Plewiński Wojciech
Porat Ronit
Reminiscences / Hippocampus
27th september 2013
to 26th october 2013


The exhibition at Asymetria Gallery brings together two photographic materials, one by Cracow-based Wojciech Plewiński, the other by Ronit Porat working from Tel Aviv. Representing different cultures and different generations, the juxtaposition of their works touches upon an issue that seems best summarised by Paul Celan pronouncement about the poem: ‘The attention which the poem pays to all that it encounters . . . is not, I think, achieved by an eye competing (or concurring) with ever more precise instruments, but, rather, by a kind of concentration mindful of all our dates’. In this case, we want to relate to the issue of visual nature and photographic exhibition. 

Reminiscences (1970) is an installation, or environment, created by Józef Szajna as an epitaph for Cracow artists executed at the Nazi German concentration and extermination camp at Auschwitz in 1942; the work was shown at the 1970 Venice Biennale, among other venues. Following his failed escape attempt from Auschwitz, Szajna was sentenced to death, later changed to life imprisonment, and spent time in the death cell, experiences which were later reflected in his work. Photographer Wojciech Plewiński was asked by Szajna to document the making of Reminiscences.

Ronit Porat’s Hippocampus is an exhibition that was presented in 2012 at Tel Aviv’s India Gallery. The hippocampus, a major component of the human brain, part of the cerebral cortex, is responsible for the transfer of information from short-term to long-term memory and for spatial orientation. Porat’s project includes rephotographs of the works of the German Jewish photographer, Maria Breslauer, such as the portrait of Annemarie Schwarzenbach, a Swiss journalist and photographer who dies at the age of 34 as a result of a cycling accident when her mother, whom she had a difficult relationship with, refuses to help her. On the poster of Breslauer’s exhibition, which shows Schwarzenbach, someone has added a moustache. Porat rephotographs the poster, retouching, as it were, the image, of which she becomes a new witness. A witness, also, of the history of the women whose images merge in the imagination and mix with her own private history, in the construction of a tablet of memory where the historical orientation of attention is turned into an act of creative memory.

The two photographic materials – Reminiscences and Hippocampus – are also a confrontation of the gendered role of memory: on the one hand, a mature artist (Szajna) drawing on his early experiences, on the other, a collection of images by/of women (Schwarzenbach/Breslauer/Porat), although, it needs to be stressed, this does not exhaust the range of the issues tackled by the show at Asymetria Gallery.

In the Museum of Personal Imagination Tomek Szerszeń will show his visual comment to the exhibition entitled Infected by Strzemiński. 

We also invite to the exhibition, Mateusz Choróbski's Delayed Encounter, in Asymetria Modern, in a new space of Dom Funkcjonalny. Asymetria Modern is an effect of the encounter of Asymetria's founder Rafał Lewandowski with a curator of young generation, Jakub Śwircz. It is a room of cooperation with the artists of younger generation, independently of the medium. 


The exhibition forms a part of Warsaw Gallery Weekend. 
www.warsawgalleryweekend.pl

19.09.2013 16:06:24

(born 1928 in Warsaw) lives and works in Cracow. After dropping out of sculpture studies at the Cracow Academy of Fine Arts, he studied architecture at the Cracow University of Technology, graduating in 1955. Rather than practicing his learned profession, he took up photography, becoming a member of the Union of Polish Art Photographers (ZPAF) as early as in 1957. Co-founder, with Zbigniew Łagocki and Wacław Nowak, of the informal collective Domino. Long-time collaborator of the Przekrój weekly (some 500 covers by 1990). A precursor of Polish fashion and advertising photography, he pioneered and for many years dominated the ‘cover girl’ genre. Author, from 1959, of photographic documentations of over 700 shows at various Cracow theatres (Rapsodyczny, Stary Teatr, Teatr im. J. Słowackiego), including legendary stagings by Konrad Swinarski, Józef Szajna, Andrzej Wajda, Jerzy Jarocki, Krystian Lupa.

He has shown his works in numerous solo and group exhibitions in Poland and abroad. His photographs are in the collections of major institutions such as the Muzeum Sztuki in Łódź or the Muzeum Narodowe in Wrocław. Recipient of numerous awards, e.g. 1st Prize for Press Photography in Warsaw (1959); Gold Medal at the Theatre Photography Triennial in Novi Sad (1968, 1971); Medal for Old People in Madrid (1969); 1st Prize for Pope John Paul II in Poland photo essay (1979).

14.10.2013 18:21:02

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Ronit Porat
She cried every night (Erich Consemuller, Untitled 1926)
2012
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Wojciech Plewiński
Reminiscences

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Ronit Porat
Untitled, (Self Portrait Marianne Breslauer, Berlin 1929)
2012
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Mateusz Choróbski
Delayed Encounter

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Ronit Porat
Untitled (Hans Peter Feldman, Bilder 1973)
2012
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Ronit Porat
Black Memories
2012
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Ronit Porat
S.S. Berlin
2010
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Ronit Porat
Untitled, the eye of Copilia quadrata
2012
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Ronit Porat
Annemarie Schwarzenbach

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Ronit Porat
Annemarie Schwarzenbach

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Ronit Porat
Untitled
2012
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Ronit Porat
Untitled
2012
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