Photography, Loneliness and Well-Being exhibition

Reservoir: Loneliness, Well-Being and Photography is a brand new and progressive photographic generator, designed to create a shared repository of responses to the worldwide loneliness disaster by means of visible storytelling.
The new exhibition on the Los Angeles Center of Photography brings collectively over 40 artists to discover the worldwide disaster of loneliness by means of visible storytelling, together with Ada Zielińska, a Warsaw-based visible artist working with images, video, and set up. Conceived as a collaborative, multi-year challenge, the exhibition creates a shared house for creative responses centered on human connection and well-being.
Zielińska’s observe facilities on destruction as a prerequisite for rebirth, utilizing actual and staged catastrophic occasions as a type of self-therapy and inquiry. A recipient of the Futures Photography Programme award, she has exhibited internationally, together with Ujazdowski Castle in Warsaw, the Capa Center in Budapest, and a solo presentation at PhotoBrussels.
In the Reservoir exhibition catalog, Zielińska displays on her creative observe: “There’s no real difference between melting cheese and melting a headlamp. Both are pleasing. Both are intriguing. In both cases, the consequences are unknown. We call destruction dangerous, but it’s fear that makes it so. Controlled, it’s as satisfying as creation – which it is. My father was a firefighter. When I moved out, we reconnected by burning cars on weekends. That’s when I started to think of myself as an artist – and, strangely, that’s when my father started to be proud. I am a visual artist working primarily with photography, video, and installation. My main area of interest revolves around destruction as a prerequisite for rebirth – in this regard, my practice serves as a form of self-therapy. My creative approach centers on catastrophic events, whether experienced in real life or staged – not merely to document them, but to explore their aesthetics and the emotions they evoke. I’m somewhere in between a love letter and a crash report.”
Zielińska has exhibited in Poland and overseas – together with solo and institutional exhibits in Belgium, Warsaw, Budapest, Paris, and Kraków – and has acquired a number of grants and recognitions, along with her work featured in the British Journal of Photography, Vice, Over Journal, Uncertain States/Europe, Arte TV, and Fisheye Magazine.”

Much like reservoirs regulate the movement and storage of water, offering a way of stability for his or her communities, this invitation-only collaborative challenge incubates new approaches by means of inventive observe, analysis, and engagement.

Extending and amplifying LACP’s dedication to nurturing well-being and connectedness by means of visible storytelling, this multi-year challenge brings collectively artists, mentors, artwork facilities, curators, publishers, psychological well being professionals, and know-how innovators to incubate and develop groundbreaking tasks, anchored within the assembly level of visible applied sciences, psychological and bodily well-being and the ebbs and flows of human connection.

Zielińska’s observe facilities on destruction as a prerequisite for rebirth, utilizing actual and staged catastrophic occasions as a type of self-therapy and inquiry. Working inside post-photography, she constructs rigorously staged environments that invite reflection on the strain between magnificence, collapse, and restoration. A recipient of the Futures Photography Programme award, she has exhibited internationally, together with Ujazdowski Castle in Warsaw, the Capa Center in Budapest, and a solo presentation at PhotoBrussels.

In the Reservoir exhibition catalog, Ada Zielińska displays on her creative observe: “There’s no real difference between melting cheese and melting a headlamp. Both are pleasing. Both are intriguing. In both cases, the consequences are unknown. We call destruction dangerous, but it’s fear that makes it so. Controlled, it’s as satisfying as creation—which it is. My father was a firefighter. When I moved out, we reconnected by burning cars on weekends. That’s when I started to think of myself as an artist—and, strangely, that’s when my father started to be proud. I am a visual artist working primarily with photography, video, and installation. My main area of interest revolves around destruction as a prerequisite for rebirth—in this regard, my practice serves as a form of self-therapy. My creative approach centers on catastrophic events, whether experienced in real life or staged—not merely to document them, but to explore their aesthetics and the emotions they evoke. I’m somewhere in between a love letter and a crash report.”

Ada Zielińska, a Warsaw-based visible artist working in images, video, and set up, explores destruction as a type of self-therapy and a prerequisite for rebirth, creating each actual and staged catastrophic occasions that look at aesthetics and emotion, whereas developing photogenic environments that have interaction viewers within the rigidity between magnificence, destruction, and emotional response; she studied Media Arts on the Academy of Fine Arts in Warsaw (2015) and earned an MFA from the Institute of Creative Photography on the University of Silesia in Opava (2020),