Your browser is unsupported

We recommend using the latest version of IE11, Edge, Chrome, Firefox or Safari.

Nadia Gribkova publishes “Edward Krasiński: Studio as Site of the Universal” in SEQUITUR

Edward Krasiński’s studio flat in Warsaw, c. 1970. Photo courtesy Foksal Gallery Foundation, Warsaw.

Edward Krasiński: Studio as Site of the Universal
by Nadia Gribkova

In the 1970s, a thin line of blue Scotch tape began its horizontal motion across the interior of Edward Krasiński’s (1925–2004) studio apartment in Warsaw, Poland (fig. 1). It crept across the walls and windows, covered furniture, photographs, paintings, and partition curtains. At times, the line would break—only to reemerge unchanged, faithful to its unyielding trajectory around the room, one hundred and thirty centimeters above the parquet floor, nineteen millimeters wide. Soon, it would breach the bounds of the artist’s Warsaw studio and mark the walls of museums and galleries around the world. But it was in his apartment, most intimate of interior spaces, that Krasiński developed the line as a material alternative to the painter’s brushstroke.