Great Scotch!

Edward Krasiński (Tate Liverpool, 21 October 2016–5 March 2017)

I confess I walked through Edward Krasiński rather quickly on my first visit — I’d been delayed by a shop having moved and thus a late check-in at my hotel, followed by further delay as I tried to access my work email. And I wanted, at least, a look over the stunning Blake-Emin combo to see if it was what I feared.


I was there to see Yves Klein, even if somewhere in my head it was Yves Tanguy. And I had just over an hour instead of the best part of ninety minutes. The next day, albeit again running late, I spent the best part of an hour in there.

But something had brought me up short — what looked like a broken ladder and then dangling black squares and a blue line.

Blue is beautiful.

Blue is best.

Did Tate Liverpool really schedule by the colour blue?

Krasiński’s early works are apparently Dadaist and surreal, but I assume that these are not on display. He seems to have been a late starter, with the works here dating from about 1960 when he was about forty. There are various small assemblages, too complex to be tagged Readymades (I feel the hand of Duchamp and Beuys on his shoulder), which are hanging on the walls. The materials include wood, metal, plastic, felt, acrylic and I get the sense that in part he is playing with the triangle set up between object, space and beholder. My understanding is that these would have been shown in darkness, a kind of labyrinth of art, but here the dark browns offset the whiteness of the walls and the bright light of this space. Later he would take photographs of some of his works on location, undercutting privileged vantage points (although a photo does fix one).

There’s also a large photo, Untitled (1996) of man in suit holding a hose coming off a roll — the end of the column column protrudes, next to a small piece of rope, and a bit of blue tape that I didn’t notice on my first go round. A relic of an earlier exhibition or deliberated short?

The second area has various solids hanging from wires (although I did wonder if these didn’t need to be less visible. Composition in Space 4 (1965) has a vertical suspension of black discs, each with a red to white colour red disc of decreasing size in each centre. There were also a numbers of broken spears, with the same dark brown, red, white colour gradation, suspended more or less horizontally, one looking like a broken rope ladder. And then there were a series of balls, not quite a Newton’s Cradle — and I wonder if Cedric Christie came across these works. There’s a capturing of time and space, a freezing of movement.

The third space — although I was quite clear of the trajectory, and I suspect Krasiński would lead us — had various small assemblages on white plinths, interventions, consisting of cords, cylinders, slopes and bits of wood. There’s a black cylinder, apparently filled with blue stuff, dribbling over the edge. J-4 (1968) is a tube going through a cylinder, cable in tube on curved white ribbon, from which the numbers 234567890 emerge. Where is number one?

But the breakthrough seems to have come with the Tokyo Biennale, when his sculptures were delayed in transit. He was going to send them a telex — the word BLUE five thousand times and this would be on display, on a coil of paper. To mark time, he arranged for a strip of blue Scotch Tape to be placed around the room: “After that there was nothing more I could do; it was so radical there was no turning back”


We get sculptures of white and blue — a white rectangle, blue at the bottom, a blue cable dangling; two white books, one labelled A (and the other B?), a blue cable emerging, a blue surface between the books; a gutted white phone, dark blue wire tangled; the A/B opposite pages of an open white book with a blue tube emerging…

“I have lost the end” he says, in a photo of him trying to untangle some string or rope or cable.

The next room is of interventions — black and white axonometric drawings, unmasking the reality of the flat and the three dimensional, a kind of demented IKEA catalogue, with his now trademark blue stripe following the walls, weaving past a toilet chain and water pipe, giving illusions of depth.

the blue stripe is the intervention by the artist who is an on-looker/witness of the events taking place. It is an observer of changing phenomena that contain time. All that exists is time. Even inanimate objects are not extemporal: they are mutable”

… this leads us into the next space, which includes a false corridor, and a photographic and artistic replication of his apartment and gallery.

The artist Henryk Stażewski had invited him to live in his apartment and eventually left it to Krasiński. Art would be made there — or in his bedroom — and then shown in the apartment as gallery, with photographs of the space sometimes being shown in other galleries. The blue line continues across further axonometric drawings, and some white three dimensional objects, line with black. Photos of Krasiński’s acquaintances and other artists hang on cubes, striped blue, apparently making visual puns (although I didn’t get the joke). There is a token example of Henryk Stażewski’s work, black lines on a white background, like needles

And then there are sculptures of large, bent paperclips.

We’ve all been there.

The final intervention is a series of square mirrors, with black reverses, hung from the ceiling disrupting the space. They are utterly hypnotising.


Krasiński’s art has a deceptively simple idea underlying it, but it was so seductive. On the one hand, a kind of minimalism, on the other complexity. It might be site specific — in that the meaning of the site it is found in is changed by the work. But the work could be everywhere.

There is a photo of Krasiński conducting the sea, a moment worthy of Klein, a musical Cnut. But he has such a strange power — a strip of blue Scotch Tape, 20mm,* at a height of 130cm, length unknown or unnecessary can turn anywhere into art.

* or 19mm. Imagine if Scotch Tape were to go bust. The end of art.