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Stefan Szczygieł. His photographic and film work

Documentary photos for the Urban Panorama installation in the “Centrum” underground railway station in Warsaw in front of the Palace of Culture and Science. Urban Panorama I, 2007/2008, 5oo x 18oo cm.

Mediathek Sorted

Media library
  • Stefan Szczygieł - In Hamburg. Photo: Hinrich Franck
  • “Coin” (5 cents) - From the series “Blow Ups”, 2001-2005, photogram, 200 x 200 cm.
  • “Silver tin” - From the series “Blow Ups”, 2001-2005, photogram, 200 x 260 cm.
  • “Leaf” (Brooch) - From the series “Blow Ups”, 2001-2005, photogram, 350 x 200 cm.
  • “Book”  - Collection of legal regulations, from the series “Blow Ups”, photogram, 230 x 200 cm.
  • "Latarka-Elekrodyn" - From the series “Blow Ups”, photogram, 250 x 200 cm.
  • “Feuerzeug” [Cigarette lighter] - From the series “Blow Ups”, photogram, 200 x 300 cm.
  • “Guzik” - From the series “Blow Ups”, photogram, 200 x 200 cm.
  • “Telefon” [Telephone] - From the series “Blow Ups”, photogram, 200 x 260 cm
  • “Taschenuhr” [Pocket watch] - From the series “Blow Ups”, photogram, 250 x 200 cm.
  • “Zorki” - From the series “Blow Ups”, photogram, 200  x 300 cm.
  • “Warsaw, Bridge” [Warschau, Brücke] - From the series “Urban Spaces”, 2005-2009, Inkjet photo print, 60 x 170 cm (Edition: 10).
  • “Warsaw, Hala Mirowska” - From the series “Urban Spaces”, Inkjet photo print, 60 x 170 cm (Edition: 10).
  • “Warsaw, Zlote Tarasy” - From the series “Urban Spaces”, Inkjet photo print, 80 x 170 cm (Edition: 10).
  • “Warsaw, cloister wall” - In Powiśle. From the series “Urban Spaces”, Inkjet photo print, 60 x 144 cm (Edition: 10).
  • “Warsaw, stadium” - From the series “Urban Spaces”, Inkjet photo print, 60 x 200 cm.
  • “Warsaw, roof” - From the series “Urban Spaces”, Inkjet photo print, 110 x 100 cm.
  • “Warsaw, Saski Park” - From the series “Urban Spaces”, Inkjet photo print, 60 x 170 cm (Edition: 10).
  • “Warsaw, Ursynòw” - From the series “Urban Spaces”, Inkjet photo print, 108 x 60 cm (Edition: 10).
  • “Warsaw, Saski Park” 2 - From the series “Urban Spaces”, Inkjet photo print, 60 x 170 cm (Edition: 10).
  • “Warsaw, Łazienkowska” - From the series “Urban Spaces”, Inkjet photo print, 60 x 170 cm.
  • “Warsaw, Przystanek tramwajowy” - From the series “Urban Spaces”, Inkjet photo print, 100 x 240 cm.
  • “Cologne, Hohenzollern bridge” - From the series “Urban Spaces”, Inkjet photo print, 85 x 240 cm.
  • “Cologne, Central Station” - From the series “Urban Spaces”, Inkjet photo print, 100 x 230 cm.
  • “Cologne, Ludwig Museum” - From the series “Urban Spaces”, Inkjet photo print, 150 x 240 cm.
  • “Paris, Notre Dame” - From the series “Urban Spaces”, Inkjet photo print, 95 x 240 cm.
  • “Paris, Louvre” - From the series “Urban Spaces”, Inkjet photo print, 95 x 240 cm.
  • “Paris, Bank of the Seine” - From the series “Urban Spaces”, Inkjet photo print, 80 x 240 cm.
  • Warschau, Urban Panorama I - Installation ‘Urban Panorama’, underground station ‘Centrum’ in Warsaw in front of the Palace of Culture and Science. 2007/2008, 500 x 1800 cm
  • Warschau, Urban Panorama II - Side view.
  • “Domek 08” - From the series “Domek”, 2007-2009, Inkjet photo print, 60 x 90 cm (Edition: 5+3 artist’s prints)
  • “Domek 09” - From the series “Domek”, Inkjet photo print, 60 x 90 cm
  • “Domek 10” - From the series “Domek”, Inkjet photo print, 60 x 90 cm
  • “Domek 23” - From the series “Domek”, Inkjet photo print, 60 x 90 cm
  • ZEITFLUG - Hamburg - From ‘Urban Spaces’, video: 12:00 min. Stefan Szczygieł. Courtesy: Claus Friede*Contemporary Art

    ZEITFLUG - Hamburg

    From ‘Urban Spaces’, video: 12:00 min. Stefan Szczygieł. Courtesy: Claus Friede*Contemporary Art
  • ZEITFLUG - Warsaw - From ‘Urban Spaces’, video: 13:19 min. Stefan Szczygieł. Courtesy: Claus Friede*Contemporary Art

    ZEITFLUG - Warsaw

    From ‘Urban Spaces’, video: 13:19 min. Stefan Szczygieł. Courtesy: Claus Friede*Contemporary Art
Warschau_Urban-Panorama_01
Documentary photos for the Urban Panorama installation in the “Centrum” underground railway station in Warsaw in front of the Palace of Culture and Science. Urban Panorama I, 2007/2008, 5oo x 18oo cm.

Urban Panoramas
 

Finally Urban Spaces led to a subgroup: to huge photos designated by Szczygieł as Urban Panoramas, and presented in outside spaces, often near or exactly on the place where the photos were taken.

His overall concept foresaw changing the photographs of urban scenes at regular intervals. He would start by installing a photo of a local place in the place itself, but after a few weeks this would be replaced by a new photograph from another city in the same format and in a weather resistant manner. In this way there was not only a past image of the place itself but also of a place in another city in another country – a city within the city. The over-dimensional photographs, initially a confrontation between chronological, spatial and urban links with his own city, were later given another counterpart. Comparable to the Blow Ups, Szczygieł was also provoking us to reconsider the given situation and question the interrelation between perception and usage. The Urban Panoramas are an even more brazen confrontation when another city is brought into play. Thanks to their gigantic size the panorama photos are an adequate counterweight to the passers-by in the city and cannot be interpreted as models or miniature representations.

In this way Szczygieł constructs a learnt identification: 17th century European landscape painting and landscapes in 20th century Cinemascope films recalled these and other iconographic associations and this led to viewers projecting themselves into the landscape. According to their perspective and size they place themselves within the “landscape”, or to put it more precisely, enter the urban landscape, thereby identifying themselves with the city per se and with all the imagery in the photograph. The only difference is that the viewers are not moving through the photo on foot or with a vehicle, but with their eyes. Nonetheless it was extremely important for Stefan Szczygieł to point out – and this functioned particularly accurately with the selection of the photographic excerpts and the exchange of photos from another city like Paris, for example – that landscape painting and artistic photography, as well as documentary photos of urban spaces should be interpreted as revelations of manipulations. In his view the geometry of a city was always a manipulation. This was not only true of the use of the formal language of nature: from a quarry, via Jugendstil to the present day when next-door buildings, parks, the sky and the clouds are reflected in glass palaces and try to fool us that material simulation is the same as the natural product. For him, this is all about manipulating communication. Szczygieł’s work leads viewers to ask questions like: what is the highest building, who built it, in what direction are the streets running and what buildings stand there, at what point do the bridges cross the river and which monuments are dedicated to what or to whom? How long and wide must a street, an avenue or a boulevard be, what were their original functions and which of them have changed in the course of centuries? What is the meaning behind the individualisation of architectural styles and monolithic detached buildings? What effect do huge commercial images have on the city and the people living in it, and what effect does urban illumination have on light pollution?