Balka uses height, gravity, distance, and continuous space in order to approach the necessity of understanding remembrance and memory itself. He brings the viewer in to a position of experience and absorption and as less of an observer and more of a witness. Realizing the importance behind sculptures relative to monuments and memorials, embracing fear and crossing thresholds, approaching an infinite search; whether it is to escape, or find the missing pieces/letters in order to reach an understanding. Balka creates a space where it is pertinent to acknowledge what it means to remember.
Miroslaw Balka continues his investigation of both personal and collective memories, especially as they relate to his Catholic upbringing and the collective experience of Poland’s fractured history. Through this investigation of domestic memories and public catastrophe, he explores how subjective traumas are translated into collective histories and vice versa. His materials are simple, every-
day objects a powerfully resonant of ritual, hidden memories and the history of Nazi occupation in Poland. Balka uses height, gravity, distance and continuous space in order to understand remembrance and memory. He brings the viewer to a position of a witness less of an observer. Realizing the importance of sculptures to monuments and memorials, embracing fear and crossing thresholds the artist
continues his infinite search; whether it is to escape or find the missing pirder to reach an understanding. Balka creates a space where it is pertinent to acknowledge what it means to remember. ‘SCHLAFBROCKEN, ’ is inspired by Paul Celan’s poem. It is composed of the group of sculptures related to the ruins of the architecture and a sound piece titled ‘SCHLAFLIED, architects’, which is a lullaby sang by the artist and repeating names of Nazi architects.