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 47 Correction: The Starving Artist Bad times don’t always make for good art. Arts & Culture Issue 47 Peer Review Hadani Ditmars on the disappearing legacy of Rifat Chadirji, Iraq’s most influential architect. Arts & Culture Issue 47 Rachid Koraïchi Meet the Algerian artist building cemeteries. Arts & Culture Issue 47 Simone Bodmer-Turner Meet the artist throwing clay a curveball. Arts & Culture Issue 46 Studio Visit: Yoko Kubrick In the studio with a sculptor of monuments and mythologies. Arts & Culture Issue 46 Peer Review Upcycle designer Laurs Kemp on the influence of mid-century salvage artist Louise Nevelson.
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