Tytus Szabelski-Różniak

Tytus Szabelski-Różniak, Poland

*1991 (Poland)
Studies: Nicolaus Copernicus University in Toruń, Journalism and Social Communication; University of Arts Poznań, Photography
currently based in Białystok, Poland

The photographer and multimedia artist is the winner of the Konrad Pustoła Memory Scholarship for socially engaged photography. He has participated in the European photo-based platform Parallel and conducted  residencies at Biennale Warszawa and Trafó Gallery (Budapest). He is associated with the Visual Narrative Lab at the Polish National Film School in Łódź. From studying the materiality of digital images he has moved on to complex analysis of selected themes and layered multimedia projects. In the latter, he uses visual means to interpret social, political and economic instruments that have an enormous, in fact monumental, impact on the shape of our environment.

Our human time means nothing, 2024

What monuments will remain after the self-centred era of the Anthropocene? The exhibition at Basement Project gives space to two different projects thematizing human traces in the enormous temporal and spatial scale of the urbanized landscape. Tytus Szabelsky-Różniak documents unintentional monuments that seem to unwittingly inhabit the civilized landscape in a dense network of communication lines or points of giant logistics centers. For the SEFO 2024 Triennial he updates his projects Divide and Connect and AMZN. The giant linear cut into the surface of the Eurasian continent in the form of the Druzhba pipeline passes by the truly monumental objects of the prefabricated halls of economically powerful companies. The very monumentality representing power and capital gives rise to the monument of our time. A legacy of the future that we did not plan for? After all, Szabelski’s Capital series already found new monuments in the former Eastern Bloc rather than in the traditional sense of the word in the development of the newly consolidated economic system of the policies of consumption Europe.

And now we step aside and, thanks to the project of Nela Vicanová, we will see our time and its monuments from a different perspective. The human time that we are able to perceive as the time line of everyone’s life is roughly one hundred years. In the context of geological processes, our human time means nothing. Yet we have been drastically affecting it for roughly a hundred years. With the equipment of an architect, the author uncovers through probes and axonometric sections the memory of places with terminated mining activity and brings to the surface, in a theoretical construct, the grid through which we glimpse geological time. We have managed to rake it in such a way that the churches sink tens of meters and tilt sideways as a memento. The landscape around changes with successive stages into a new wilderness. So we have an image of the future appearance of the new monuments.