The exhibition entitled Experiencing the Place, presented at the Silesian Museum in Katowice, features one of the most intriguing photographic projects in Upper Silesia presenting the region after 2010. The curator Dominika Szczech invited three artists – Krzysztof Szewczyk, Tomasz Liboska, and Kaja Rata – to collaborate on photographic series which share the subject matter of place and of the experience it provides. The exhibition, arranged in a linear way, was divided into three semantic modules – physical, existential and phantasmal. Setting apart individual series provides the audience with a sense of immersion into every author’s vision. Colour photographs displayed on black walls become a window to the places which the artists experience.
I have had a chance to learn about the work on the exhibition, the accompanying idea, the changes taking place in Silesian documentary photography, and the attempt to redefine the image of Upper Silesia with Dominika Szczech, the curator of ‘Experiencing the Place’.
Anna Nowok: Can you tell me about the source of your urge to prepare an exhibition that takes up the topic of experiencing places and presents a different way to perceive Upper Silesia in photography after 2010?
Dominika Szczech: When I started working at the Photography Department of the Silesian Museum and began analysing the institution’s collections I noticed clear aesthetic and thematic trends in photography that were determinant for the image of the region for decades. The works, authored by outstanding artists and documentarians, shaped the appearance of Upper Silesia. My attention was drawn to contemporary projects that departed from the classical takes and were most often presented on photographic festivals and small-scale exhibitions in galleries. In the works of the caught in the middle and young generations I saw a new approach to telling the story of a given place, with a more personal and in-depth analysis of the subject-matter. I recognised it as a ground-breaking moment for Silesian photography, and was determined to help and find its place in the Museum’s narratives.
A.N.: Why did you invite those particular artists to collaborate with you? In your opinion, what makes them suitable for conveying the idea you wanted to communicate , what makes them distinctive ?
D.S.: I believe their works represent some of the most captivating projects which were created in the last decade in Silesia and which talk about the region. The projects by Szewczyk, Liboska and Rata arranged in my mind into a triad of various ways of experiencing places: physical, existential, and phantasmal, hence my choice. I wanted to show the polyphony of diverse trends in contemporary documentary photography. Besides, they are extremely talented and sensitive people. Their creative work simply should be promoted.
A.N.: Could you tell me how these artists approach their projects? What is their creative process like?
D.S.: Preparing his series, Krzysztof Szewczyk dived into the topic of seismic waves in Silesia. He would go to seismology stations, explore their history, reach the epicentre locations and document them which was a vital part of the enterprise. However, he also incorporated studio and archival photographs in his story.
The series entitled ‘Odwrót’ [‘Turn Round’] by Tomasz Liboski is of a completely different nature, as it was created as the artist was exploring the region by bike. It is a long-term project which was launched in 2016 and is still underway . The series is a photographic account of people and places. The author is drawn by the specific type of sadness he discovers in the faces he encounters on the way and in the surrounding scenery. Liboski’s Instagram account has a comprehensive gallery of photographs from the ‘Odwrót’ series.
Kaja Rata has adopted yet another approach. She combines documentary with creative process which is a vital part of her work. The artist records her immediate neighbourhood with a camera, fantasising and changing its context. Through this creative act she gets accustomed to the surrounding reality.
A.N.: You stress that you wanted to depart from the traditional black and white depiction of Silesia, but black is dominating the exhibition space. Is the colour a symbol of the past trend, and the frames of the artworks symbolise distancing and breaking away from this tradition in photography?
D.S.: The black colour is the context of the place. The exhibition space is dark and has the form of a tunnel. It is located in the lowest storey, underground, as the Museum is situated on site of the former Katowice Coal Mine. It is the background for a contemporary story which continues to refer to industrial heritage. The contrast with the hall interior is part of the visual identity – the graphic design by Wojciech Bednarski has been placed on the entrance wall which strikes visitors with an extravaganza of colours and refers to modern times.
A.N.: We both grew up in Silesia and still live here. We have extensive knowledge of the subject matter and subconsciously feel the context in which the photographs are set. We are also aware of the enormous changes taking place around us. Paraphrasing the title of the exhibition, we have a track record of long years of experiencing the place. Can you tell me why the art show and its topic is also important to the people from outside the region? What can visitors from outside Silesia take away from it ?
D.S.: Iconography is one of the basic tools building our image of the world. The exhibition shows contemporary Silesia and might provide an opportunity for the residents of other regions to get to know us better. They may also discover issues that are known only to us. And simply speaking, it is a great chance to explore the creative work of excellent photographers!
A.N.: When we talked earlier, you repeatedly pointed out to the Silesian University in Opava as the source of changes in the image of Silesia in photography. Could you describe its role in more detail?
D.S.: The Institute of Creative Photography was established in 1990 when Prague and Leipzig were the only places in the former Soviet Bloc where you could study this craft . The staff and the students were an international group. The Institute gradually attracted circles related to humanism and subjective documentaries. The ICP also supported a wide range of creative trends, with various nationalities and generations intermingling there. I believe that it has greatly affected the shape of today’s Silesian photography, because it is the Institute that educated a considerable group of artists from Silesia.
A.N.: If you were to describe the essence of each of the artistic series in one word, what would it be?
D.S.: ‘Tremor’ – anxiety ; ‘Turn Round’ – melancholy; ‘here and there’ – phantasm.
A.N.: Summing up. What is your perception of Silesia?
D.S.: It is my local homeland. This is what I took from my family home, thanks to my father who was a historian researching the history of Silesia. I owe him my interest in the region. I believe that Silesia, through its complex history and transformation process, should continue to be described anew in various fields of culture, because it is an elusive and intriguing creation.
Experiencing the Place
Artists: Krzysztof Szewczyk, Tomasz Liboska, Kaja Rata
February 17, 2023–May 21, 2023
Silesian Museum in Katowice
Dobrowolskiego 1, 40-205 Katowice
