Panorama/ Bunkier Sztuki, Cracow 2011

Curator: Anna Smolak
Space design: LATALAdesign

Bunkier Sztuki, Cracow 2011

The popularity of panoramic images in art has been related to searching for an active form of accessing the  reality created. The spectator, who would become the axis of the image viewed, could experience a mere semblance of that which, with the help of new technologies, the virtual world has on offer these days.  The desire to enter into the world of the picture obviously arises out of the natural perception of reality and it is related to the central place which the percipient holds. Outside of the realm of art, the desire to widen the horizons of perception has added particular attraction to those locations which are elevated topographically, and from which one can command a maximum extent of overview.   As a result, various observation points, whether artificial or natural, afford satisfying experiences to the collector of views.
Katarzyna Krakowiak treats Panorama as a process for arriving at the desired image. The physical route which the spectator must cover in order to arrive at an aesthetically pleasing image is connected with the expectations supplied by the memory of past experiences as well as the projection of what we imagine., Unexpectedly, Katarzyna Krakowiak’s installation grows out of the peripheries of the exhibition spaces of the gallery, only to abandon them and to annex places which – in terms of the purpose of the building – perform only a secondary function. It b becomes a hybrid organism, whose logic is dictated, on the one hand, by the economy of space and, on the other, stems from the need to make connection (both in the physical and cerebral sense)  between two areas: the real world and the world of art, which are governed  by different rules of participation. A distinctly individual experiencing of space acts as a catalyst to emotions related to crossing over boundaries and discovering and conquering places hitherto  beyond the physical reach or pushed away beyond the consciousness of their existence.
The artist proposes a situation in which the expectations of the percipient are at all times confronted with the limitations which she has imposed. The spectator’s apparent influence on the area of observation does not make up for the feeling of loss connected with the fragmentation of the resultant image, deprived of its acoustic and visual context. What becomes significant is not what is visible and accessible but that which has been excluded from the field of vision.
Krakowiak’s work alludes to contemporary theories of perception connected with the marginality and peripherality  of  observation. Invading the mass of the building, the artist takes up a polemic with  the modernist imperative e of  the functionality of architecture. Above all, however, she  provides scope for an active and sensual reception of art, placing the percipient in the centre of her investigation.