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Rekviziti atributi

Otvoritev: 6. junij ob 19. uri

6. 6.–30. 6. 2014

ZVKDS, SVC-Galerija, Ljubljana

KJE: Trg francoske revolucije 3, Ljubljana

Rekviziti atributi Zdzisława Pacholskega večinoma izhajajo iz 80. let prejšnjega stoletja. Lahko jih imenujemo foto-komentarji, ki, kot lahko uganemo, imajo za svoje ozadje in svoj kontekst obdobje vojnega stanja ter leta fasadne normalizacije, ki traja kar do za Poljsko prelomnega leta 1989.

Vendar bi večino teh fotografij lahko imenovali tudi družbeno-politične foto-plakate, ki naj bi dajali družbi upanje, jo hrabrili pri odporu zoper neželeno oblast in hkrati tudi varovali pred njo samo, ker so kazali družbi plasti horizontalnega in navpičnega konformizma, ki v njej dremljejo. Družbi naj bi preprečevale dobro počutje, ki je slonelo na poenostavljenih diagnozah resničnosti in na poenostavljeni (torej kar visoki) samooceni ter jo opozarjali na nevarne konsekvence hlinjenja »moralno-politične enotnosti«.

Pravzaprav je ta dvojna kritičnost fotografijam Pacholskega že od začetka prinesla dvojno »izključevanje iz obtoka«. Jasno je, da si fotografije Pacholskega niso mogle pridobiti odobravanja cenzorjev (tudi če bi jih kar nekaj od njih najbrž z veseljem obesilo na zid cenzorske sobe kot avtoironičen komentar k lastnemu delu). Problem je v tem, da dela res niso ustrezala postdadaistični klimi – med Lodžem in Varšavo – Kulture nabirke [Kultura Zrzuty] (ker niso bila dovolj ludistična, ne dovolj porogljiva), niti konvenciji umetnosti, ki je nastajala v vojnem stanju in malo po njem z namenom dvigovanja morale (ker niso dovolj krepila).

V naš spomin želim priklicati slike Pacholskega in nagovarjam, da jih objavljamo, da si jih ponovno lahko ogledujemo na razstavah čisto preprosto zato, ker so še vedno aktualne. Paradoksno – fotografije kot komentarji k družbeni in politični situaciji z začetka osemdesetih let 20. stoletja se dajo razumeti danes enako kot takrat, ko jih je Pacholski prvič predstavljal, čeprav danes ne vzbujajo asociacij (zlasti najbrž mlajšim gledalcem) na vojno stanje, temveč na provincionalizem Poljske in njen na trenutke zelo izrazit postkolonialni obraz s konformizmom korporacijskih karieristov, s podkožnim značajem družbeno-kulturnih sprememb pod površjem, kjer z lahkoto najdemo stare poljske komplekse, nespretno skrivano grdobijo vsakdana, številne navidezno deklarirane vrednote.

Lahko nas preseneti tudi to, da se te »stare fotografije« Zdzisława Pacholskega resnično imenitno ujemajo s popolnoma novo konvencijo grenko-klovnovske fotografije, ki danes polni portale tipa demotywatory.pl. Zdi se mi, da ironija in sarkazem, ki ju v sebi nosijo, danes najbolje nagovarjata mlade in zelo mlade ljudi, za katere je slikanje le še ena »opcija mobilnega telefona«, fotografije pa so še ena pretveza, da se navezujejo in vzdržujejo/konzervirajo družbene relacije, ki jih Mreža družbenih odnosov posreduje.

Rafał Drozdowski

Requisites Attributes

Opening: 6 June at 7 pm

6–30 June 2014

ZVKDS, SVC-Gallery, Ljubljana

WHERE: Trg francoske revolucije 3, Ljubljana

Zdzislaw Pacholski’s photographs titled Requisites Attributes mostly date back to the 1980s and therefore it is easy to suggest that, given the background and context of Poland’s martial law period and the ongoing façade of normalization in the years leading up to Poland’s breakthrough year of 1989, they can be called photo-comments.

Most of these photographs could, however, be just as well called socio-political photo-posters which were intended to reassure the public, spur them on, to resist unwanted authority, but also protect the public from themselves by pointing at the numbing effect of vertical and horizontal layers of conformity, shaking them awake and out of their collective complacency set in over-simplified diagnoses of reality and simplistic notions of (and therefore high) self-esteem, warning them against dangerous consequences of feigning a “moral-political unity”.

Such dual criticism of Pacholski’s photography had resulted in, from the very beginning, in their double “removal from circulation”. It is clear that Pacholski‘s pictures could not win the censors’ approval (though most likely many of the officials would be only too happy to hang these photos on the walls of their offices treating this gesture as a self-deprecating comment on their own censorial work). The problem is that Pacholski’s photographs, in fact, did not fit in well either with the Post-Dada movement atmosphere of Łódź and Warsaw’s Pitch-in Culture (hey were not lucid and derisive enough) or with the conventions of art created in the martial law years and shortly afterwards “to lift up the heart” (as they were not sufficiently uplifting).

I stand behind Pacholski’s photographs and encourage that they should once again be exposed, published and looked at for one simple reason: they have retained their relevance. Paradoxically, photographs – as commentary on the social and political situation of the early 1980s – are understood presently just as well as they were when Pacholski showed them for the first time, however, this time they are not associated (most likely by younger viewers) with the martial law, but for example, with Polish provinciality and at times with its distinct postcolonial face, with the conformism of corporate careerists, with the epidermal nature of socio-cultural transformations beneath which, without great effort, you can still find the old complexes of the Poles, in the clumsily covered-up ugliness of everyday life, in the illusion of many of the declared values.

One may also be struck by the fact that Pacholski’s “old photographs” fit in surprisingly well with the new photographic convention, the bitterly clownish photography that fills today’s portals such as demotywatory.pl. It would seem that the irony and piercing sarcasm incorporated in them is what speaks best to young and very young people, for whom taking pictures is another “mobile phone feature”, whereas photographs, are yet another pretext for maintaining/preserving social relationships mediated by the Web.

Rafał Drozdowski