We meet with Michał Szlaga, a well-known photojournalist, photographer, and documentarian, to talk about his exhibition ‘Cassubie fiksum-dyrdum Redëniô. Zôczątk’ in St. John’s Centre (part of Baltic Sea Cultural Centre). The exhibition is on view until August 13th.
Summer, a perfect time to embark on a marvelous, picturesque, and peaceful journey to explore Kaszëbë (eng. Kashubia), an area in the historic Eastern Pomerania region of northern Poland. This won’t be just a sightseeing trip, but a mystical artistic voyage. In the interview with Michał Szlaga, we cover the multimodality of art, history, biographic archeology, and artist’s relationship with his homeland Kashubia. Let’s immerse in the memories, personal emotions, and private reflections of Michał Szlaga. In everything that falls beyond documentary. It’s a journey and you are invited.
Trying to define what the exhibition covers, I came to a conclusion that it’s an exhibition about obsessions that give birth to things, which, in Kashubian, is expressed as “Wëstôwk ò nëch” – what gives birth and follows me. Something has been haunting me since childhood, and I translated it into photographs and, lately, also into words, sound, and videos.
Monika Juskowiak: I would like to start with the Kashubian title: ‘Cassubie fiksum dyrdum Redëniô. Zôczątk.’ I think “fiksum dyrdum” roughly translates to something like “a bit of madness,” “crazy,” and “fanciful prattle.” Tell me more about the meaning of the exhibition’s title.
Michał Szlaga: In the Latin bull from the 13th century, Pope Gregory IX for the first time in history referred to the ruler of Szczecin, Bogusław, as the Duke of Kashubia, in Latin it reads ‘Dux […] Cassubie.’ The document is dated March 19, 1238. Since 2004, in honor of this historical mention, the Day of Kashubian Unity (Dzéń Jednotë Kaszëbów) has been celebrated annually. Fiksum-dyrdum, well, that’s typical for me – being soaked with the subject matter, intertwining threads that have been growing in me since my childhood spent in Kashubia. It encompasses everything: family and regional histories, the magical realism of the place, as well as contemporary themes that I see and evaluate as a good starting point for my extensive documentary work. Trying to define what the relevant exhibition covers, I came to the conclusion that it’s an exhibition about obsessions that give birth to things, which, in Kashubian, is expressed as ‘Wëstôwk ò nëch’ – what gives birth and follows me. Something has been haunting me since childhood, and I translated it into photographs and, lately, also into words, sound, and moving images. ‘Redëniô. Zôczątk’ simply means “Radunia” and “Początek” (eng. Beginning). Radunia is a river along which I grew up in its upper course, and now I live near its mouth. Stretching 104 km, it serves as a perfect pretext for telling stories about Kashubia. I plan to dedicate the next decade of my work to it, acting under its banner. ‘Początek’ (‘Beginning’), of course, is the announcement of its continuation, assuming that I will return every two years with its next installment.
MJ: This exhibition is your first full departure from photography. The exhibits comprise movies, a sculptural project of the Kartuzy Collegiate Church, and sounds of a folk instrument… What is your focus in the exhibition and what do you aim to achieve with this synesthetic mix of media?
MS: Yes indeed, photography takes up less space in this exhibition than before, with only two out of the eight works being entirely photographic. I aimed to create a synesthetic spectacle that is both concrete and real while touching on something intangible, which I call ‘Czëc’ from the Kashubian language, meaning to feel, hear, understand – sometimes all together, and sometimes depending on the circumstances, referring to just one state. The other side is harder to define, possibly spiritual or magical. I believe it to be a real aspect here in Kaszuby. Starting from photography, I also incorporate objects like stones from the family fields in Skrzeszewo, their soil, and a small 19th-century bed where I last slept in 1986, filled with soil and available for visitors to experience at the exhibition.
MJ: Tell me more about ‘touching the intangible.’ What are the exhibits and stories behind them?
MS: The exhibition is accompanied by four video works. The main piece, titled ‘Bazuna’ is an attempt to recreate a long-lost acoustic phenomenon that once accompanied the work of Pomeranian fishermen on lakes, the Gdańsk Bay, and the sea. In the video, the focus is on sound, specifically a 4-minute musical composition resulting from a one-day meeting with a local fisherman, Andrzej Chistowski, from the Radunia spring, Paweł Gruba, a bandmaster of a brass band from Żukowo – a bassoonist from the middle course of Radunia, and an artist from its estuary. The other video works include ‘Inwokacja,’ where I stand on the seashore at Rzucewo beach, looking towards the Lithuanian Klaipeda (Memel) while reciting Mickiewicz’s text in the Kashubian language. The next work is ‘Dziecko Raduni’ (eng. ‘Radunia’s child’) a 30-minute recording of my time spent in the river, dedicated to my parents. Additionally, the stationary figure in the video symbolizes the endurance of Kashubian natives in one geographic place despite the changing political and social realities over the centuries.
The last video work is part of the performative installation ‘Połóż się w bruździe’ (eng. ‘Lie in the groove’), where I recall a childhood dream in a field groove during breaks from fieldwork. In this piece, we see my nephew sleeping in a Skrzeszewo potato field, and viewers can experience a moment of rest by lying on a bed filled with family soil, essentially clay.
The work ‘Hakelwerk. Osiek. Duda Rybacka’ is a concept for a monument, inspired by the old fishing boat structures that are now rare on our beaches. It is my proposal for a memorial in Gdańsk, dedicated to the fishermen of Osiek (now part of Gdańsk’s downtown), who have lived and worked in this place for a thousand years, though traces of its fishing heritage are now almost completely gone. If possible, I aim to have the real object ready within the next two years, as the prelude to the second part of Radunia’s journey.
MJ: But as you mentioned, two out of the eight presented works are entirely photographic.
MS: Yes. Almost thirty of them are included in the work ‘Fotograficzny portret Raduni’ (eng. ‘Photographic Portrait of Radunia’) – a paean praising the beauty of the river. The next nine can be found in the main nave of the church, in the high altar’s setting, where the celestial phenomena are the focus – the sunrise of the so-called ‘Pink Moon’ over Gdańsk Osiek, recorded on April 6, 2012. This moment is known as the Full Moon of Fish, the Pink Full Moon, or the Resurrection Full Moon, recurring each year. On the altar, I also placed a circular rainbow above the Kaszubian Canal, symbolizing the covenant with the highest, as well as a symbol of the final judgment, alongside an image of the last solar eclipse over Gdańsk. Following the old masters’ craft, I draw inspiration from the symbolism found in nature. Of course, I won’t give up photography in my practice; it will appear in future book publications. I’m actively photographing for the past six years, and I plan to revisit my personal archive, spanning from age 11 to 20, as well as the rich century-old family photographic archives.
“How to talk with birds, trees, fish, shells, snakes, bulls and lions” exhibition
Let’s get carried by Vistula River’s current. A female voice, bringing to mind rusałki – mythic Slavic water nymphs, lures visitors into entering the exhibition “How to talk with birds, trees, fish, shells, snakes, bulls and lions” curated by Ina Dinter and Aleksandra Jach at the Berlin Hamburger Bahnhof. An echoing chant calls us from the inside of a glistening shell-like ceramic sculpture by Agnieszka Brzeżańska. A scow under the emblem of the Flow / Przepływ collective is ready to depart. On its decks, the viewer-wanderer may rest and enjoy the recordings from an aquatic voyage.
MJ: Let’s go back to the folk sound and its instrument for a moment. During the vernissage, the audience could experience the sound of bazuna, played by Professor Andrzej Szadejko. Can you tell us more about it and its significance in the exhibition?
MS: The work focuses on sound, and the idea was born in my apartment in Gdańsk, where I have been living since 2002, near the shipyard. The sounds from the port, amplified by the water, hammers, sandblasting noises, and ship signals, sparked a question about what came before them, and the answer was simple – the bazuna. This inspired me to create a real representation of this past event. I chose a lake with tall, wooded shores as the meeting place. We managed to create an echo, but there was a surprise – we used a steel boat instead of a wooden one, which produced a loud and distinctive sound of rowing and the horn. The work refers to the traditions of the fishermen from Radunia. The shaping and mixing of the piece was done by Emiter (Marcin Dymiter).
The centerpiece of the exhibition is a video depicting a scene rarely seen today on the sea or lakes: a figure standing on a boat blowing a bazuna. This simple wooden instrument was once used by fishermen to signal their location on the water, which was particularly important in conditions of limited visibility, such as fog or darkness. The instrument also served ceremonial functions – the loud sound of the wooden horn was believed to ward off evil spirits and signal rituals facilitating contact with the sacred. At the exhibition, the sacred elements of the St. John’s Centre engage in a unique dialogue with recorded, recreated sounds. The dominant aspect is a monumental painting connected to the sound of the bazuna. During the vernissage, the magnificent organs of St. John’s Centre conversed with the bazuna, fulfilling another dream – I wanted their sounds to echo the simple and pure sound of the bazuna. The organ curator, Prof. Szadejko, played wonderfully, finding the sound of the bazuna in his improvisation, creating an extraordinary experience of simplicity and richness of sound.
MJ: Saying you were delving into your roots for this exhibition lacks metaphorical meaning, as you were literally digging in your homeland. Tell me more about the exhibition’s performative aspect and how the audience can participate.
MS: I mentioned the field stones, around 20 tons were collected from the family field this year. I brought one ton of carefully chosen stones to the church (St. John’s Centre). I suggest that viewers select one stone and walk through the church with it, experiencing the object’s meaning. The work I created previously and exhibited in the past is ‘Lewitująca kolegiata’ (eng. ‘Levitating Collegiate Church’) from 2014. The monastery church in Kartuzy inspired me, with a coffin-shaped roof. It holds significance as my childhood parish church, where I served as an altar boy. Accompanied by photographs from 1988, 1991, and 1997, among the first architectural subjects in my archive, the artwork appears to levitate and emits smoke and fragrance, recalling olfactory memories of the place, particularly the church’s incense. It was my only artwork dedicated to Kashubia then. Now, for the first time, it finds its rightful place within the Pomeranian context. This shows what I intend to create in the future and how I will do it. I will return to these objects in subsequent iterations, and additionally (on which I am already working), there will be land art pieces, and I will also move more strongly towards video. All of this is aimed at allowing myself and, and the viewer, to experience the greatest possible ‘Czëc.’
MJ: Finally, what do Kaszuby mean to you, and why did you choose them as the subject of your creative work? Does your family history primarily influence it, or does it stem from a deeper love and curiosity beyond your own memories?
MS: I approach the subject from two perspectives: drawing from my family’s experiences that might date back to the early 17th century and being open to learning about the history of others. Kaszuby, my natural environment, holds great potential as an artist’s theme. While the past decade saw significant historical publications and the continuous development of folk arts, I find little activity in contemporary art related to Kaszuby. I believe contemporary art tools can help portray Kaszubian phenomena and foster self-discovery. Hence, I aim to expand Kaszubian art’s spectrum. Over the last two decades, I focused on Gdańsk in my artistic journey, but now, I am directing my observations toward the Pomeranian province. This is my homeland, and I have devoted much time to Poland, our larger shared homeland. Now, I return to my roots, finding time for my small homeland, and consider it a right and necessary step to invest my energy and talent here.
I have a general idea of what my family’s life was like in the Gdańsk Pomerania region for the past 250 years, but I am delving deeper into this history.
MJ: The objects in the exhibition go beyond mere representations of places and landscapes; they incorporate sentimental and mythical elements drawn from your life. How does your family mythology manifest in your creative work?
MS: My diploma work at the Gdańsk Academy of Fine Arts in 2003 was based on the family archive from the interwar period. An enthusiastic amateur photographer from the Free City of Gdańsk, Feliks Kloskowski, a family friend and a postman, captured moments of my Skrzeszew family’s life. Important religious holidays, and scenes from daily life, mainly focused on work. I grew up with this archive, analyzing it since childhood, and it led me towards photography. So, after 20 years, I have returned to this subject, and I will continue working with and revealing it over time. The pandemic took my father, Józef, born in 1941, who spent his last years writing memoirs from his childhood. He created an incredible handwritten compilation, which will appear in the next installment of Radunia. I decided to illustrate his memoirs. I have a general idea of what my family’s life was like in the Gdańsk Pomerania region for the past 250 years, but I am delving deeper into this history. I am following intriguing leads not only concerning the Szlaga family but also my connections to the Wolfarth and Klinkosz families. It’s a fascinating reservoir of memories to work with, and each new discovery allows me to better understand myself and the region. From my perspective, it is invaluable. I will undoubtedly continue exploring the history of my own family and others.
MJ: In the curatorial text Anna Mituś used the term “biographic archaeology.” Which exhibit holds the most personal significance for you?
MS: On a personal level, it’s ‘Połóż się w bruździe’ (eng. ‘Lie in the groove’), a bed filled with Kashubian soil. It’s a childhood memory of a kid who helped during fieldwork and eagerly awaited the signal from the adults that it was finally time to rest. When that moment came, Aunt Gertruda (Truda) would say, ‘Legnij le sã w brózdã’ (‘Lie down in the groove’), and I gladly lay down to observe the clouds and dream. On a collective level, it is the bazuna, dedicated to the fishermen, who were not part of my family. It’s a successful attempt to fill one of the many gaps in our shared social memory of the place. It was wonderful to hear its sound carrying over the water, echoing off the walls of the forest. There was no single common code or system of sounds that meant the same thing for everyone. The bazuna can speak; in the piece, the main melodic motif is a Kashubian signal – ‘I’m going home.’ This instrument can speak, and this time, I wanted it to speak about a happy return from fishing, and it succeeded.
Say Hello from Your Studio: Justyna Górowska Reinvention of the Slavic Archeology
The Popiel Studio is a Kraków-based boutique art studio run by artist Justyna Górowska, specializing in the reinvention of Slavic archaeology into 3D printed home design. They are passionate about technology but also madly in love with the environment. They want to rebuild the most cherished value of their Polish ancestors: harmony with nature.
MJ: Could you share the reasons behind selecting St. John’s Centre in Gdańsk as the venue for your exhibition?
MS: I received an offer to fill in the program at the Baltic Sea Culture Centre, and I agreed. I unveiled Radunia for the first time, a project I had been working on for quite some time. St. John’s Centre, this historical place and important landmark for Pomerania, I did not treat as a gallery, but gladly integrated the exhibits into its interior. The memory of St. John’s Church, which I first saw as a young boy, is one of my most significant architectural memories. Now, I believe that this church is the perfect place for the first presentation of my artistic project Radunia.
MJ: ‘Zôczątk’ in the title implies a beginning, suggesting this might be the first installment of a larger project. With the exhibition at St. John’s Centre concluding on August 13, do you already have plans or ideas for continuing this project that you can share with us?
MS: I hope for at least two decades of fruitful work under the banner of Radunia. I will return in two years with another installment, and in a way, I will try to reverse time with my work.
Cassubie fiksum-dyrdum. Redëniô. Zôczątk.
30.06.2023 – 13.08.2023
Artist: MICHÔŁ SZLAGA (Michał Szlaga)
Curator: Anna Mituś
NCK – Centrum św. Jana, Gdańsk, ul. Świętojańska 50
