Home, Man, Watermelon
This may at first seem complicated, but in fact concerns most basic things - years ago, in 1956, there was an exhibition of photographs by Edward Hartwig. The presentation was visited by another photographer, Jan Sunderland, who said: "This exhibition has reminded many of us that art is above all a question of emotion, direct sensation, and only then a material for analysis by means of »lenses and eye of the sage«”. The artist splendidly captured something not everyone would agree on: that emotion is nothing to be ashamed of, especially when art is involved. Emotions and related phenomena can be found in the latest issue of Biuletyn Fotograficzny (7-8/2004).
First symptoms of upcoming emotional adventures for readers and viewers can be found on the magazine's cover. Man with watermelon - sounds relatively ordinary, but does not look so. In fact few things can be labelled commonplace even if they seem to be so at a superficial level.
man without the watermelon
In the holiday issue of Biuletyn Fotograficzny the texts are - as usual - rather short; the photographs – exclusively black and white. Biuletyn does not use colour at all. One quickly finds the advantages of this fact. The main reason for choosing B&W is probably financial, but I believe there were other reasons. The consistence of "Biuletyn” in this respect brings excellent artistic results and suits the character of the photographic presentations.
Conversely, the thematical scope of the summer issue is wide and features a bonus - holiday photographic contests. However, before one gets to these, there is a lot of interesting material such as the text on Edward Hartwig, which, interestingly, differs from most that has been written about the artist. One is quite surprised to read that "Hartwig is a mental structure... exceptionally sensitive" (Jan Sunderland). Małgorzata Plater-Zyberk, in a text accompanying the monographic exhibition of Hartwig's work prepared by the National Museum in Warsaw, retells the career of this outstanding photographer. For those who will not be able to come to Warsaw several photographs are shown; those who will see them receive an opportunity to interpret the "mental structure” of the artist.
Another exhibition appealing to one's emotions is the Prague show of Ivan Pinkava, one of the best-known contemporary Czech photographers. His exhibition entitled Heroes provoked a lot of diverse reactions and comments on 'the overall nature of everything'. Those who spend their summer holiday in Prague should definitely stop to visit the Rudolfinum Gallery and to experience the emotional impact of Pinkava's photographs. Critics believe that "the main theme in Pinkava's work are clearly drawn comparisons and associations with the great narratives of European culture". In this case, there is a good chance that a detached analysis of the artist's works, following the initial emotional response, will prove very rewarding.
In an attempt to intrigue the reader, Biuletyn publishes a few portaits shot by Pinkava. These depict smooth, hairless, androgynic individuals; the images posess an ambiguous, expectant air. These pictures, especially when viewed in the proper mood, reveal mystery, anticipation, and something more... Perhaps "austere elegance" - the photographs are very painterly, captured as in a film still; action has been stopped for a moment. Such images inspire curiosity about what is really going on inside - around the portrayed people, behind the corner etc. At a point where Pinkava's photographs seem to end, something interesting starts to happen and the viewer gets a chance to experience many things such as, for example, considerable irritation that one cannot enter the picture.
In spite of being irritated, David Chandler wrote about Pinkava's photographs and stated that they concern "the unity of the mental and physical condition". Such works evidently deserve to be seen in the original setting, in Prague. Or, at least, in "Biuletyn Fotograficzny”.
homeliness of the home
If we have already had our share of emotions, we can concentrate on the project domowatmosfera (Home Atmosphere) - one might say, a fundamental project. The home is a basic concept for everyone, understood similarly, but offering countless variations. To talk about the home is to talk about life.
Thus the editors of "Biuletyn” have asked artists (not necessarily those posessing a diploma) the question "what is the home?” and are waiting for photographic answers. "Biuletyn” plans to create an indefinite, but expressible synthesis, a certain story home - both detailed and general. For a start, the latest issue contains a few photographs of Cracow Academy of Fine Arts students for the "home atmosphere” assignment. These images capture many things: an open washing machine in an empty bathroom, a boy practising yoga by the hearth, an empty desk, a lamp, an elderly couple kissing, a younger couple doing more than that, in a blurred motion image. A lot to re-interpret and retell.
Perhaps more importantly than to use a camera, the project challenges its participants to use inventiveness, perception, a new outlook on old, commonplace rituals. A member of the public has a task of its own - to be a viewer, not a voyeur.
The rules of the project have been published on the www.domowatmosfera.art.pl website. The most interesting works will be shown in October. I hope the participants will manage to surprise us, as "the idea of homeliness still remains an open question, and the vision of an ideal home continuously evolves”. I wonder if the project will compise works depicting "Poland - Our Homeland”? What about the porch or the corridor? Who will remain on the ground floor, and who will jump straight into the attic? Sociologists should definitely investigate the exhibition, keeping in mind that it is all "(…) a question of emotion, direct sensation, and only then a material for analysis by means of »lenses and eye of the sage«”.
Miłka O. Malzahn
Translated by Marta Malina Moraczewska
Discussed journals: Biuletyn Fotograficzny