Projekt fotograficzny Stefana Figlarowicza 1 : 1 z 1979 roku przykładem korelacji z Atlasem Mnemosyne Aby Warburga
Stefan Figlarowicz’s 1 : 1 photographic project from 1979 is an example of correlation with Aby Warburg’s Mnemosyne Atlas

Summary/Abstract: The titular projects are separated by approximately 50 years. Both are based on iconography, creating unique narratives. The objects juxtaposed within them interact, transporting us to another reality. Although recognizable, the ideas and manner of presentation create a world that is not entirely clear. There is a shift from the obvious and familiar towards the unreal. Aby Warburg’s work has often been compared with the works of artists who utilized the medium of photography, including Gerhard Richter, Nigel Henderson, Hannah Hoch, Sophie Calle, Christian Boltan-ski, Anna Meschiari, and Zofia Rydet. The case of Stefan Figlarowicz is intriguing because the photographer could not have been familiar with the Mnemosyne Atlas, yet a unique correlation emerged between these works. The 1 : 1 project utilizes photographs placed on black boards depicting two housing estates – „Młyniec” in Gdańsk Zaspa and „Jary” in Warsaw Ursynów. Like Aby Warburg, Stefan Figlarowicz employed a visual narrative. Through his work, the artist sought answers to many pressing questions. By using image montage, he created an artistic inventory of places and objects, which became a tool provoking social debate on the problem of human functioning within the space of newly developed housing estates. However, the 1 : 1 project is primarily an expression of Figlarowicz’s artistic intervention, culminating in several exhibitions in Poland. It is an interesting example of post-conceptual art in Poland, as well as the sociological photography developing at the time. A comparative analysis of both seemingly distant projects yields interesting conclusions. The projects are strongly interconnected, both formally (montage, use of photography, dark background panels, lack of commentary, attention to detail) and semantically (inventory, research tool, narrative). This prompts reflection that the Mnemosyne Atlas has once again become a point of reference in art history. In the case of photography, thinking through images plays a key role. The juxtaposition/montage of individual images creates tensions within the object and simultaneously forces the viewer into a dialogue with the work itself and its creator.

• Details
• Contents