Inga Danysz

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”I am the scum in the pipe—an artist that pays low taxes, gets fired for drinking on the job. I’m hard for this immaculate tube to digest.”

Mary Furniss, Remedies for Vertigo, Goeben, Berlin (2021)

  • Remedies for Vertigo, Goeben (Berlin), 2021, Photo: Stefan Haehnel
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”Danysz transfers control mechanisms that appear ubiquitous yet imperceptible, into visible forms that examine the extensive functionalization of public space. In emphasizing the massive restrictions enforced upon society, the artist questions the superiority of economic principles. “But are there any limits to this will to codify, reproduce, establish, and maintain control over the most singular manifestations of humanity?” (Éve Chiapello) Danysz addresses this question by opening up a space that allows us to experience our individual involvement within the systematic mechanisms of prevailing power. ...

  • In Ancient Rome, Good Weather (Chicago), 2022, Photo: Haynes Riley
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“Are they macabre devices or some armoured shield for the body, protecting us from the horrors of the outside world. I see the sculptures as transformational spaces for latent interaction. A magician's box where she lays down and closes out the world, hoping to experience transcendental insight, emerging as someone made anew. In this view, Danysz's specular works do not contain or preserve bodies. They preserve the idea of choice. Whether you see a restrictive or protective space is your choice to make.”

Mary Furniss, In Ancient Rome, Good Weather, Chicago (2022)

In Ancient Rome
Photo: Guannan Li
In Ancient Rome
Photo: Guannan Li
  • Die Freiheit, die wir meinen, Kunstverein Bielefeld, 2019, Photo: Fred Dott
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