Park Tysiąclecia, Millenium Park. 2014
Gendera, Marta (2014), Park Tysiąclecia, Millenium Park. Próby, szkice nowej przestrzeni publicznej, Zielona Góra:
Fundacja Salony, pp. 166-173
Gendera, Marta (2014), Park Tysiąclecia, Millenium Park. Próby, szkice nowej przestrzeni publicznej, Zielona Góra:
Fundacja Salony, pp. 166-173
Simone Rueß conducts space biography conversations with middle-aged participants and people suffering from dementia. Diagrams with a vertical historical timeline and a horizontal narrative timeline summarize their individual statements. In this way, weightings of certain space biographical data become visible in relation to memory capacity. Superpositions and condensations reveal how certain experiences of respondents, influenced by geopolitical caesuras, acquire more frequented resonance.
Light recording [micro-light installation]
On the 18th of January, 2022, for the duration of eight hours, daylight was recorded on a sheet of paper with a small funnel in a darkened room on a micro scale while appearing on a monitor via a webcam. The digital light cone translates the phenomenon of filtering perceptions onto the screen (as a magnified sensor).
Sound piece by Catherine Lamb
Filtered ambient sounds are the basis of the piece inter sum (2019). Taking into account the various transitions of acoustic perception between indoors and outdoors, Lamb applies a resonance band-pass filter to her ambient field with her synthesizer instrument, thus reflecting the constantly fluctuating field of attention.
About the exhibition at TRAFO Center of Contemporary Art in Szceczin, 2022, curated by Dagmar Schmengler, Michał Markiewicz, Stanisław Ruksza:
You could be heading away from the endless middle and towards the bottom of the top*
*idiomatic sentence used by one of the characters in the TV series Succession
The archive often serves as a certain model representing social mechanisms. It becomes a synonym for memory, power, and an argument in the discussion about the status of history and created images of the past. In practice it is not something that can be read like a novel, from the first page to the last. It appears to us as an infinite resource. It consists barely of pages in the usual sense of the word, but more of various visual forms: tables, photographs, documents, charts, images, disguised narratives. We look at them for a specific purpose or we browse freely, letting our desire to know drift. Having reached the bottom of the list, we find ourselves back at the top in (new) data to explore. In this sense, the archive never has a form that is definitive.
We usually make a use of it that combines two seemingly disparate gestures. We open it at first in order to search for a particular piece of information. Having found it, we browse further. We close the collection it contains only after wandering around like a labyrinth for a while. Waiting for the next time, equally useless or fruitful. By recalling this dual use, an apparently democratic archive can turn out to be a ‘double-edged’ ‘object’, dangerous, and even deceptively inverting the order of political and identity relations.
The subject of the archive, taken up by artists from Poland and Berlin, not only in the sense of a visual form of knowledge or a scientific form of seeing, but also in the ways of communication produced within its framework, comes down to tracing the disturbances found in the community space of our experiences. The juxtaposed artistic strategies show the archive as a living medium and a “moving place”, emphasising both its physical existence and the spatial construction that embodies order, without taking away its phantasmal character. In this way, they reveal the possibilities of subordinating the historically accrued and systematic dimension to current questions and doubts.
The project consists of three substantive components:
The project is realized within the framework of the Odra Partnership, in partnership with TRAFO Trafostacja Sztuki in Szczecin.
The landing stage at this exact spot, the location of Monfort Castle, the promenade that was built, the filled-in beach, a structure that gives Langenargen its character. A cityscape in our memory. Crowds of people on sunny days, scattered figures on the beach in fog and cold. Interaction between water and land, people and Lake Constance, between structure and action. Built paths, facilities, and their users. Social goods and people in an ever-changing arrangement with each other. Action, interaction. Hosts and visitors, temporary spatial connections. Remnants of New Year's Eve fireworks, campfires, washed out, fused, smoothed by sand and water, washed up again and again by the surf. Traces of activity on the banks, of life, celebration, and economic activity, bearing witness to shipping traffic and travelers. Plastics, metals, and glass are embedded in the driftwood, lying among shells and stones in the sand, forming a mixture of the natural and the artificial. (Text: Simone Rueß & Matthias Reinhold)
