The “Before Midjourney” exhibition, described as “before the access to the free (since 2024) version of the most popular artificial intelligence app, which from entered phrases generates images” centers around the issues of environmental, societal, and ethical consequences of artificial intelligence use in amateur and professional artistic activity. However, it above all concentrates on concepts such as originality, authenticity, talent, and physical experience.

The lack of clear legislation regarding copyright laws for content created by AI, but also the data on which algorithms are trained; the resignation from learning and perfecting crafts and the lack of elementary basics in the scope of art education – theoretical and practical – in young generation’s artists – these are topics we want to think about today because tomorrow they will increasingly shape our visual surroundings.

In the exhibition “Before Midjourney” we show representative fragments of the works of Polish authors, whose images/objects have been created without the use of AI, but the aesthetic of which falls into what AI is most eagerly trained to generate. The starting point for the setup of the exhibition was the idea of referencing in a minimalistic, abstract way the arrangement of circuit boards in CPU. When we look up the phrase “AI graphic symbol”, the result will be examples of graphic diagrams, based on which we built a geometric composition. Imperfect, but consolidated. By a shared problem.

Before Midjourney is an exhibition about the past, about what is here and now, and what is coming. It is a comparison of three differing creative attitudes, which stand in opposition to the ever constant attempts at diminishing the importance of talent in art in both aspects of life – the real and the virtual. Painting, graphics, drawing and sculpture exist here in reality, in a specific place and time. They invite to focus on a detail without pixels, and to leave in contemplation. The physicality of those works is at one’s fingertips, in the line of sight. On a scale of humanity, in the human form, artists stand “face to face” with artificial intelligence.

His works are simultaneously monumental and intimate. They carry an extraordinarily emotional charge, whilst remaining mysterious and poetic. Ryszka had unparelled workshop skills, a strong understanding of form and an exceptional respect for the medium he created in. An important yet, little-known part of Ryszka’s artistic activities are his gouaches, watercolours, drawings and prints. All executed with great tenderness. Ryszka was a key influence to many outstanding artists, and his independence and individuality made his creative output consistently impervious  to the passage of time.

The exhibition presented at Rzeczna Art Gallery, has been designed to allow the viewer to immerse themselves in the world of Adolf Ryszka, learn about his diverse artistic achievements and appreciate the importance of the sculptor for not only Polish but global art as a whole. The exhibition includes works representing different stages of the artist’s career and the major undertaken themes, which are arranged in the form of cycles. Each cycle is represented by a select group of sculptures, diverse in form and materials.

The aim of this exhibition is to show the mastery of the sculptor’s craft. Showcasing his unparalleled skills, imagination and sensitivity. As well as the outdoor aspects of these objects created by Adolf Ryszka during sculpture symposiums. Resulting in monumental works that remain in a symbiosis with nature, bringing a new quality to their intimate relationship with the landscape.

Adolf Ryszka’s works are the property of Anna Ryszka-Zalewska. Rzeczna Art Gallery expresses its gratitude to the Master’s heir for the kindness shown while working on this exhibition

A cycle of twenty paintings in the 100×70 cm format, conceived from classical music concerts. Every painting has its own programme – a set of specific pieces, composed by particular composers, performed with the active participation of Maria Strzelczyk on a given day.

On a canvas, with the acrylic technique, the artist and violinist captured her visions, experiences as well as direct feelings. Each painting symbolizes the deep interpenetration of the arts and their fusion in time and space.

About the project:

The moment we resign ourselves of life’s little pleasures marks the beginning of the end. Time, confined within four walls, starts to slow down and stretch simultaneously through repetitive actions. Turning the light on, turning the light off. Soon even that will stop being our input. The doors will also lead nowhere. Then, darkness will emerge from the corners. It will run rampant. Seize and consume. No one knows how long this will last and how much dust will slowly settle on the furniture. But it will eventually come, the eternal stillness. We will turn off the lights. We will cover the mirrors. No wind will ever carry away this scent.

About the author:

Katarzyna SZWARC

Graphic designer, freelancer, photographer.
Graduate of Art Institute of the University of Silesia in Cieszyn and the Academy of Photography in Cracow.
Currently she’s a student of photography at The Institute of Creative Photography in Opava.
She’s a member of the student photography collective Šedá Zóna.

What does the system observe? How does this act of observing reveal the system itself?

Almost 40 million photos are kept at the Institute of National Remembrance. These include images of matters important for Polish history, as well as evidence for the banality of human actions, petty crime or insubordination. Their common thread is violence. Violence expressed by the gaze of an agent of the system.

From the perspective of the apparatus of oppression, everything is of interest and importance; nothing is insignificant enough to be left out. Just as with all matters tied to memory, here we will also stumble upon what is denied and disturbing. That’s why the excluded and unsaid become such an incredibly important lead, because what’s left undocumented may be simply dangerous.

This exhibition is another to ask questions about history, memory and our past. The book titled “How to look natural in photos” by Beata Bartecka and Łukasz Rusznica is part of the presented exhibition.

ŁUKASZ RUSZNICA

Łukasz Rusznica (1980) – photographer and curator, in his artistic practice he mostly focuses on photography books. He runs the publishing company Sun Archive in Wrocław.

TOMASZ STEMPOWSKI

Tomasz Stempowski (1971) – historian and IPN archivist, author and co-author of numerous articles and publications, including: Sandy roads of Carpathians. Photographs by Captain Karol Angerman from the years 1940-1945, Collection of photographs from the Main Commission for the Investigation of Crimes against the Polish Nation, Polish Roads through Switzerland. The fate of the soldiers of the 2nd Infantry Rifle Division 1940–1945 in photographs from the collections of the Polish Museum in Rapperswil, The Siege of Warsaw in the photography of Julien Bryan, The career of SS-Oberscharführer Hermann Baltruschat 1939–1943. Photographic album of an Einsatzgruppe and Gestapo officer in the Polish territories annexed to the Reich, Law in Film.

He writes a blog about historical photography – fototekst.pl

Curator: Łukasz Rusznica

Texts accompanying the exhibition: Tomasz Stempowski, Łukasz Rusznica

Translation: Aleksandra Szymczyk

Painting, photography, sculpture, installation… Just as different techniques, diverse personas come together to form a multidimensional mosaic, which we invite you to experience within the walls of the Rzeczna Gallery in Rybnik from June 14th to August 24th, 2024.

The genres and media are in relation to the subjects, and the viewers will be in relation to the artistic statements. They are woven by the individual language of stories about the world around us, but also the micro-worlds of the artists themselves.

The group exhibition of artists from Dorsten – a partner city to Rybnik, accompanying the 30th anniversary of the friendship between the cities – is an occasion to see the works of artists from western Germany. It will also be an opportunity to personally meet the artists themselves. Here are their names: Alex Fichtner, Doris Gerhard, Frank Hesse, Tanja Nowak, Ingrid Saalfeld, Claudia Schnitzler, Slavica van der Schors, Brigitte Stüwe.