Edward Krasinski (1925–2004) was one of the most important artists of the European post-war avant-garde. He sought to reduce sculpture to a mere line, epitomized by his use of blue adhesive tape, which he placed at a height of 130 centimeters across his installation works. “I encompass everything with it and go everywhere,” he once explained. “This is art, or is it?” The blue tape extends across walls and objects in his Warsaw studio, which has been preserved as he left it. When I first visited the studio—in an apartment on the top floor of an ordinary block of flats from the communist era—I found myself surprised and confused. Years later, curating Krasinski’s retrospective at Tate Modern and then the Stedelijk, I wanted visitors to feel the same while discovering his complex, yet delightfully playful practice. The interior is full of little This story is from Kinfolk Issue Forty-Three Buy Now Related Stories Arts & Culture Issue 43 Space Invaders Room dividers from a Roman studio. Arts & Culture Films Music Issue 42 Peer Review Iranian artist and filmmaker Shirin Neshat pays homage to the iconic Egyptian singer Oum Kulthum. Arts & Culture Issue 41 An Artist in Tunis Dora Dalila Cheffi is building her reputation, and her home, in the Tunisian capital. Arts & Culture Issue 41 Peer Review Curator Alya Al-Mulla shares the legacy of Algerian artist Baya Mahieddine. Arts & Culture Issue 41 CULT ROOMS Inside Alexander Calder’s studio, where chaos and kinetic art found a harmonious balance. Arts & Culture Issue 40 Katie Paterson The artist making work for other planets.
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