Konrad Smoleński. Everything Was Forever,
Until It Was No More

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Borrowing its evocative title from a fundamental essay by Alexei Yurchak on the last Soviet generation before the fall of the Eastern Block, Konrad Smoleński gives his installation Everything Was Forever, Until It Was No More in the Polish pavilion—a stereophonic system composed of two handmade bells flanked by two rows of broadband speakers and two walls of metal cases—the role of a sentinel of change and, in its foreboding character, that of an interpretation of anxieties and fears. The crescendo of movement of the bells, surrounded by the huge amplification system, generates a sense of expectation charged with uncertainty. Sound and dismaying tension form the basis of many of the works of Smoleński, who operates with photography, video art, installation, performance and happenings, always making use of very sophisticated technical gear. The book published for Poland’s contribution to the 55th Venice Biennale contains essays and conversations—by Hanna Wróblewska, Daniel Muzyczuk and Agnieszka Pindera, Julian Barbour, Alexandra Hui, Eugeniusz Rudnik, Andrei Smirnov, Thibaut de Ruyter, Craig Dworkin, Simon Critchley—that analyze the work and the universe of the artist, examining different works in which sound takes on precise political overtones.

Konrad Smoleński. Everything Was Forever,
Until It Was No More

20.00

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Borrowing its evocative title from a fundamental essay by Alexei Yurchak on the last Soviet generation before the fall of the Eastern Block, Konrad Smoleński gives his installation Everything Was Forever, Until It Was No More in the Polish pavilion—a stereophonic system composed of two handmade bells flanked by two rows of broadband speakers and two walls of metal cases—the role of a sentinel of change and, in its foreboding character, that of an interpretation of anxieties and fears. The crescendo of movement of the bells, surrounded by the huge amplification system, generates a sense of expectation charged with uncertainty. Sound and dismaying tension form the basis of many of the works of Smoleński, who operates with photography, video art, installation, performance and happenings, always making use of very sophisticated technical gear. The book published for Poland’s contribution to the 55th Venice Biennale contains essays and conversations—by Hanna Wróblewska, Daniel Muzyczuk and Agnieszka Pindera, Julian Barbour, Alexandra Hui, Eugeniusz Rudnik, Andrei Smirnov, Thibaut de Ruyter, Craig Dworkin, Simon Critchley—that analyze the work and the universe of the artist, examining different works in which sound takes on precise political overtones.

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