Residents’ Exhibition

Igor Pisuk, Tomasz Kawecki, Søren Lilholt

Igor Pisuk
Igor Pisuk
Igor Pisuk (b. 1984 ) in 2014 he got an MA from the PWSFTviT Film School in Łódź. Between 2016 and 2017 an assistant to Anders Petersersen. A recipient of multiple awards and grants, e.g. AIR Independent – a scholarship and residency and attendance of masterclasses led by Antoine D'Agata, Jacob Aue Sobol, Trine Søndergaard, Gomma Photography Grant. A finalist of the Leica Oskar Barnack Award. He has participated in over 30 group and solo shows around the globe, e.g. the Chobi Mela IX International Festival of Photography in Dhaka, Bangladesh, Les Recontres de la Photographie in Arles, France, and Cortona On The Move in Italy. An author of two photo books: Deceitful Reverence published by Blow Up Press and Dog Walker published by 3 PR zine.
Tomasz Kawecki
Tomasz Kawecki
Tomasz Kawecki (b. in 1993) is a visual artist. He studies at the Institute of Creative Photography in Opava. A former student at the Faculty of Architecture at the Krakow University of Technology. Co-founder of NAGA Gallery. In 2021 he won e.g. the Month of Photography in Krakow section of ShowOFF (PL), LensCulture Art Photography Awards (US) and Grand Prix IMA next (JPN). In 2021, his work was displayed at home and abroad at the 6th Art Biennale in Piotrków Trybunalski (PL), Krakow Art Week (PL), Warsaw Gallery Weekend (PL), OFF Bratislava (SK), Festival of Photography in Rybnik (PL), and Photo Vogue Festival (IT). His photographs have been published in, among others: China Life Magazine, Kwartalnik Przekrój, Miesięcznik Kraków, Vogue IT, Vogue PL, Abridged Magazine, and The Guardian. He is interested in the anthropology of things in terms of the people-objects relation. He draws inspiration for his works from various manifestations of nature's peculiarities.
Søren Lilholt
Søren Lilholt
SØREN LILHOLT (b.1986) is a Danish artist living and working in Copenhagen. He has studied at Fatamorgana, The Danish School of Art Photography and holds a MA in Visual Culture from The University of Copenhagen. Attracted to the seemingly incomprehensible and the subtle ability of photography to alter the perception of things, his artistic practice is deeply rooted in a phenomenological approach to photography and visuality – a process that aims at delving deep into a perceptual openness towards the world. He has been selected as an artist for the 3rd and 4th Cycle of The Parallel Photo Platform and his work has been exhibited at numerous locations both domestic and abroad including The Copenhagen Photo Festival (DK), Landskrona Foto (SE), Fotofestiwal (PL) and at Fotografisk Center in Copenhagen (DK).

Residents' Exhibition

Igor Pisuk, Tomasz Kawecki, Søren Lilholt

Time

2-18.09.

Place

Państwowa Galeria Sztuki w Sopocie (PGS)

Entrace

PGS ticket

Homesickness

Søren Lilholt

“Philosophy is really homesickness: the urge to be at home everywhere.” Novalis

The starting point of Søren Lilholt’s project is to treat the medium of photography as a philosophical process that enables the observation and experience of reality.

Enabling emotional adaptation in the unknown space in which it is located. Inspired by the philosophy of phenomenology, he decided to use a image to name the feeling of homesickness that he expected when setting off to a yet place he did not know and had not traveled for a long time.

Phenomenology is a method of studying and learning about the world that takes into account the personal subjective feelings of the observer, e.g. irrational, subjective sense of time or fear and treating each experience as basic and true. This philosophical direction postulates a kind of thinking about reality consisting in abandoning theoretical and conceptual speculations, abandoning expectations while focusing attention on the direct experience of occurrences and things. This method allows the artist to find a sense of “home”, a familiar, safe and understandable physical and mental space, using the medium of photography as a tool of cognition.

The paradox of photography in this case is the fact that it is very close to how we explore the world with our own senses, often evoking synesthetic impressions, and at the same time being one of the strongest methods of questioning our empirical ability to study and orient ourselves in the reality around us.

Søren’s exhibition is a collection of these pictorial impressions, which have been combined with historical photographs of the place, thus giving the project a melancholic and nostalgic character.

The project includes archival photographs from the collections of the Museum of Sopot.

Things Don’t Care

Tomasz Kawecki

Tomasz Kawecki has long been fascinated by the influence of the medium of photography on the perception of paranormal phenomena and the way the veracity and factuality of such events are created and proven through it. The paradox of this need for authentication through photography is that the medium itself was considered magical when it was invented.

The photography residency program gave the artist the chance to visit and explore several places where beliefs, traditions and cultures, historically bound to the area, are a mixture of from paganism, Goth culture, Kashubian demonology, and Christianity. These places have become sources for creating alternatives for spiritual development, the formation of communities and the development of rituals. Today the stone circles in Węsiory, Odry and Grzybnica are locations where, according to one of the protagonists of the series, Guru Gienek, one can absorb cosmic energy. In order to achieve this, the guru invented rituals, amulets and objects to gather around himself people intent on an inner transformation or renewal among the stone structures that have existed here for centuries. Human spirituality finds an outlet here in endowing things and phenomena with symbolism. Objects that are elsewhere regarded as ordinary and worthless, become here vehicles of human ideas and magical objects, representing the need to find meaning. The context and ritualization of the use of objects lends them gravity, materiality and phenomenal value. Still, in fact, the very essence of things remains unchanged.

Don’t Go Near The Water

Igor Pisuk

In my childhood, ever since I can remember, attempts were made to temper my character. “You mustn’t do this, don’t do that, behave this way and that way.” Even trips to the seaside with my grandparents were opportunities to assign to me ever more tasks and to control me. The time spent on the beach offered rare moments of freedom. I escaped from my grandparents and especially my grandmother was in panic; my sister and I tried to salvage what was still left of our shared world. We sheltered ourselves in a world of joint games and fantasies. Perhaps it was because of these memories that I would not go to the seaside for many years.
Igor Pisuk

Igor Pisuk treats photography very personally, as a tool for delving into his own inner self. His photos capture the difficult moment of transition from youth to adulthood and the fear of the future. In Don’t Go Near the Water, one can see the barrier separating a person from the transition to infinity, from the plunge into the abyss that is the future. Future is unknown, mysterious and moving. On the beach we learn that time does not really exist. The indeterminacy and openness of space creates unlimited possibilities. Childhood memories are combined with anxiety about the future, including the future of the planet (Don’t go near the water is the title of a 1971 Beach Boys song about the pollution of the ocean). However, they are also an attempt to bridge the gap between the present and past selves and connect these two extremely different beings.
Agata Pyzik

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