โSwallowโ is delighted to invite its visitors to ๐๐ต๐ฒ ๐ผ๐ฝ๐ฒ๐ป๐ถ๐ป๐ด ๐ผ๐ณ ๐ง๐ต๐ฒ ๐ฆ๐๐ฟ๐ณ๐ฎ๐ฐ๐ฒ ๐๐ ๐๐ป๐ผ๐๐ด๐ต โ ๐ฎ๐ป ๐ฒ๐ ๐ต๐ถ๐ฏ๐ถ๐๐ถ๐ผ๐ป ๐ฏ๐ ๐๐ฎ๐ธ๐๐ฏ ๐๐๐๐๐๐ฐ๐๐ผ๐ปฬ ๐ฎ๐ป๐ฑ ๐๐ฟ๐๐ฝ๐ฎ ๐๐๐ฑ๐ฎ๐ฝ๐ฒ๐๐๐. ๐ง๐ต๐ฒ ๐ผ๐ฝ๐ฒ๐ป๐ถ๐ป๐ด ๐๐ถ๐น๐น ๐๐ฎ๐ธ๐ฒ ๐ฝ๐น๐ฎ๐ฐ๐ฒ ๐ผ๐ป ๐ฒ๐ฝ๐บ ๐๐ฟ๐ถ๐ฑ๐ฎ๐, ๐ญ๐ต๐๐ต ๐ ๐ฎ๐.
Looking at somethingโ is an expression that suggests that the sight slides on the surface – it cannot go beyond it. Even the figurative art works stop the eyes that would like to see through. This is a paradox that disconnects language from the everyday experience. Yet even a casual meeting with any painting confirms the existence of this confusing sensation of looking at and through at the same time. Hence revealing and concealing only seem to be contradictory practices. There are deeper structures that can be disclosed by constant expansion of surfaces.
Genetics convinces us that we can reconstruct an organism based on a small fraction of information. AI can form models of faces and voices with the use of a few shots and uttered words. Is not the act of filling the missing words in the parchments of Sappho similar in nature? But is it an exposure of concealed words? Or the exact opposite โ concealment of unavailable poem? And finally, whose poem is this? Sappho’s? Armand D’Angour who reconstructed it? Or does it belong to the generative power of the visible words? Or maybe we will be even able to imagine the relation between two spaces: the one where the poem first came into being and the one where it is being performed? Of course, the latter hypothesis is paradoxicalโฆ
The constellation of works by Grupa Budapeszt and Jakub Czyszczoล will fail to answer all these questions. It is not the aim. It is rather a creation of instruments that will amplify these antinomies.
โโโ ๐ข๐ฏ ๐ฆ๐น๐ค๐ฆ๐ณ๐ฑ๐ต ๐ง๐ณ๐ฐ๐ฎ ๐ต๐ฉ๐ฆ ๐ต๐ฆ๐น๐ต ๐ธ๐ณ๐ช๐ต๐ต๐ฆ๐ฏ ๐ฃ๐บ ๐๐ข๐ฏ๐ช๐ฆ๐ญ ๐๐ถ๐ป๐บ๐ค๐ป๐ถ๐ฌ ๐ง๐ฐ๐ณ ๐ต๐ฉ๐ฆ ๐ฐ๐ค๐ค๐ข๐ด๐ช๐ฐ๐ฏ.
๐๐ฎ๐ธ๐๐ฏ ๐๐๐๐๐๐ฐ๐๐ผ๐ปฬ is a painter, graduate of the Faculty of Visual Communication Graphics at the Academy of Fine Arts in Poznaล, currently a lecturer at the Academy of Art in Szczecin. He was a resident of 18th Street Arts Centre (Santa Monica, CA, 2012-2013), a fellow of the Visegrad Fund Programme (2013) and the Young Poland Programme (2019). He collaborates with the Stereo (Warsaw) and Ermes-Ermes (Rome) galleries.
๐๐ฟ๐๐ฝ๐ฎ ๐๐๐ฑ๐ฎ๐ฝ๐ฒ๐๐๐ is composed of artists and curators (Igor Krenz, Michaล Libera & Daniel Muzyczuk). Their practice is usually based around nonorthodox and pataphysical solutions and methods of working with found cultural artefacts. The group deals with art and life, exploring marginal issues arising from technical reproduction, limitations of reasoning with abstractions and drawing radical consequences from the dematerialisation of reality. A combination of scientific methodologies and unbridled intuitions leads to ‘exploding’ explanations. The resulting meta mechanism becomes the basis for the subsequent one, which seeks to interpret its elements by making them narratively coherent.
