The exhibition borrows its title from an early 19th century fable about a youngster who sells his shadow to the devil in exchange for a magic purse of infinite riches. Schlemihl comes to deeply regret the pact: what he hadn\u2019t realized was that renouncing his own shadow inevitably means being deprived of his very identity.<\/p>\n\n\n\n
A shadow is never only an absence of light, but proof of presence. Czinege’s site-specific installation brings into focus things we take for granted and overlook until something fundamental changes. He exploits the workings of shadows as transient perceptual phenomena. Shadows become translucent, objects seem to lose volume and painting fluctuates on the verge of visibility without explanation.<\/p>\n\n\n\n
The exhibition draws\u00a0attention to the phenomenology of shadow, but moreover, it makes palpable the fact that\u00a0deprived of the presence of its audience, the artwork itself changes identity. Without the\u00a0physical intervention of the viewer\u2019s own shadow, parts of Peter Schlemihl\u2019s Shadow remain\u00a0invisible.<\/p>\n\n\n\n The Devil\u2019s Valley, 2018<\/span>. Acrylic transfer and acrylic on canvas (220 x 240 cm), programmed LED light<\/span><\/p>\n\n\n\n Bone (installation view), 2019<\/span><\/p>\n\n\n\n Bone, 2018\/19<\/span>. Object (modelling mass, copper, acrylic colour), programmed LED light.<\/span><\/p>\n\n\n\n![\"The](\"http:\/\/michalczinege.com\/wp-content\/uploads\/2020\/02\/1.-The-Devil\u2019s-Valley-2018.jpg\")
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