The primacy of church, suppression of women, ethnic and sexual minorities, ecological problems, fake news and propaganda in Poland are all topics addressed in Agnieszka Sejud’s ‘HOAX’.
Sejud’s book is playfully designed, starting with a plastic jacket with colourful letters, a sticker that reads ‘made in Poland’, and a sleeve including two photographs printed in a card-like form that serves as a credits section. Otherwise, ‘HOAX’ does not contain any text and the images are presented loosely without any binding, making them function as 16 double-sided posters. Such an ‘open’ design provides the viewer with the option to edit the images in a preferred order. This technique echoes the process of manipulation and fabrication of facts which is closely tied to the political context of ‘HOAX’.
The images are printed on a highly glossy paper, further highlighting the artificial nature of it all. Fragments of people and symbols of Polish culture are intertwined with banal objects as sold on the market or as simply found on the street surface. This abundance of plastic and bright colours, in addition to digital alternations, radiate a sense of ‘fakeness’. Indeed, ‘HOAX’ triggers a visual overload that makes us uncomfortably dizzy; it alarms our senses and raises a certain awareness. The slippery slide democracy of contemporary Poland works like bubble-gum: the initial explosion of sweetness soon enough starts to loosen its taste and then you get stuck with what it really is…
Agnieszka Sejud’s ‘HOAX’ was previously featured as a portfolio.