Insight: ALEKSANDRA GRüNHOLZ, the allure of the dark and the grotesque
When we cannot make sense out of all the information, with which we are bombarded each day. When we cannot use reason to comprehend the world. We surrender and we give up because, in the end, we will always do anything for the peace of mind. We Will Fail is the alias, under which Warsaw-based artist Aleksandra Grünholz debuted with the album Verstörung released by Monotype Records in 2014.
We Will Fail highlights the technological progress in different ways. Not only do the tracks involve a great deal of digital manipulation, but conceptually they also point to the machine-influenced life of the human. For example, in the teaser video for the 2016 release Hand That Heals / Hand That Bites organic smooth moves of animate bodies are replaced by robot-like rough fits. The video shows how rhythms of reality are epileptically orchestrated by electrically-powered instruments and how the digital sonic vibrations saturate our environment, causing even fish to palpitate. We have become disrupted mechanisms ourselves. There are glitches in our social systems, but rather than by getting frustrated, we will rather improve by embracing the change and listening to the surrounding materiality. The title ‘Hand That Heals / Hand That Bites’ also points to the old proverb warning not to act against someone or something that we depend on.
Could it evoke the ever-increasing dependence on the machine in the life of the man and the emergence of the cyborg age?
Technological development gives us multiple opportunities, making our life easier, as a healing hand helping surgeons perform operations that are too complex for human skills. It gives life, but will it ever bite and kill in return? This two-part album, rich in brutal beats, just like its cover bleeding in red, could provoke worries and leave one anxiously trembling in sync, but instead, it evokes hilarious grotesque and the absurd of the present day.
As the only graphic designer of Studio Chaotyczne (Studio Chaotic) Aleksandra Grünholz uses kaleidoscopic visual imagery and sophisticated sound to seduce one, only to deceive them straight after. The title of her album Dancing, for example, invites one to a party, but immediately after one enters its sonic space, they realise that, instead of moving, they would rather listen in silence and stand still.
For 2018 Unsound in Kraków, she did not only perform but was also in charge of the festival’s design and visual identity. Her dual artistic practice, thus, collapses the boundaries between listening and seeing, between the experience of the image and the sonic.
The artist contrasts these two forms of expression. She reveals how they juxtapose, influence and
Fail, is not meant to evoke hopelessness, but rather to give
In her visual designs, as in the ones of the two last editions of Unsound Festival, Aleksandra evokes Flemish tradition and Renaissance paintings, The Last Judgement scenes, for example, by Hieronymus Bosch or Hans Memling. As for the Flower Power edition of Unsound 2017 in Kraków, her mesmerising elaboration of graphics makes the static move, while the overwhelming detail makes one slow down to look and immerse in delight into the artist’s surrealistic dream worlds.
These extravagant images, like her techno collages from field recordings, brutally seduce with their affective mystic beauty, in order to reveal their genuine grim gloom and nihilistic nature underneath. Like the apple that poisons; like the paradise that we have lost; like the siren’s song that tempts indulgence, but kills in the end, Aleksandra’s eccentric graphic practice and the We Will Fail sonic success are both a disquieting disturbance of our grey days of taking the reality a little bit too seriously.
Words by Agata Kik
Your last album Dancing is inspired by the night and raving. Could you tell us a bit more about the intellectual process behind it?
I read that we have limited amounts of self control and after whole day of struggle with our weakness, we tend to break in the evening. For example, you eat healthly and in small amounts, but in the evening you get tired, frustrated and eat 3 times more as you would eat normally. I’m interested in that moment. It makes this whole fight useless.
I’m thinking that currently we are at that point of being tired and letting go. Reason loses with billions of contradictory informations. Night I s a moment when mind is not perfectly sharp and fully focused. All gets blurred when there is no light, no distinction in what is true, what is right.
Title of the album is obviously tricky. It’s like an invitation to a party, but when you come to the venue, it occurs it’s not a party and nobody is having fun.
What were the technical challenges you faced for its development?
Some tracks were rearranged a dozen times. It occurred that the idea for a track is not enough as a whole to work. Despite the thought I had, that we are in dark ages of reason, I didn’t want to leave the listener with a sense of hopelessness, rather tha to give energy. I knew what impression I wanted to make, but it was not easy to change it to the music.
In your productions, you usually include field recordings. There is a notable increase of field recordings in recent contemporary music. And field recordings can have quite a strong sociopolitical meaning. What are your views on the subject? What’s your idea behind using these?
Field recordings can add space, atmosphere to the composition. Many times I have used them to unflatten the track. Well chosen recording can add another layer of meaning or tweak the music. I like possibility, that by adding something totally not fitting to the beat, it can make dancing to that track totally inappropriate.
Some of your artwork takes on still live and naturalistic style, where does the interest come from?
I guess this interests came from my education. I was in art school, learned how to draw, paint and spend hours on history of art. I like when image is sophisticated, full of details, watching this kind of images give me a big pleasure. Maybe this is another way to slow down – I have thoughs about shallowness of present day. We do so many things at the same time. Attention slips through the surface and runs away further, for another distraction. I like when the eyes get caught up in something for longer time.
I also like the fact that realistic elements can be combined in such a way as to emphasize the weirdness of the situation.
The artwork for some of your releases is a take on the grotesque and Dantesque images of hell. You mention that the quote you had in mind while creating the covers for all 3 releases was the title of Goya’s etching Sleep of Reason Produces Monsters. What is your favourite time of the day to create?
Your chief enemy of creativity?
Too much work at the same time, stress and time pressure. In my case ideas need time to grow and I have to rethink them many times. I have no trust in first thoughts and spontaneous resolutions.
Your work feels very powerful and strong but delicate at the same time. What are you unafraid of?
To be a disappointment. Or to be bit ugly in what I do.
I was making an album with awareness that it won’t be a pleasant and popular.