museum
The idea of museum exhibition halls – as a space intended to create optimal conditions for viewing exhibits – is analyzed in the artist’s work, showing this optimum as completely illusory. The aim of this procedure, however, is not to ridicule the institution, but rather to raise awareness of the illusory nature of perception itself, limited and dispersed by countless factors. Sight itself, the dominant sense and often identified with perception itself, is the sense most susceptible to illusions. It is also a sense that is potentially the least prone to reflection, “sliding” over shapes, narrowing the horizon of cognition, because it is unable to cope with the elementary manifestations of reality – the imagination, developed on images from our environment, is unable to cope with the quantum micro world, and on a macro scale, the visual the vast majority of the material content of the universe is inaccessible. The Museum’s work also raises the issue of the distribution of “knowledge”. Referring to Odo Marquard’s reflection: “[…] experience as a scientifically artificially created empiricism becomes a matter of specialized experts equipped with equipment: one’s own experiences are not acquired on one’s own, they are obtained ready-made. Therefore, the mental form of our world relies more and more on hearsay knowledge: it becomes news that is – in part – managed by the media. Modern reality is increasingly taking on the tint of semi-reality, in which fiction and reality become indistinguishable
/Text: Łukasz Kropiowski/
museum / video
museum / video
museum / video
museum / video
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exhibition view / Contemporary Art Gallery / Opole
exhibition view / Contemporary Art Gallery / Opole
exhibition view / Contemporary Art Gallery / Opole
exhibition view / Contemporary Art Gallery / Opole