{"id":28794,"date":"2024-04-26T21:59:50","date_gmt":"2024-04-26T19:59:50","guid":{"rendered":"https:\/\/kwartalnikfotografia.pl\/?p=28794"},"modified":"2024-04-26T21:59:52","modified_gmt":"2024-04-26T19:59:52","slug":"te-wszystkie-rozczulenia","status":"publish","type":"post","link":"https:\/\/kwartalnikfotografia.pl\/en\/te-wszystkie-rozczulenia\/","title":{"rendered":"ALL THESE DISAPPOINTMENTS"},"content":{"rendered":"

26\/04 - 25\/05\/2024 \/ Pozna\u0144 Art Week \/ Grzeszykowska \/ K\u0119dziora \/ Kobierzy\u0144ska \/ Kulesza \/ Or\u0142owska \/ exhibition curator: Kamila Kobierzynska \/ vernissage26.04. 2024 at 7 p.m. \/ Galeria Centrala, Pl. Ratajskiego 6a in Pozna\u0144<\/strong><\/p>\n\n\n\n

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I see a circular horizon line that encloses the valley on all sides. I see the agitated, turbid stream in which flows the
Between the hills. I see trees with powerful legs growing into the ground like one-legged immobile animals. The stillness of what I see is apparent. When I wish, I can penetrate through appearances. Then, under the bark of the trees, I will see moving streams of water and sap that circulate back and forth, up and down. (...) That I am looking, without reflection, without any judgment, without any feelings. And immediately I discover another thing - that I can also look through time, that just as I change my point of view in space, I can also change it in time, as if I were an arrow on a computer screen, which, however, moves by itself or simply knows nothing about the existence of the hand moving it.<\/em><\/p>\n\n\n\n

.
Olga Tokarczuk, Day house, night house<\/em><\/p>\n\n\n\n


The authors participating in the exhibition work in the realm of photography, partially expanding the field of this medium with the use of textiles and organic elements that make up the installations. The work \"Afterworld\" by Anna Orlowska is an echo of family stories. The artist takes us to the old village of Sandowitz, today's Z\u0119dowice, where a water mill stands, around which the fate of successive family generations revolves. It's a deceptive journey through scraps of memories, old photographs, warmth. The artist uses the deposits of turf ore from the river flowing next to the family home, in which she soaks fabrics and then places photographs on them. In the exhibition, frames from the author's archive are juxtaposed with black-and-white photographs from the family's now-defunct mill. Aneta Grzeszykowska's work \"Mom\" draws on the experience of parental relations, where an important part of the prepared works is the participation of her daughter Franciszka. The work takes as its starting point one of the fundamental social relations - the relationship between mother and daughter. Grzeszykowska creates a situation in which the daughter animates a sculptural image of her own mother. The mother becomes a puppet, while the artist transfers her role to her daughter - ceding her own traits, temptations and creative ambitions to her. Kamila Kobierzynska, in her premiere work \"I Wish I Could Eat the Salt Off,\" looks at herself from the past by creating a space for acknowledging the childhood wrongs of the time. The prepared fabric bears a lot of dirt, like an enlargement of a grid from a school notebook, as well as a simplified drawing of a child figure with broken knees - everything has been scaled down. The obverse and reverse of the fabric work together with the light overlapping each other. Anna K\u0119dziora has for several years described the wide area of her creative search as \"Conflicted Landscapes.\" The works presented in the exhibition are dedicated to the Rhine River, which the Artist has been vigilantly and tenderly observing for years, increasingly giving it the characteristics of a creature rather than a servile object. The photographs she has taken are originally exposed on instant Polaroid material and later enlarged, thus emphasizing the organic nature of the landscape she finds and the medium itself. The photographs are accompanied by a small object that complements the haptic sphere of the work. Ewa Kulesza in her realization located in the farthest
The gallery room highlights how the past is reflected in the present through remnants, seemingly insignificant leftovers, which the Artist transforms by giving them new meaning, restoring them to prominence. The situation created by the Artist contrasts with the gentle beginning of the story of disenchantment, it is here that there is room to reflect on what we feel will be left behind. The anxiety that accompanies loss, the courage to face the past, the taming of the uncertain, the awareness of fragility through everyday admirations... From everything until your head spins, so keep your eyes close to me, then comes the disenchantment.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n


Kamila Kobierzynska, curator of the exhibition
Authors participating in the exhibition:
Aneta Grzeszykowska
Anna K\u0119dziora
Kamila Kobierzynska
Ewa Kulesza
Anna Orlovskaya<\/p>\n\n\n\n

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Gallery Centrala
Pl.Ratajskiego 6a, 61-726 Pozna\u0144
Wed-Fri g. 15-19, Sat g. 11-15
Event organization and partners
Central.Art Foundation
Rarity Foundation
Poznan Art Week, Department of Photography, University of Arts
im. Magdalena Abakanowicz in Poznan, Raster Gallery, Gunia Nowik Gallery
Media Patronage
FOTOGRAPHY Quarterly, IKS Monthly, Postmedium Magazine.
The event is co-sponsored by the City of Pozna\u0144#poznansupports the
www.centrala.art contact@centrala.art instagram.com\/central.art | www.poznanartweek.com<\/p>","protected":false},"excerpt":{"rendered":"

26\/04 - 25\/05\/2024 \/ Pozna\u0144 Art Week \/ Grzeszykowska \/ K\u0119dziora \/ Kobierzy\u0144ska \/ Kulesza \/ Or\u0142owska \/ curator of the exhibition: Kamila Kobierzy\u0144ska \/ vernissage26.04. 2024 g. 19 \/ Galeria Centrala, Pl. Ratajskiego 6a in Pozna\u0144 I see a circular line of the horizon, which encloses the valley on all sides. I see an agitated, turbid stream, in which it flows between the hills. I see...<\/p>","protected":false},"author":63,"featured_media":28796,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[352],"tags":[],"class_list":["post-28794","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wydarzenia"],"_links":{"self":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/28794","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/users\/63"}],"replies":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/comments?post=28794"}],"version-history":[{"count":1,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/28794\/revisions"}],"predecessor-version":[{"id":28797,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/28794\/revisions\/28797"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/media\/28796"}],"wp:attachment":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/media?parent=28794"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/categories?post=28794"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/tags?post=28794"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}