28 September 2017 - 14 January 2018
|Place||MS1, Więckowskiego 36 St., 90-734 Łódź, Poland, POLAND|
|Organizer||Muzeum Sztuki w Łodzi|
Sanyofikacja (Sanyofication) is a process which draws on the idea of television transmission. It is also an operation that enables transmission of images over long distances, as well as a machine capable of changing the dimensions in which an object is placed and subjected to the process. Between the existence and non-existence extends the whole range of intermediate states, among which the spectrality is only one of the most obvious ones. These intermediate states of existence and non-existence appear and disappear as the transition between dimensions proceeds from the second to the third.
Igor Krenz is an artist whose work often exemplifies his search for paradoxes of the so-called new media. This time, the exhibition at the Muzeum Sztuki in Łódź, presents two works in which a seemingly innocent and accidentally found object of culture becomes a basis for the exploration of complex relationships between the abstract and the figurative, material and immaterial, poetry and prose, object and background, and, even, between art and curatorial activity.
Igor Krenz. Sanyofikacja. The Miracle of Representation exhibition is related to a wider project exploring the world, whose existence is determined by two and a half dimensions. The 2½D world is a two dimensional world that constantly produces illusory 3D objects. And vice versa – it is a world of three dimensions which, by flattening and merging into the background, camouflages 3D objects. While at the sister show of the Grupa Budapeszt [Budapest Group] in Trafostacja gallery in Szczecin, the starting point was the well-known three-dimensional world which reduced itself by a half, showing a number of strategies for its camouflage, at the exhibition in Łódź the starting point was a two dimensional world that swung towards the 3D world.
The two-dimensional technical patterns themselves become scores that orchestrate the world they are part of. Hence, it is only a step away from asking about the generative aspect of modern technologies, about their status of specific notations, the collection of executive instructions that may bring technology beyond the level of its usefulness. What happens if every item found becomes a notation to which in order to read it we simply need to find the key? These and other questions about the fundamental issues of artistic production and the hidden meaning of reality will be answered by Igor Krenz himself supported by curatorship of Grupa Budapeszt.