someone has eaten from my bowl (2010)

  • 1 x film 16 mm exported to DVD PAL; 4'56''
  • 6 x objects, “pairs/preparations”; wooden boxes, LED light, containers (porcelain, stoneware), figurines (porcelain and plastic); various sizes;
  • 1 x folk tapestry; „Eigenes Heim mit seinem Frieden ist ein Stuck vom Paradies”; cotton fabric, embroidery; 135x82
  • 2 x reprints of advertising posters from fashion magazines from the 1930s and 40s; 25x38
  • 2 x photographs showing how to imitate nylon stockings in the period of crisis after World War II; 1(25x38)
  • 1 x photograph; a reprint of a monidło (monidło-portrait, retouch); 60x85
  • 1 x photograph; film still from “Someone has eaten from my bowl”; coloured photograph 5x3,5 + frame 34x29
  • 2 x reprints from a German-Polish dictionary; 25x38

The surprise of the seven dwarfs from the fairy tale Snow White and the Seven Dwarfs expressed with the words Someone has eaten from my bowl... , as well as the motif of “rescaling” – the inadequacy of the world of a human female to the world of wood dwarfs – have provided the title and the context for this installation. The typical fatal character of the story, strangeness, oneiric elements and the distortion of the scale, constitute for me the structure through which I filter the selected approach. By investing both the film, as well as the rest of the presentation with the attributes of language and the fairy tale world, I create the character of an inevitable spell which is necessary in this case.

What we see is the snatches of the historic presence of the Germans in the area of Lower Silesia in the form of the houses and homesteads they abandoned, as well as objects belonging to that order – such as kitchen dishes with names suggesting their contents. A children’s counting-out rhyme that talks about the order in which one should bake a cake so that it is good starts the transfer to the memory of these places. Listing culinary ingredients builds a system, a basis of a structure. The image is subjected to the rules of montage and music which seem to be separate entities, influencing each other or even fighting for a position and importance within the structure of the whole.
The film is built upon two dominant motifs. The first one is a runaway girl seen always from the back. On her calves there are drawn the lines that substitute the non-existent stockings. This gesture limits her figure to the legs in motion only, in the act of running away (also away from the frame). The second main motif of the film is the stubbornly recalled landscapes with the centrally placed buildings. These frames are static. The slightly trembling nature is the only moving element. The buildings are stuck in the ground. Despite the fact that the nature is moving all around, that due to politically sanctioned relocations people also moved, “houses” last. The chorus of the counting-out joins the two motifs and becomes at the same time the mechanism that determines this image.