GeorGe Mallory of

second death

the

of

GeorGe Mallory of

second death

the

—

“Because it is there” is a concise answer given by George Mallory when asked why he wanted to conquer Mount Everest. This sentence, seemingly saying very little, and the figure of George Mallory himself, become a pretext for an exploration not so much of alpinism, but rather of the relationship between embodied cognition, the finite character of the body, and its emancipation: being part of nature, but also transcending it. The exhibition touches upon the question of diverse experiencing the matter of the mountain, getting to know it, but also simply being-in-the-world: not so much of cognitive being opposite to, but of being in and next to. This kind of figure of communion with matter runs along the ridge of cognitive experience, Erf harung, and primal experience, Erlebnis. The space of the rocky massif, untouched by any human trace, becomes a place of longing and desire, but also of various complications – political and economic ones.

Until the mid-17th century exorcisms were performed on the glaciers of Mount Blanc, while two years after the outbreak of the Great French Revolution the mountain was conquered by the “first” human. But this discovery or first climbing is a questionable figure. Discoveries made to the world had always been part of the life of communities which had a non-cognitive relationship with the massif – not being towards. The highest mountain in the world was “discovered” in the office of a surveyor, thanks to years of analysis, meanwhile throughout thousands of years of communion with its massif and experiencing it the mountain

was simply called the Goddess Mother Earth (Chomolungma). Mankind’s venturing into the mountains, the emancipatory history of climbing, also has a different background – a social background: the people living almost inside the mountain, feeding on it and organising their lives around its massif, according to its rhythm. This rhythm becomes the foundation for transcending the classic relation between the subject and the object, and opens the way to a different thinking about matter – thinking the mountain, thinking towards it and next to it.

Thinking the mountain allows for moving to a different frequency. In this perspective the climber appears to be a little bit like alchemist, searching – according to the rules solve et coagula – not so much for substance, but for his or her higher form of existence, burning out/intertwining with the matter of the massif, which in a way “speaks” with the movement of his or her body. According to the various stages of the alchemical rule, we can say that the alpinist/alchemist rejects his, her attachment to life, perhaps not in order to break away from earthly things, but to sharpen his, her knowledge about them. In this sense, the figure of the alchemist not only reveals a certain given reality, but also establishes it, both situating itself as part of nature, and transcending it. Combining both orders of the human and the inhuman, often reversing their logic, the human-inhuman world every time creates its own image. Marguerite Yourcenar wrote in a forward to Roger Caillois’ The Writing of Stones: “the symbolism of alchemy compared stone to the human body,

which unstable though it may be (and as a stone is itself, seen through stretches of time infinitely longer), is yet a »fixed« quantity in comparison with psychics elements, which are even more fluid and mutable.”

These reflections on nature of stone and cited theme of an alchemist are not necessarily characteristic exclusively for the ethic of heroic climbers. It is also revealed in everyday drudgery, where struggle for survival is not a choice, but a necessity of the communities living around the massif, engaged, for example, in the extraction of ore. History of the mountains and history of mining are inextricably intertwined with each other, and both these narratives illuminate each other. The belief in transmutation of matter or rather the belief in your power to tame substance, allows you to survive in everyday work. This ability to survive, thinking the matter, rather than the ore itself, are the philosophical stone.

Curator: Agnieszka Kilian

Translation: Tomasz Bieroń

Exhibition view

In the foreground

Michael Hoepfner Lie Down, Get Up, Walk Oninstallation, wool and wood,

2014/2015

In the background:

Pavol Breier Shadow of Ganek Gallery from Orlowski routephotograph, 1982

Exhibition view

In the foreground

Pavol Breier /BAHAMA

Ascents of Caucasus summits:

Summit of Ushba21st July 1981,

photograph

On the summit of Cheget9th July 1981,

photograph

Exhibition view

UFO Ganek GalleryJúlius Koller, Milan Adamčiakphotograph, 1982

Ganek Gallery Members of UFO Ganek Galleryphotograph, 1982

Exhibition view

In the background

from left to right:

BAHAMA group and

Galeria Ganku

Exhibition design

Agata Biskup Drawing based on the Orlowski routeNW face

of Ganek Gallery

Exhibition design

Agata Biskup

Štefan Papčo Andrejsculpture,

bronze (edition 1/3),

2014

Yan Tomaszewski

13.08.1927 (Szczuka) 16 mm film, 2013,

duration: 9’30’’.

Courtesy Yan Tomaszewski

Agata Biskup / Vanessa BellGeorge Mallory (1912)print, 2015

Courtesy Tate Modern

13.08.1927, 2013, reenactment of Szczuka’s last fatal climb, shot at the exact location of his death, video, 09’21’’

13.08.1927, 2013, reenactment of Szczuka’s last fatal climb, shot at the exact location of his death, video, 09’21’’

Exhibition design

In the foreground:

Agata Biskup / Vanessa Bell George Mallory (1912),installation

In the background:

Agata Biskup / Untitledobject / stone, 2015

Exhibition design

In the background:

Prabhakar PapchuteEarthwork of Hadsati still from the animation, print,

2013. Courtesy Prabhakar

Papchute

Agata Biskup / Vanessa BellUntitledobject / stone,

2015

Exhibition view

Exhibition view

Rasmus JohansenClose horizontied nylon nets,

metal roses, 2015

(in progress)

Exhibition view

In the foreground

Jan MoszumańskiThe complete fictionglazed kiln shelves, metal,

styrofoam, 2015

Exhibition design

Szymon DurekOdurek still from the film,

dual channel projection,

2012

Exhibition view

Agata Biskup Installation with John Latham Five sisters (1976)print, light system, 2015.

Courtesy Tate Modern

Prabhakar Papchute Earthwork of Hadsatistill of the animation,

print, 2013. Courtesy

Prabhakar Papchute

Pavel Sterec (in collaboration with David Landa) Canary birdA walk through tunnels

of a graffiti mine with

a canary bird, winner

of a national singing

competition,

documentation of

the performance, 2007.

Courtesy Pavel Sterec

—Agata Biskup Untitledobject / stone, 2015

(..) But it is not an alphabet: it is a pattern without a message...

– Roger Caillois “The Writing of the Stone”

AGATA BISKuP (b.1983) graduated from the Faculty of Painting at the Acad-

emy of Fine Arts in Krakow. In her practice, she has moved beyond the

limits of the medium of painting to focus on the analysis of artistic ap-

proaches that migrate from the field of art to a non-artistic space. She

employs a variety of means of expression and techniques, adopting their

language so that it reflects the non-linearity of narration that interests her.

This way, she can formulate her own “grammar” of her message that empha-

sises the condition of the simultaneous separation and connection of the

field of visual arts and those fields that are not automatically related to it.

She lives and work in Kraków.

Captions

—Štefan PapčoAndrejsculpture, bronze (edition 1/3), 2014

ŠTEFAN PAPčo (b.1983) – he is interested in extreme places and situations,

mountains and mountain climebers. As he says: The aim of sculptural

and space experiments is to examine landscape as a bearer of the poten-

tial to describe a long-term society development that is bound to a spe-

cific place.

—Szymon DurekOdurek

excerpts from the film, dual channel projection, 2012

Duration: 5’04, duration: 5’03

SzYMoN DurEK (b.1986) graduated from Academy of Fine Arts in Kato-

wice (Silesia). He works in different media: video, photography, objects.

In his art practice, he refers to potholing, one of his passions. odurek is

his first discovered cave.

—Rasmus Johansen Close horizon, tied nylon nets,

metal roses, 2015 (in progress)

rASMuS JoHANSSEN (b.1982) – studied at Simon Sterling’s class in

Frankfurt am Main and at Cooper union School of Art in New York.

He works with objects, examining properties of matter. He’s interested

in transformation of a substance, process of morphing from one state

to another.

—Prabhakar PapchuteEarthwork of Hadsati still from the animation, print, 2013

PrABHAKAr PACHPuTE (b.1985) works with drawing and animation.

He often recalls the motive of mining, which is an important part of

his family life – Pachpute family has worked in Chandrapur’s mines for

three generations. The topic of mining returns in his several projects,

for instance in his exhibition “Canary in a Coalmine”.

—Pavel Sterec (in collaboration with David Landa)Canary birdA walk through tunnels of a graffiti mine with a canary bird,

winner of a national singing competition,

documentation of the performance, 2007

The video captures a walk through tunnels of a graffiti mine with

a canary bird, the winner of a national singing competition. (In the nine-

teenth century canary birds served as gas indicators in the mines.)

PAvEl STErEC (b. 1985) he often uses an inductive method of artistic

research. The result of his projects is a complex installation, while the

focus is put predominantly on the relationships between its heterogene-

ous parts. His work is usually based on cooperation and series of meet-

ings with various people. At times, he works with scientists; at other

times, with children or old people, archivists, curators of museum col-

lections, sailors, or prisoners. He is interested in social engineering on

a small scale.

—Jan MoszumańskiThe complete fiction

glazed kiln shelves, metal, styrofoam, 2015

This two-part installation employs the motif of so-called Claude glass,

made of various materials, such as polished piece of fractured stone.

The mirror allowed for an observation of natural phenomena and was

used in the 19th century by scientists and travellers.

JAN MoSzuMAńSKI (b. 1990) works with a variety of materials and me-

dia. rides a postcolonial hoover through humps and wonders of geo-

political noise. Never singularitarian, he probes the everyday in demon

war paints – from casual to fated, and back. He studied at the Academy

of Fine Arts in Krakow (The Faculty of Intermedia), Konsthögskolan in

Malmö and Kunstakademiet in oslo. Based in Krakow and oslo.

—Michael Hoepfner (b. 1972) Lie Down, Get Up, Walk On,

installation, wool and wood, 2014/2015

MICHAEl HoEPFNEr work is based on the experience of walking jour-

neys in desert and steppe areas between Eastern Europe and China,

including ukraine, Tajikistan, Kazakhstan, Kyrgyzstan, Nepal, Tibet,

China and South Korea. He reflects on these landscapes, on the chang-

ing nomadic societies and on his own performance in installations that

use black and white photography, drawings, slide projections and tent

sculptures.

In 2012, over the course of around three weeks, Hoepfner exposed him-

self to extreme weather conditions, a situation aggravated by intention-

ally refusing to take maps of the area with him and his uninterrupted

search for nomadic people and their constructions used for worshipping

the spirits of nature. This psychological and physical experience led the

artist to intuitively immerse himself in the man-nature relationship, es-

tablished by his uncertain explorations, in an almost hallucinatory prox-

imity with the harsh setting. (luigi Fassi)

—Agata Biskup architecture of the exhibitionand interventions:

light installation

with John Latham

Five sisters (1976) print, light system, 2015

Vanessa Bell George Mallory (1912)print, 2015

Drawing based on the Orlowski route, NW face of Ganek Gallery

—Yan Tomaszewski13.08.1927 (Szczuka), 16 mm film, 2013, duration: 9’30’’

YAN ToMASzEWSKI plays the role of the Polish artist Mieczysław

Szczuka by “repeating” his ascent of zmarła Turnia, which led

to Szczuka’s death when he dropped off a rock face. Mieczysław Szczuka

was a Constructivist, a co-founder of Blok group together with Katarzyna

Kobro and Władysław Strzemiński, as well as an avid Tatra Mountains

climber. His climbing partner, Wiesław Stanisławski, emphasised the

importance of avoiding feigned logic that the aim was to reach the peak.

In his “Constructivism in Tatra Mountaineering”, he wrote: “In its prem-

ises, Constructivism leads to the construction of increasingly difficult

routes by reducing them to a straight line (e.g. in rock faces) or to the

bottom of the gully, or, finally, to the edge of the ridge. It significantly

removes the meaning of convenient passes, even those that are very

logical. The notion of the logic of the route is constantly evolving. (…)

Therefore, Constructivism will certainly find appreciation among con-

temporary Tatra climbers. A Constructivist route must ascend like a vine

around an ideal and abstract vertical line. In essence, in its verticality

Constructivism is an implacable enemy of traverse, just like it is a great

enemy of upward direction in horizontalism”.

Yan Tomaszewski argues: I am not interested in a contrast between

two kinds of logic of moving above reality, a movement that is very

physical in Alpinism, where one starts from point zero and moves to-

wards the peak, as well as in a Constructivist project, where one departs

from given situation and attempts to connect art, politics, and everyday

life, to somehow direct and shape it. (…) I treat Alpinism as a challenge,

a possibility to defeat myself, as an elevation understood also in a spir-

itual manner. This is my personal reading, which suggests certain para-

dox, for Constructivism does not really connote spirituality. Yet, there is

inherent an aspiration for reaching higher, getting more, doing some-

thing better, which then finds its formal expression in sculptures – they

are rather tense. The triangular sculpture was my point of departure, for

it brought associations with the mountains.

(From the conversation with rafał lewandowski, Magazyn Szum,

16.01.2014)

—Pavol Breier / Galéria na GankuShadow of Ganek Gallery from Orlowski routephotograph, 1982

PAvol BrEIEr (b.1952) – a Slovak photographer, dedicates his work to

the subject of mountain people. His favourite themes are mountainous

regions and its inhabitants in Slovakia and in Tibet. He participated

at numerous exhibitions both in Slovakia and abroad, he also teaches

at the Pan-European university and the Academy of Performing Arts

in Bratislava. A member of former BAHAM group and co- member of

Gallery Ganku.

—Julius Koller / Galeria na Ganku

Members of UFO Ganek Gallery, left to right:

Pavol Breier, rudolf Sikora, Igor Gazdík,

Milan Adamčiak, Július Koller, Peter Meluzin,

photograph, 1982

UFO Ganek Gallery: Július Koller,

Milan Adamčiak, photograph, 1982

“The Ganek Gallery is the name of an actually existing place in High

Tatras in Slovakia. It is the name given to a protruding platform which is

described in mountaineering guides as a part of the Maly Ganek rock

massif. Thew Slovak name Ganok, or Ganek in the Goral dialect, as well

as in Polish, and on older maps, identifies a peak on a high ridge of the

Tatras. In folk building terminology, the noun “ganok” means a veranda,

gallery or porch by the main entrance, and it characterises the shape of

Ganek Gallery” – from Ganek Gallery, ed. Daniel Grun.

This linguistic similarity was probably one of the reasons why Julius

Koller started the project of the fictional gallery at Ganek. This idea

formed a part of a larger project of universal-cultural Futurological

operations (u.F.o.), a life-long project of moving within factual fiction.

The gallery had its founders, its board, and its activities – all fictional.

The private space of the apartment hosted meetings which by definition

never moved outside it. The game played with the massif manifested a

fantasy-based approach, an act of route planning. An escape into the

space of nature that differed from mass tourism, at the same time offer-

ing freedom from official frameworks of art circuit in Czechoslovakia of

the period of so-called normalisation.

—Pavol Breier /BAHAMAAscents of Caucasus Summits:Summit of Ushba, 21st July 1981, photograph

On the Summit of Cheget, 9th July 1981, photograph

BAHAMA was founded in 1978 by two artists Pavol Breier and Peter Hor-

váth with art historian radislav Matuštík. The name of the group comes

from the first letters of their last names. BAHAMA group often employed

the strategy of “pseudo-scientific mystifications”. using the technique

of photomontage they linked fragments from actual cultural-political

documents and real-life with elements of fictional events (for instance

Psychostereotaxia, 1979). Before 1989, exhibiting their work was illegal.

Their works reacted to the situation in the environment, political and

cultural climate of the normalisation period, parodying the rhetoric of

ideology. Their working method consisted in linking reality with fiction.

—Bogdan AchimescuPerformative lecture Romanian DIY, 24th September, 6 p.m., MeetFactory

BoGDAN ACHIMESCu (b.1965) – visual artist, born in Timișoara (romania);

graduated from the visual Arts Academy in Cluj. His work was featured

at venice Biennale in 2001 within the Context Network project at the

romanian pavillion. He collaborated with the Berlin-based urban Art

group. He is a lecturer and head of the Intermedia Department at the

Fine Arts Academy in Kraków. He participated in multiple exhibitions in

Poland and abroad. In his artistic practice Achimescu focuses on the DIY

culture, using such media as, among all, drawing and photography. He is

based in Kraków.

—AgencyPerformance by Agency Assembly (The Second Death of Mallory)19th September, 3 p.m.

Agency convenes an assemblies inside the exhibition The Second

Death of Mallory at Futura, in order to invoke the controversy listed as

Thing 002188 (Carte de randonnée). It concerns a conflict between on

the one hand Didier richard, a French publisher of maps and guides for

hikers, skiers and mountain climbers, and on the other hand the French

National Institute of Geography (IGN) about maps.

Didier richard claimed that the drawings, which IGN indicated on their

maps, were copies of itineraries they created. According to I.G.N. the

routes published by Didier richard lacked originality, cause these were

due to the geographic topology of the mountains. In 2001 the court of

appeal in Grenoble had to decide if the routes by Didier richard were

original or common routes. This controversy will be invoked around the

maps in question and in the presence of Pavol Breier (mountain climber),

veronika Kusova (map maker/art historian), Jan Pfeiffer (drawing art-

ist), Jakub Staszkiewicz (intellectual property lawyer) and Hana Tučková

(performer). During the assembly fragments of the court decision will

be read collectively out loud as a way of provoking a conversation. The

purpose of this assembly is to speculate on how common things can

become mutually included within art practices.

“AGENCY” is an international initiative that was founded in 1992 by Kobe

Matthys and has office in Brussels. Agency constitutes a growing “list of

things” that resist the radical split between the classifications of nature

and culture. This list of things is mostly derived from juridical processes

and controversies involving “intellectual property” (copyrights, patents,

trade marks, etc...) in various territories around the world. The concept of

intellectual property relies upon the fundamental assumption of the split

between culture and nature and consequently between expressions

and ideas, creations and facts, subjects and objects, humans and non-

humans, originality and tradition, individuals and collectives, mind and

body, etc.... Each “thing” or controversy, included on the list, witnesses

a hesitation in terms of these divisions. Agency calls these “things” forth

from its list via varying “assemblies” inside exhibitions, performances,

publications, etc... Each “assembly” speculates around inclusion. The

speculations as a whole explore in a topological way the operative con-

sequences of the apparatus of intellectual property for an ecology of art

practices and their modes of existence.

Second Death of George Mallory ExHIBITIoN IN DISPlAY uNTIl:

25/10/2015

CurATor: Agnieszka Kilian

CurATorIAl CooPErATIoN: Jaro varga

ExHIBITIoN DESIGN: Agata Biskup

GrAPHIC DESIGN: Kaja Gliwa

ArTISTS: Agency, Bogdan Achimescu, Pavol Breier, Agata Biskup,

Szymon Durek, Michael Hoepfner, rasmus Johannsen, Július

Koller, Jan Moszumański, Prabhakar Pachpute, Štefan Papčo,

Pavel Sterec, Yan Tomaszewski

SPECIAl THANKS To:

Pavol Breier, Przemek Czepurko, Kaja Gliwa, Maxime Guitton,

Jaroslav Jariko, Martin Kolarov, Caroline Krzysztoń,

zuzana Kutašová, Jelena Martinovic, Jan Pfeifer.

KArlIN STuDIoS

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project co -f inanced by the European Regional Development Fund

under the Ma ł opolska Regional operational programme for 2007-2013 .

www.placecalledspace.org

project co -f inanced by the European Regional Development Fund

under the Ma ł opolska Regional operational programme for 2007-2013 .