At the exhibition “Polish Art and the Holocaust” we are presenting a few works referring directly not only to the Holocaust itself but rather to how the present society deals with the memory of it. Observing what is nowadays happening in Polish cities and towns to the objects belonging before the war to Jewish communities, artists ask awkward question if we are able to live this memory properly. Are we trying to live it properly at all? With these questions we are undoubtedly confronted by the photographs by Wojciech Wilczyk from the project “Innocent eye does not exist” presented for the first time in 2009 in a gallery in Łódź, the Atlas Sztuki.
For two years, Wilczyk had traveled around Poland looking for architectural traces of pre-war Jewish communities. He photographed former synagogues and houses of prayer. The fruit of this project is a moving collection of more than 300 photographs presenting buildings in various states of preservation. Some of them were converted, the others are going to rack and ruin. Some of them perform new functions incompatible with their old sacred character. They are: cinemas, shops, warehouses. Others stand deserted.
Wojciech Wilczyk (born 1961) is a photographer, poet, and author of critical texts about art. He is the author of poetical-photographic books and photographic series documenting the functioning of the architectural traces of the past in contemporary landscape. His works have been exhibited, among others, in Zachęta, at the Center for Contemporary Art in Warsaw, as well as the Art Forum in Berlin. The work “Innocent eye does not exist” was presented in the Atlas Sztuki gallery in Łódź, and then, also in Poznan, Krakow, Jerusalem, Paris and Chemnitz.