13-23.06.2024. See you in Łódź, Poland! 13-23.06.2024. See you in Łódź, Poland! 13-23.06.2024. See you in Łódź, Poland! 13-23.06.2024. See you in Łódź, Poland! 13-23.06.2024. See you in Łódź, Poland! 13-23.06.2024. See you in Łódź, Poland! 13-23.06.2024. See you in Łódź, Poland!
OPEN PROGRAM
Adrien Selbert, Camila de Maffei, Lavinia Parlamenti & Manfredi Pantanella, Marcel Top, Peter Pflügler, Tomasz Kawecki

Lavinia Parlamenti & Manfredi Pantanella, An Atlas of Countries That 'Don’t Exist'

Adrien Selbert, Camila de Maffei, Lavinia Parlamenti & Manfredi Pantanella, Marcel Top, Peter Pflügler, Tomasz Kawecki

TIME
13 - 23.06.2024
PLACE
Art_Inkubator, Tymienieckiego 3
OPENING
13.06, 19:00-22:00 (last entry at 21:30)
HOURS
Fri-Sun 10:00–20:00 (last entry at 21:30)
Mon-Thu 14:00–20.00 (last entry at 19:30)
ENTRANCE
pass PLN 50, normal/regular ticket PLN 30/10, free admission for children under 12 and guardian with a group of over 10 children

Adrien Selbert
The Real Edges

 

Can a country lose consciousness?
Between 1992 and 1995, the Bosnian War saw the death of over one hundred thousand people and displaced more than 2.2 million. The war was led by Bosnian Serb forces following the dissolution of Yugoslavia, and is widely seen as leading to the rise of the term “ethnic cleansing.” Thirty years later, the citizens of Bosnia still grapple with the aftereffect of the war, even more so in light of Russia’s recent invasion of Ukraine—leading to the question: Is there really an end at the end of war?

Thirty years after the brutal Bosnian War, Selbert’s portrait of a country reckons with the aftermath of traumatic conflict. Over the course of four years, Selbert returned to Bosnia more than thirty times, travelling throughout the country, creating photographs of its people and landscapes. “The idea of this in-between time that we call ‘post-war’ always fascinated me,” Selbert states. “In Bosnia, war is no more, but it is not yet at peace. It is the time comprised of the dash between those two words.”

The description is a part of Paul Cassidy’s text for Aperture, where Adrien was the Portfolio Prize Runner Up. The whole text.

 

______________________________

Camila de Maffei
The Great Father

 

From 1945 to 1991, Albania was the biggest prison in Europe.
For forty-five years, during the regime of Enver Hoxha, one of the fiercest in contemporary European history, thinking freely and expressing one’s own opinion in public was irresponsible and dangerous, even to the listeners. Daily life followed the rules imposed by a comprehensive and efficient surveillance system that insinuated itself into every facet of the public and private lives.

The collapse of the regime on 20 February 1991 confronted Albanians with the freedom they had longed for decades, but also with a future full of contradictions: migration, capitalism and consumerism.

The Italian photographer – together with journalist Christian Elia – offers an immersion into today’s Albania in order to explore the implications and consequences of the rise and fall of the regime and reflect on the relationship between individuals and power throughout the world.

 

______________________________

Lavinia Parlamenti and Manfredi Pantanella
An Atlas of Countries That “Don’t Exist”

 

Today’s world hides a multitude of territories that have proclaimed themselves independent but – for a variety of reasons – have not been recognised by the international community.

Lavinia Parlamenti and Manfredi Pantanella photographed five of those places between 2017 and 2022: the Pridnestrovian Moldavian Republic (or Transnistria), the Republic of Catalonia, the Republic of Artsakh, the Turkish Republic of Northern Cyprus, and the Sahrawi Arab Democratic Republic. The Artists traced the processes by which people from those regions continue to constitute their identities. In An Atlas of the Countries that “Don’t Exist”, they connected them together into a single Nowhereland, in order to emphasize the condition of invisibility that binds these territories and their inhabitants and to spark reflection on what it means to exist.

 

______________________________

Marcel Top
Reversed Surveillance

 

In January 2023, the French government passed a bill allowing the use of algorithmic video surveillance (AVS) as a legal crowd controlling measure for any gathering of more than 300 people. This technology is trained to detect, analyze and decode human behavioral patterns associated with emotions. Artificial intelligence decides who is a suspect and who isn’t.

There is currently no record of emotion recognition being used in decisions affecting protesters. However, this technology has been widely used by companies to monitor their employees…

The artist uses the outcome of his individual work with ‘Video Content Analysis’ and live streams from the protest to raise questions of what can happen when the technology is given the task to decode something of human nature, and used to make decisions based on probability rather than events.

 

______________________________

Peter Pflügler
Now Is Not the Right Time

 

Peter Pflügler takes us on an intimate journey through the labyrinth of a family secret. The suicide attempt of his father was concealed for twenty years. And yet he has always somehow known.

Carefully investigating – in the therapeutic process held together with his family – the traces of this silent, dark story. He created images that live on the brink of comfort and irritation, between love and pain. “Now Is Not the Right Time” is about the impossibility of secrets, about what we share when we hide, and about intergenerational trauma.

 

______________________________

Tomasz Kawecki
In Praise of Shadows

 

There are no locations on the earth that have not been claimed by humankind. As a result, the spirits of ancient myths have had to adjust to the contemporary world. Taking shelter in the darkness, they seek refuge from human influence – in burrows, caves, and abandoned buildings’ dark corners.

Tomasz Kawecki (Fotofestiwal Futures Talents from 2022) traced the shadows in the vicinity of Nowa Ruda and its subterranean world. The shadow was meant to symbolise the natural world and the corresponding beliefs, yet during the artistic process – working mostly during the night, moving around in the dark – he found himself delving deeper into the subconscious, a space he had to access creating a world of drift between the realm of dreams and waking consciousness.

Exhibition in partnership with Krakow Photomonth Festival.

OTHER EXHIBITIONS