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Allan Sekula Polónia És Más Mesék Polonia and Other Fables 1

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Allan Sekula Polónia És Más Mesék Polonia and Other Fables 1 1 ALLAN SEKULA Polónia és más mesék Polonia and Other Fables 1 ALLAN SEKULA Polónia és más mesék | Polonia and other Fables „…nagyrészt inkább írok mert a kamera korlátozott ábrázolóké- “…to a larger extent i am writing because of the limited representa- 2010. július 9 – szeptember 19. | July 9—September 19, 2010 pessége miatt nem fényképezhet az ember ideológiákat viszont az tional range of the camera one cannot photograph ideol ogy but one ember miután elkészített egy fényképet és egy lépést hátralépve can make a photograph step back and say look in that photograph kurátor | curated by fordító | translated by megnézi azt mondja no lám ezen a fotón ott van az ideológia ott van there is ideology between those two photographs there is ideology Karolina LEWANDOWSKA, SZÉKELY Katalin Iain COULTHARD az ideológia a között a két fotó között ott van ez meg az és ez meg there is such and such and such relates to such…”1 az összefügg ezzel meg azzal…”1 Allan Sekula (Erie, Pennsylvania, 1951) is one of the most outstand- együttmûködô partner | in collaboration with korrektúra | proofreading Allan Sekula (Erie, Pennsylvania, 1951) a kortárs dokumenta- ing contemporary documentarians. His series of photographs, films ZACHĘTA National Gallery of Art, Warsaw KÜRTI Emese, Adèle EISENSTEIN rizmus egyik legmeghatározóbb alakja. Fotósorozatai, filmjei és and – last, but not least – photo-historical and theoretical studies2 – nem utolsósorban – fotótörténeti és elméleti tanulmányai2 a do- are directed toward the continuous, critical renewal and reinter- külön köszönet | special thanks grafikai terv |graphic design kumentarista mûfaj és gondolkodás állandó, kritikai megújítását és pretation of the documentary genre, and at mapping out the deeper Agnieszka MORawIN´ska, Hanna WRÓBlewska, Anna TOMCZAK BeRnáthy Zsigmond, SZMOLKA Zoltán | Solid Studio | www.solid.hu újraértelmezését célozzák, a társadalmi folyamatok mélyebb moz- mechanisms of social processes. It is politics, history, social rela- Małgorzata BogdaN´ska, Anna MUszyN´ska gatórugóinak a feltérképezését. Mûveiben a politika, a történelem, tions, ecology and the phenomena of climate change that emerge (ZACHĘTA National Gallery of Art, Warsaw) © Allan SekUla a társadalmi összefüggések, az ökológia, a klímaváltozás jelensé- from his works, or as he himself says, the imaginary and real Christpoher GRIMES, Justin IZBINSKI (Christopher © fotó | photo: Marek KRzyzanek (12. 14.), Sebastian MEDEJSKI (2.) gei – ahogy ô maga fogalmazza: a fejlett kapitalizmus képzeletbeli és morphology of developed capitalism. (Grimes Gallery, Santa Monica) © a szerzô | the author | © a fordító | the translator valóságos morfológiája bontakozik ki. His works are the result of several years of methodical research Michel REIN, Pascaline MONIER, Angharad WIllIams Munkái többéves, módszeres kutatómunka eredményei, a világ work; during his travels to innumerable places around the world, he (Galerie Michel Rein, Paris) nyomda | printed by számtalan pontján tett utazásai során figyeli meg a globális nagy- observes the effects of global capital on simple, working people. His Katie SHAPIRO KESKENY Nyomda tôke hatását az egyszerû, dolgozó emberekre. Mûvei, melyeknek works, an important part of which are also formed by the texts writ- Susanne CHEZ, Hamza WALKER (The Reneissance Society at the University fontos részét képezi a melléjük írt szöveg is, rendszerint sorozato- ten alongside them, are usually produced in series, from huge pano- of Chicago, Chicago) felelôs kiadó | responsible for the edition kat alkotnak, a hatalmas panorámaképtôl az apró fotókig számtalan rama pictures to small photos of countless dimension, and he also BÉLI Norbert, Bodor Béla, Dóczi István, FARKAS Emese, GÓZAN Mihály BENCSIK Barnabás, igazgató | director méretben dolgozik, de az egyes sorozatokat is nagyobb egységekbe arranges the individual series into larger units, as well. HORVÁTH Endre, KALOCSA Mária, KOVÁCS Tamás, KÓNYA Béla rendezi. The exhibition, the result of a collaboration with the ZACHĘTA MOLNÁR János, PAP Ferenc, SIMON Kati, TIMÁR Katalin kiadja | published by A kiállításon, mely a varsói ZACHĘTA Nemzeti Mûvészeti Galéria National Gallery of Art, Warsaw, includes both earlier and recent ZELENA Albert (Ludwig Múzeum) Ludwig Múzeum – Kortárs Mûvészeti Múzeum (ZACHĘTA National Gallery of Art, Warsaw) való együttmûködés works of the artist, without any aim of a retrospective presenta- KÁLMÁN Rita, STEPANOVIC´ Tijana, SZALIPSZKI Judit Ludwig Museum – Museum of Contemporary Art eredményeképpen jött létre, a mûvész korábbi és jelenlegi mun- tion. At the centre of the exhibition stands a new work, a photo se- (ACAX – Ludwig Múzeum) Mûvészetek Palotája | Palace of Arts kái egyaránt szerepelnek, a retrospektív bemutatás szándéka nél- ries, entitled Polonia and Other Fables (2007−2009), which “is about BÍRÓ Eszter; Ken Kobylenski (K X Camera, Santa Barbara) 1095 Budapest, Hungary, Komor Marcell u. 1. kül. A kiállítás középpontjában egy új mû, a Polónia és más mesék both the Polish community living in the United States and the Po- POROGI András (Toldy Ferenc Gimnázium); RADOSTYÁN Henrik (ARTEX) tel: +36 1 555 34 44 | fax: +36 1 555 34 58 (Polonia and Other Fables, 2007−2009) címû fotósorozat áll, amely land of today, about research into his personal roots, and about SIPOS Dániel, SZEKERES Andrea, Tamás Gáspár Miklós, ZÖLDI Anna e-mail: [email protected] | www.ludwigmuseum.hu „egyszerre szól az Amerikában élô lengyel közösségekrôl, és a mai national symbols concealed in nationalist ideologies, the current Lengyelországról, személyes gyökereinek kutatásáról, és a naci- American-Polish relations, the economy and market competi- szöveg | author: NEFMI onalista ideológiákba bújtatott nemzeti szimbolikáról, a jelenkori tion, and not least about the diversions and borders of the genre of SZÉKELY Katalin amerikai-lengyel kapcsolatokról, a gazdaságról és piaci versenyrôl, traditional photography”.3 In one of the pieces of his monumental 2 3 Négy fotográfiai lecke a kispolgárságnak | Four Lessons és nem utolsó sorban a hagyományos fotográfia mûfajának kitérô- work of many parts, Fish Story, the slide sequence, Walking on on Photography for the Petit-Bourgeoisie, 1976-2010 irôl és határairól.”3 Monumentális, több részbôl álló Halas törté- Water (1990−95), he photographed Poland at the time of the political fotó: Sebastian Medejski, a varsói ZACHETA National netének (Fish Story) az egyik darabjában, a Vízen járva (Walking changes, and more specifically, the birthplace of those changes, the Gallery of Art kiállításán | photo made by Sebastian on Water, 1990−95) címû diavetítésen a rendszerváltás korának Len- Gdansk Shipyard, and how a large Socialist industrial facility of this Medejski, on the exhibition at ZACHETA National Gallery gyelországát fényképezte, azon belül is a változások szülôhelyét, nature copes with new economic-political conditions. of Art, Warsaw 2009 a gdan´ski hajógyárat, és azt, hogy egy ilyen szocialista nagyüzem Already in his earlier works, Sekula had dealt with the world of hogyan tud megbirkózni az új gazdasági-politikai viszonyokkal. work and workers (Untitled Slide Sequence, 1972), but contrary to Sekula már korai mûveiben is foglalkozott a munka és a mun- the traditions of documentary photography, he is not interested in the kások világával (Cím nélküli diasorozat, [Untitled Slide Sequence], world of those outcast from society, but rather in his own, petit bour- 1972), de a dokumentarista fotózás hagyományával ellentétben ôt geois environment (Aerospace Folktales, 1973), and the relationship nem a társadalomból kitaszítottak világa érdekli, hanem a saját, systems that define it, as, for instance, the social role of women kispolgári környezete (Repüléstechnikai népmesék [Aerospace (Meditations on a Triptych, 1973−78). Folktales], 1973), az azt meghatározó viszonyrendszerek, mint pél- dául a nôk társadalmi szerepe (Gondolatok egy triptichonról [Medi- His work in social criticism touches on such questions as environ- tations on a Triptych], 1973−78). mental protection and anti-globalisation, an example of which could be the slide sequence immortalising the battle in Seattle, entitled Társadalomkritikus mûvei olyan kérdéseket érintenek, mint a kör- Waiting for Tear-gas, 1999−2000, or the film about sea trade, Lottery nyezetvédelem és globalizációkritika, melyre példa lehet a seattle-i of the Sea, 2006. csatát megörökítô diasorozat, a Könnygázra várva (Waiting for tear gas, 1999−2000) c. diavetítése éppúgy, mint a tengeri keres kedelem Sekula’s main artistic field is social criticism and documentary világát bemutató film,A tengerészet szerencsejátéka (Lottery of the art in the wider sense, and social documentary photography in the Sea, 2006) is. narrower sense, which is only approximately the same as the term “szociófotó” used in the Hungarian literature. This concept should Sekula fô mûvészeti terepe a tágabb értelemben vett társada- be understood not so much a linguistic, geo-political or social is- lomkritikus, dokumentarista mûvészet és a szûkebb értelemben- sue, but rather as a project focused primarily on ideology. Benjamin vett „szociális érzékenységû” dokumentarista fotográfia („social Buchloch, one of those best acquainted with Sekula’s art and way of documentary”), amely csak többé-kevésbé azonos a magyar szak- thinking, used the expression “critical realism” in connection with irodalomban használt „szociofotóval”. Hogy ki mit ért a fenti fogal- Sekula’s work, which he borrowed from György Lukács.4 mak alatt, nem
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