|Text||Anna Juszczyk, Karolina Puchała-Rojek|
|Design||Anna Hornik, Marta Przybyło|
|Year of Publication||2018|
|Published by:||Archeology of Photography Foundation|
The word άνάκλασις [anaklasis] describes the phenomenon of rhythmic feet modification in poetry. It constitutes a breaking up a rhythm of a poem by substituting strong elements in a poem - long or stressed syllables - with short and unstressed ones. This term was popularized in the world by Krzysztof Penderecki who called one of his most important works this way. In the avant-garde, few-minute composition from 1959, written for forty-two string instruments and six percussion groups, Penderecki experiments with noise, silence, rustle and explores the limits of sound.
At the same time, Marek Piasecki tests and explores the limits of photography. He experiments with blow-ups, frames, he searches for textures which would alter the rhythm determined by the light. He composes his photographs, changing the stresses, focusing on the moved elements of the images. He concentrates on the margins. Another meaning of the word “anaklasis” is a refraction of light.
The photobook contains images taken by Marek Piasecki in 1952-1960. Among the people visible in the photographs, we may recognize i.a.: Joanna Turowicz-Piasecka. A vast number of the published negatives have a note ‘Mury i Muralia’ (‘Walls and Wall-Paintings’) handwritten by Piasecki on the original wrappers.
The project is co-financed by The Ministry of Culture and National Heritage and The City of Warsaw.