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1976, Gdansk. Lives in Warsaw.

The walls of Olowska’s chosen apartment are layered with the remains of pink striped wallpaper, graffiti and a painted island view. These traces of time have been left untouched, becoming part of the presentation and a backdrop for three carpets Peggy Rug, Warsaw Rug and Le Shoe specifically created by Olowska for each of three main rooms. Composed as if paintings, then crafted as traditional Turkish carpets, these striking compositions shift attention from eye to floor level, changing our normal perspective of an apartment space.
Peggy Rug is based on an image of model Peggy Moffit who worked for fashion designer Rudi Gerneich. In 1964, Rudi designed a bathing suit, which he introduced on Peggy. At the time, this costume was considered quite provocative. Appropriated here, Olowska replaces Peggy’s swimsuit with sections of old Turkish carpet resulting in an image of a strong woman, empowered by history.
In the side room, Le Shoe boasts a more domestic reference. As if someone has walked in, undressing as they go, a purse, gloves and shoes lie in the corner, with elements of the ceiling’s ornamentation also reflected in the design. The largest carpet, Warsaw Rug presents a bird’s eye view of the architecture in Praga, a district on the eastern outskirts of Warsaw. Once an ideal image of socialist modernism, the stadium now houses a market of illegally sold tapes, CDs, cigarettes and alcohol.
Olowska’s works in turn enter into a dialogue with Lukas Duwenhogger’s painting Sunday Afternoon, particularly in the similar references to ornamental textile patterns. Thus, the entire apartment becomes a space for reflection on fashion, domesticity and the city.

November Paynter


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