Portable Christmas tree

source: fototapetaartpl
The meaning of a gallery’s existence usually becomes evident if returns and recollections are possible. If the gallery is able to report on consecutive stages of art life of artists with whom it cooperates. The most recent exhibition of Wojciech Prazmowski is such a come back.

HIS first exhibition of “spoiled photographs” 10 years ago marked the begining of his fully developed creativity. The treatment of photographic works, for the first time so positively “included” into three-dimensional objects as old window frames, glass boxes with sand, the memorable metal tree with rolled photographs hanging on it , was continued in many later projects of Wojciech Prazmowski. It consistently linked photography to other objects and gave photography a new, revitalizing function complementing an artistic statement.

The lasting and persistent search for his new place in photography has caused Parazmowski to enter not only a sentimental space when he was making collages of his family album, but also the space understood as a possibility of artist’s creativity. Because of that the parcels of photographs tied with a string, enclosed in various cages, boxes and metal frames have had – despite their symbolic meanings – sculpture-like character. The forms of the objects which most often were made of basic materials as wood, metal, paper, are balancing the photographs. Now Prazmowski presents more frequently sculptures and installations together with the photographs that were the reason for making of these objescts.

Because of that this exhibition of Wojciech Prazmowski being the return to basic photography (there are only photographs showed) marks also the conscious development of everything that appeared in Prazmowski’s art up to now. His fascination with forms of simple things composed and juxtaposed deliberately by him yields quite sculpture-like effects in spite of that everything is contained within photographic print.

Wojciech Prazmowski – “Portable Christmas tree” (1997)

But the new element appears here, which makes these pictures essentially different from his previous works. It is used very sparingly, and is very sophisticated in pictures called “Christmas Star” or “Blue Letter” in which it scarcely emerges to the surface of the almost monochromatic compositions. In other works (e.g. “Mediterrean Breakfast”) it becomes bolder, suggesting emotional and sensous interpretation of this photograph. This breaking-through to the colour could be sensed in Prazmowski’s work since some time. The works presented at the big international exhibition “The Return of the Past – The End of Utopia?” originated last year in Germany and now presented in the Centre for Contemporary Art in Warsaw confirmed this clearly. The colour, so difficult in photography, is employed by Prazmowski in somewhat deceitful manner “darkening” and enveloping in mist of mystery these apparently simple compositions.

The still life which in art history is connoted with symbols of death and vanishing (Vanitas vanitatum) constitutes for Wojciech Prazmowski the conscious next stage of constructing his own iconography of the time lost. And it is also belief, that the photography can cope with it, at least in some space defined by the artist. Even should it be the space of a table spread for a meal, of an open envelope, of piece of wood or paper put together to make VERY STILL LIFES.
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source: isguartoorgru

Смысл существования галереи, как правило, становится очевидным, если и воспоминания возвращение возможно. Если галерея имеет возможность сообщить о последовательных этапах художественной жизни артистов, с которыми она сотрудничает. Последней выставке Войцеха Prażmowski сухой и вернуться обратно.

HIS первой выставке “испорченные фотографии” 10 лет тому назад ознаменовало начало его творчества полностью. Лечение фотографических произведений, впервые столь позитивно “, включить” в 3-мерных объектов, как старые оконные рамы, стекла ящики с песком, памятные проката дерева металла с фотографиями висит на нем, была продолжена во многих более поздних проектов Войцеха Prażmowski . Он неизменно связаны с другими объектами фотографии и фотографии дал новый, активизации функции дополнение художественного заявление.

Прочный и настойчивый поиск нового места в Его фотография вызвала Parazmowski ввести не только сентиментальные пространства Когда он делал коллажи из его семейного альбома, а также понимается как пространство и возможность творчества художника. Из-за этого Посылки работ связана со строкой, заключенных в различные клетки, коробки и металлические каркасы были – несмотря на их символическое значение – скульптура-образный характер. Формы объектов запятыми Часто моста были изготовлены из основных материалов, как дерево, металл, бумага, балансирует на фотографиях. Теперь Prażmowski представляет чаще инсталляции и скульптуры вместе с фотографиями, послужившие основанием для изготовления этих objescts.

Из-за этого эта выставка Войцех Prażmowski время возврата основной фотографии (Есть только фотографии показал) также знаменует собой сознательное развитие всего того, которое было опубликовано в статье в Prażmowski до сих пор. Его увлечение формы простых вещей сопоставлении Умышленно Набрано и дает ему совершенно скульптуры типа эффектов, несмотря на это все содержится в фотографической печати.

Войцех Prażmowski – “портативный елки” (1997)

Но появляется новое элементом здесь, что позволяет существенно Эти фотографии Его отличие от предыдущих работ. Она используется очень редко, и очень сложные в картинках называется “Рождественская звезда” или “Blue Letter” его в запятыми едва выходит на поверхность почти композиции Монохромный. В других работах (например, “Mediterrean Завтрак”), она становится более смелые, предлагая эмоциональные и sensous Интерпретация этой фотографии. Это нарушение-до цвета почувствовал может быть в работе в Prażmowski С некоторого времени. Работы, представленные на большой международной выставке “Возвращение прошлого – Конец утопии?” возникла в прошлом году в Германии и в настоящее время представлены в Центре современного искусства в Афинах Официально Очевидно, что это. Цвета кожи, так трудно в фотографии, используется для того, чтобы Prażmowski несколько лживые Способ “потемнения”, и в туман тайны Видимо Эти простые композиции.

Натюрморт в истории искусства запятых подразумевало с символами смерти и исчезновения (Ванитас vanitatum) является Войцех Prażmowski к следующему этапу сознательного построения своя иконография Lost Time. И это вера также, что фотография может с этим справиться, по крайней мере в некотором пространстве, определяемых художника. Даже если это будет пространство накрытом столе для еды, из открытого конверта, из куска дерева или бумаги, помещаются вместе очень тихо делать жизней.
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source: cefvigo

Wojciech Prazmowski seems to confirm the age-long rule that man has been always balancing between his imagination and reality, between opposite realities, the symbol of which can be the arms of the cross.

What is photography or rather let us ask what is a picture for Wojciech Prazmowski? lt seems that it is a supplement to the classical triad “thing – man – spirit” which enables him to get a very subjective view of the world. A world being transformed by time but not the time remaining exclusively physical,his time is mythical and symbolic.

He defines his artistic credo like this: ” (…) it seems to me sometimes that some of my photographs I must have seen already. I do not know when it was, but they are surprisingly familiar to me. And in order to prove that I really had been there I have kept some pictures (or rather their remains). What I do is perhaps a single photograph, always the same about the passage of time”.

Wojciech Praimowski, like the renaissance artists, seems to believe that art, that is an active being, offers us the possibility of transcending the human time. An evidence of such human activity are for him old yellowish photographs, postcards, reproductions, casual and created photos, all of them being a genuine document of our knowledge of the world and a confirmation of the intuition that there exists something beyond the human life. In Prazmowski’s work shade is very important, but not in the pejorative sense given it by Carl Gustav Yung as the “worse part of personality”. It seems that he must haye a special feeling for the instructions of Leonardo da Vinci with the famous idea of “sfumato”: “Shade has a greater power than light because it takes away luminosity from the bodies or even deprives them of it”. All this has much to do with Wojciech Prazmowski’s biography, as an artist he belongs to the generation of which Tadeusz Nyczek said: “Our generation started in completely different circumstances; they were starting towards freedom while our start was marked by (war) enslavement”.

In Wojciech Prazmowski’s art we can find however a value which in each of his cycles -“The Family Album” or “L’ange brisé”, is constant and indisputable. It seems to be resistant to time. It is a praise of youth, of childhood, of these wonderful periods in the life of each human.

Prazmowski’s characters are based on the one hand on elusiveness, they carry the burden of existence, and on the other hand they are subject to the passage of time. As it is in the case of the woman from the “Honey moon near Gdansk 1939”, captured at her “Attempt to fly”. At this single moment appear life and death, ascent and fall, she is like a butterfly because we can’t help thinking that soon her body will turn into dust. A similar approach we can find in his “The Soldier’s Small Dictionary”, but here some elements are not simply symbolic or metaphorical. Introduced into the picture’s created space they are not given a symbolic dimension, they do not express the artist’s soul in the search for truth. All the pieces of equipment listed beside the figure of the soldier -named in various languages in the caption- firmly state their existence.

Marek Zielinski