 2021.
Intervention in the Institution that lasted approximately 13 months (April 2021 to June 2022).
60 × 60mm | wooden frame
The Poetry of Protest, 2019.
Publication and Installation.
60p. 210 × 270mm | Hand-bound | Edition of 10.
Artist Statement
Biography
Contact