Title of the document
Prints for Ukraine
All profit from donation went to humanitarian aid for Ukraine: Help UA from BE. This scouting non-profit organisation collects and purchases humanitarian and medical aid, and delivers it directly to Ukraine.
Title of the document
2020 - ongoing
Ligia Poplawska’s portrait of a blind man is striking. I’ve seen this type of photograph before - famous examples preceed it - but this image is distinctive and comes to life in her series Fading Senses. Looking at someone who cannot see himself, makes us acutely aware of our alterity. We can never contain the reality of someone else: part of the other is always out of reach. This portrait will never be seen by its model, photography’s ability to construct and maintain a self-image is obstructed here. Poplawska extends alterity and identity crisis to global problems: we humans have to look long and hard in the mirror. The rapid decline of biodiversity is a fact and there is little doubt that our way of life is to blame. We share a parallel presence but are blind to what surrounds us. We seem unable to empathise with other lifeforms, other ways of thinking. These are still treated as natural resources to be exploited, which hinders meaningful interactions and coexistence. The solastalgic realisation that we degrade nature and are co-responsible for its decline, permeates Poplawska’s photographs. An image of a finger touching a flame suggests numbness and paralysis. The interior of a stately hall with a forest of marble-clad columns shows what remains once everything is transformed into material and status. Yet Fading Senses is more than a pessimistic lamentation, Ligia Poplawska invites us to abandon our delusional anthropocentrism to cultivate a truly sensitive outlook instead.
Text: Geert Goiris
Self-published booklet containing thinking process and research behind ‘Fading Senses’.
In ‘Silent Signals’ I reflect on uncertainty. It is a story where the elements marked by the brokenness of the Anthropocene fuse with fantasy and the ambiguities of the viewers memory. I treat photographic experience as an encounter of temporary stabilisation which provokes senses through synesthesia.