Andrzej Kramarz

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The exhibition, which object is a short, about three hundred-yard-long Mamo Street in the little town of Hilo, Hawaii contains about a thousand episode-type of images and text notes, newspaper clippings, maps, street's sound recordings. Pictures trickling on the table, like a jigsaw puzzle in Life. User’s Manual by Georges Perec, where the story can began/start at any time and any place.
Invisible Maps #2 

In his reflections on the place and its identity, Yi-Fu Tuan cites question that came to mind two physicists, Niels Bohr and Werner Heisenberg, when he visited the castle Kronenberg in Denmark. Isn’t it strange how this castle changes as soon as one imagines that Hamlet lived here? As scientists we believe that a castle consists only of stones, and admire the way the architect put them together. The stones, the green roof with its patina, the wood carvings in the church, constitute the whole castle. None of this should be changed by the fact that Hamlet lived here, and yet it is changed completely. Suddenly the walls and the ramparts speak a quite different language. The courtyard becomes an entire world, a dark corner reminds us of the darkness in the human soul, we hear Hamlet’s “To be or not to be”
Knowledge of our houses, our homes is kind of intimate. Our countries, not only because of their area, we get to know generally. A longtime resident of a city can get to know it well but his knowledge is of a different category than a taxi driver moving through it. Geographer knows the place conceptually. This shows that there are several types of knowledge. The same man may know the place both, privately and conceptually. Someone can able to articulate the concept, but it may have also difficulties with the expression of what he knows through the senses of touch, taste, smell, hearing, and even sight. Regardless of how we perceive space/place and how experience it, the place defines us, but at the same time we enter into it through our experience.
About this interpenetration of man and a space I narrate, using the metaphor of the map and create them based on images, sound recordings, interviews, memoirs and history. In this way Invisible Maps are topography of experience, a narrative of time and place. There are rather interpretations of individual, ordinary places, which unknowingly we pass of dozens each day than their general plans, which have accustomed us modern navigation tools. The roads’s net/grid I bring gradually to detail. Notifying small twitch of life makes these places less indifferent. This way anonymous points on the map change into spaces   significant and offered spectrum of multisensory, multidimensional and multi-temporal potential stimulus triggers the possibility of establishing a relationship with the place. Elementary things become a metaphor. Thus a mapping I treat rather as creating, broadcasting sense, trying to grasp the significance that arise at the intersection of (our) paths.

This time I have deliberately chosen a forgettable looking street in a small port town, where already in the early nineteenth century Calvinists speculated on Hawaiian land, the Chinese and European immigrants traded opium, and which much later became famous for wild prostitutes, attracting customers from all over Hawaii.
A quick glance out on Mamo street from the window of the rental car reveals an ordinary street about 300 yards long in downtown Hilo, Hawaii. After most of its original buildings were destroyed by Tsunami in 1960, and finally the eponymous, Mamo Theater collapsed due to termite infestation (as reported by the Hawaii Tribune Herald of 4/17/1995) there remained only 9 buildings, not distinguished from the others in the town or in other similar towns. But as with every place on Earth, each house and a street is unique through history, memory, and residence.