“Time and Foam”
curated by Michał Zawada
Cracow, 21.10- 26.11. 2020
Cracow, 21.10- 26.11. 2020
ARTISTS:
Marta Antoniak
Marta Antoniak
Tomek Baran
Andrzej Bednarczyk
Małgorzata Biłuńska
Pamela Bożek
Iwona Demko
Bartek Górny
Karolina Jabłońska
Karolina Jarzębak
Martyna Kielesińska
Emilia Kina
Piotr Korzeniowski
Marta Krześlak
Tomasz Kręcicki
Krzysztof Maniak
Michał Myszkowski
Monika Niwelińska
Kinga Nowak
Alicja Pakosz
Cyryl Polaczek
Filip Rybkowski
Zbigniew Sałaj
Michał Sroka
Dominik Stanisławski
Witold Stelmachniewicz
Łukasz Stokłosa
Radek Szlęzak
Michał Zawada
Konrad Żukowski
"Spectacle involves a post-historical inclinations toward 'looking from the outside at one's own life.' Spectacle is the form that déjà vu takes when it becomes an external, public form. The society of the spectacle offers people a 'world exhibition' of possibilities of acting, speaking or being, which are reduced to already-done actions, already-said sentences and already-fulfilled events." (Paolo Virno)
Our experience of the present splits into two components - direct perception and its virtual, mirror image - the memory of the present moment, which does not refer to any particular past, does not refer to any particular event or date, but is the nucleus of history and the condition of all potentiality. Memory is thus the mechanism by which the here and now finds its mirage in the indeterminate idea of the past. This formal feature in the process of déjà vu acquires a ghostly content - a concrete, eventual complement. As Paolo Virno claims, this past form (the possible present) is replaced by the past content (the actual past), which, in an obsessive gesture of inevitable return, will be repeated and duplicated. Here is the real fatal- ism of déjà vu and false recognition. We cannot in any way change the course of events; we become hostages to a closed vision of history, becoming observers of our own actions, as if we were acting out a pre-scripted scenario. Déjà vu makes our action a quotation of itself, an unbearable repetition, a sense that history has turned on an endless replay against our will. "We feel we are making choices and desiring, but in essence we are choosing something that is already imposed on us in advance, and our desire is a desire for the inevitable."
Project carried out in collaboration with the Copernicus Festival, shown as part of KRAKERS (Cracow Art Week)
Our experience of the present splits into two components - direct perception and its virtual, mirror image - the memory of the present moment, which does not refer to any particular past, does not refer to any particular event or date, but is the nucleus of history and the condition of all potentiality. Memory is thus the mechanism by which the here and now finds its mirage in the indeterminate idea of the past. This formal feature in the process of déjà vu acquires a ghostly content - a concrete, eventual complement. As Paolo Virno claims, this past form (the possible present) is replaced by the past content (the actual past), which, in an obsessive gesture of inevitable return, will be repeated and duplicated. Here is the real fatal- ism of déjà vu and false recognition. We cannot in any way change the course of events; we become hostages to a closed vision of history, becoming observers of our own actions, as if we were acting out a pre-scripted scenario. Déjà vu makes our action a quotation of itself, an unbearable repetition, a sense that history has turned on an endless replay against our will. "We feel we are making choices and desiring, but in essence we are choosing something that is already imposed on us in advance, and our desire is a desire for the inevitable."
Project carried out in collaboration with the Copernicus Festival, shown as part of KRAKERS (Cracow Art Week)
