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Edward Krasiński, Retrospective K140 (detail), 1984, ten photographs mounted on plywood, blue tape. Installation view. Photo: Roger Sinek.

Edward Krasiński

Tate Liverpool

Edward Krasiński, Retrospective K140 (detail), 1984, ten photographs mounted on plywood, blue tape. Installation view. Photo: Roger Sinek.

The oeuvre of Edward Krasiński (1925–2004), one of the most creative minds of the past century, is far from unfamiliar to me. Krasiński’s Warsaw apartment/studio was opened to the public in 2007 as the Avant-Garde Institute and quickly became a popular stop for art professionals visiting the city. His work was introduced to broader audiences in Poland through a retrospective at the Bunkier Sztuki Gallery of Contemporary Art in Kraków in 2008. Having visited both, I did not expect to find many surprises in Liverpool. Yet the exhibition, curated by Kasia Redzisz and Stephanie Straine, did amaze me, showing the artist as a maker not only of smart and playful works but also of their mode of display. As the interpretative panels suggested, his exhibitions were total scenarios.

The show (which travels to the Stedelijk Museum, Amsterdam, June 24–Oct. 15) was constructed chronologically.

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