Ania Molska’s two video projections W=F*s (work), 2008, and P=W:t (power), 2007-2008 were projected onto corner walls in the KW Institute so as to function as a single video installation. It was a very effective combination.
Both videos can be classed as absurdist and so flitting one’s gaze between the two was highly sympathetic. W=F*s (work) shows a group of workers set the task of erecting a scupture made of scaffolding. What is interesting is that the object of attention is not the “sculpture” but the men themselves. Here we see the power of video to portray human activity which contrasts starkly with the vapid abstraction of the “sculpture”. The workmen are refreshing in their coarseness, refreshing that is in the context of fine art which can be overly precious and pretentious. The men swear, joke laugh and display a camaraderie which is very attractive: although, I entirely accept Priska Streit’s valuable comments made below.
On the other screen we see a completely abstract video which synchronises with the first due to its absurdism. P=W:t (power) shows an upside-down view of a squash court filled with tennis balls which have been painted white no doubt to co-ordinate with the red markings of the court. The tennis balls are in motion due to an invisible force: which is to say this video is actually a stop-motion animation. The piece also gains visual interest by zooming in and out from balls to court. One can also perceive resonances between the geometry of the scaffolding sculpture and the markings on the squash court as framed by the video camera.
I can’t find very much information on Molska on the web, whereas most of the artists in this Berlin Biennial have rather impressive commercial galleries. This is no doubt because they produce objects which, however jejune, can be traded by an art market hungry for a new crop of “geniuses”. In my opinion set against the largely boring objects and paintings on display in this Biennial, Molska’s absurdist videos are outstandingly good.