Kraków, Bunkier Sztuki
“Aurélien Froment / Krzysztof Pijarski. Moiré” is an exceptional presentation of works of two artists based on the phenomenon of interference, that is, the overlapping of individual interests, methods, and models of work. Both share fascination with the issues of identity, history, and cultural constructions of biography (of other artists, architects, historians, and inventors), as well as possibility of referring through art – through limited, formal means and gestures – to these complex and wide-ranging issues. Both artists provide individual narratives carefully constructed with the media such as installation, photography, and video, at the same time paying attention to issues of the matter of art and the conventions of visual storytelling and thinking. For both, the recurring trope is degradation and erosion – of matter, body, and established forms of expression.
The shimmering effect of moiré produced by the exhibition is a result of the dialogue that developed between the two artists, as well as between them and the Gallery, focusing on spaces that shape our memory. Thanks to its emphasis on marginal or invisible figures (sometimes indiscernible for well too familiar), their story triggers mechanisms of rereading, finding space for new relations, and encounters between the past and the present. Visual archaeology by Froment and Pijarski is a network of overlapping images, events, objects, and traces that question the obviousness of constructs such as the artwork, identity, and archive. Among figures interpreted by Froment are Paolo Soleri (a visionary and advocate of the theory of arcology – architecture design that improves urban conditions by minimalizing the degradation of the environment), and Friedrich Fröbel (a German teacher, theoretician, and leading founder of pre-school education through the humanities). Pijarski, on the other hand, has addressed the biography of Jerzy Lewczyński – a photographer and theoretician who promoted the idea of preserving the continuity of visual contact with the past through photography. Those figures are represented in the exhibition, although artists’ stories feature a larger number of protagonists.
Exclusively for the Bunkier Sztuki exhibition artists prepared new works. The starting point of one of them – Aurélien Froment’s film “Non alignés” [Non aligned] co-produced by the Dakar biennial – is the situation of the Senegalese community instructed by Somnath Mukherjee in Bollywood dancing. On the other hand, Pijarski’s installation “Sztos” addresses the figure of Veit Stoss, who has been the subject of a long discussion on the artist’s nationality, both in terms of his place of birth, as well as artistic influence, and “national character” of his style. The sculptural output of Stoss and the historical (re)constructions of his biography provide a material and the “medium” for Pijarski’s work, as does the history of photographic representations of the master of late Gothic style, with particular emphasis on the Krakow altarpiece and its eventful history.