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Trash Cans for Hearts and People Have No Soul
Various Artists

Trash Cans for Hearts and People Have No Soul Various Artists

Trash Cans for Hearts and People Have No Soul Various ArtistsTrash Cans for Hearts and People Have No Soul
Various Artists
Polish, English

Curated by Augustin Rebetez.


22 pages
155 x 210 mm
ISBN Not Available


‘I wish I could have created all the images presented in this exhibition. Instead, I decided to adopt them as if they were all part of my work. For most of them, I chose also the hanging, the technique and the dimensions of the printed images. I chose pictures who resonates with my personal interests. Teeth, fires, distorted bodies. Combinations of new rituals, half way between animality and transhumanism. Mysterious and dark landscapes. Discolored but creative visions of the world. Windows for disturbing stories. Epileptic flow of images or powerful representations of abstract feelings. What this show expresses is elusive. There is no real topic, but each work is a door for new dreams, new inspirations and new visions. All gathered here, these images take on a new meaning, which it is up to you to detect and feel. As long as there is one, these images have the color of the soul.’ – Augustin Rebetez on his curation of Trash Cans for Hearts and People Have No Soul.

About the Artist
Augustin Rebetez (1986) works in a variety of media, including photography, painting, video, sculpture, music, installation and theater. The Swiss artist builds a multifaceted body of work and creates immersive exhibitions. Since 2009, he has exhibited his work all over the world including the Sydney Biennale, the Rencontres d’Arles, the SESC in São Paulo, the Daegu Photo Biennale, the Tinguely Museum in Basel or the Shenzhen Independent Animation Biennale.

About the Organisation
Fotofestiwal was established in 2001 as one of the first photography events in Poland. It was a spontaneous initiative of students and lecturers of the Sociology Department. Since then, photography and ways of organizing cultural events have transformed. The same has been true for Fotofestiwal itself – we have a different perspective towards the program, we work differently, our viewer’s needs have changed. Still, Fotofestiwal remains a space for presenting various forms and types of photography, a forum for discussion about art and society, a motivation to search for alternative methods of discussing and exhibiting photography. But first of all, invariably, it is a place where people meet.

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