Body as place, art as exile*
Bololô, the amorphous concentration of material, is a basic element of much of Frida Baranek’s work, something so characteristic of her output that it could be taken as her signature. She often employs wads of metal wiring as her material, that might appear to be junk. However, when she unravels them and adds further elements, in themselves semantically trivial, they are transmuted and acquire new meanings. In both Unclassified (1992) and BBB (1993) spatially expanding metallic clouds draw together flat metallic surfaces, wires, airplane components, air, interpretations, glances.
These murundus, another key word that resonates throughout these works, are sometimes produced from metal sheets, rods and stones. The elements vary, but the articulation of common materials is a constant, generating something distinct and significant. In other words: art.