Project

A creative spatial visualization inspired by Józef Tischner’s Philosophy of Drama is constructed from wooden beams and metal, is deeply symbolic. The 230 cm tall characters, arranged in exaggerated gestures – of shouting, petrification, and resignation – express the fundamental aspects of human existence — full of contradictions and inner struggle. The wooden beams, connected by metal elements, reflect the harshness and rigidity of human fate, the entrapment within existence. The installation is set within a white circle, which serves as a metaphor for the theatrical stage – a space in which the daily drama of human life unfolds.

A fragment from The Philosophy of Drama, placed on the floor at the center of the figures, completes the intellectual context of the entire installation, inviting the viewer to reflect.

The installation Tischner in the Thicket of Thought consists of three large-format images of Józef Tischner surrounded by his original works. Sixteen panels, freely hanging from a spiral staircase, represent books with selected quotations. The spiral form serves as a spatial embodiment of thinking and simultaneously as a metaphor for delving into thought. As visitors ascend or descend in a circular motion, they can read the panels and engage with the Philosopher’s inspiring ideas. Following the successive books becomes a journey through his thought.

The Sit with Tischner and Wrap Yourself up in Philosophy zone features three light gray armchairs, three tables, and three lamps — inviting visitors to pause, relax intellectually, and turn their attention toward the other person — to engage in a calm encounter with both others and the protagonist of the exhibition. Each table, styled in the exhibition’s color palette, includes a QR code that, when scanned, opens a digital continuation of the exhibition, offering a different theme at each station. Draped over the backs of the chairs are blankets, each embroidered with a different quote from Józef Tischner’s thought. The tables hold books by Tischner, as well as titles that describe his life or share memories from those close to him.

The Shepherd’s Hut is a space for an encounter with Rev. Prof. Józef Tischner. The box is constructed from wood. On the exterior wall facing the main entrance to the exhibition, a neon sign in the shape of Tischner’s signature glows with his name. On the opposite outer wall, there is an engraving depicting the Professor’s original mountain hut. Next to the door, a photo of Tischner invites visitors to step inside. Upon entering, the Philosopher’s voice is activated. Guests are seated on two chairs inspired by traditional Podhale furniture — a symbol of meeting and pausing amid everyday life.
The interior walls are partially black. A screen displays audiovisual material: video art with fragments of Tischner’s philosophy, as well as clips from his lectures and sermons. The installation embodies the exhibition’s core idea — an experience of the person through a calm immersion in philosophy, engaging with the rhetorical dimension: Tischner’s manner of speaking, tone of voice, and nonverbal expression. Integrated into the space are visual elements from Tischner’s meetings with people in the mountains, as well as a memory:

Personal belongings of Józef Tischner that go beyond the obvious associations with the philosopher or priest form a key part of this exhibition zone. The main element is a table in the traditional highlander (Goral) style. On its surface lie wooden pieces bent into shapes resembling parzenice (decorative motifs), each a few centimeters tall. Resting on these are objects such as a coffee maker, a jar of honey, a laptop, and more. The entire arrangement will be illuminated and covered with a plexiglass lid.

Next to the table, on cube-shaped stands of varying heights—reminiscent of benches and chairs around a table—are placed items like a backpack, a sweater, records (including those by Ewa Demarczyk), a camera, and an alarm clock. Each object from the table and cubes is accompanied by a short story illustrating the character of the exhibition’s protagonist. These items evoke his presence in a tangible way.

Large prints displayed on stands include a personal letter written by Tischner to his family, postcards with humorous content addressed to his brother, and a painting depicting seated highlanders—originally painted on glass by Józef Tischner himself.

The entire installation serves as a metaphor for home — a concept that was deeply significant to Józef Tischner.

Two column-like walls with theatrical masks (smile and sadness) are located in the concave part of the installation. By placing their face close to the masks, the viewer sees their own reflection through the mask’s eyes, along with a fragment of text taken from The Philosophy of Drama. Each of the two masks contains different text excerpts. The installation invites reflection on identity and social roles. The theme of the mask is an important concept in the philosophy of Rev. Józef Tischner.

The window is a touchscreen display that shows a window in the style of a traditional Podhale house. Each pane, divided by muntins, contains photographs of selected family members of Rev. Prof. Józef Tischner and close individuals from various stages of his pastoral and professional life. Clicking on a photo brings up a brief description of the person and their memory of Tischner. Touching the handle opens the window, revealing a horizon along with a quote about home taken from Ludzie z kryjówek (People from Hiding Places).

Tischner in Pop Culture is an installation measuring 5 meters wide and 190 cm high. It is a mural offering a visual interpretation of a selected idea of Józef Tischner. The visualization and interpretation were created by Mateusz Tischner, son of Łukasz Tischner, nephew of Rev. Prof. Tischner, and a student at the Faculty of Industrial Design at the Academy of Fine Arts in Kraków. The installation is accompanied by two mesh walls displaying graphics that illustrate Tischner’s presence in popular culture.

Six panels (wooden frames with boards), each measuring 2 meters in height and 60 cm in width, present selected biographical information from the life of Józef Tischner. The content is displayed through photographs and descriptions, all graphically designed in the exhibition’s overall aesthetic. Among them is a section depicting the period of illness, shown through a series of notes and handwritten texts. At the onset of his illness, Tischner’s handwriting is neat and the sentences are legible, but as the disease progresses, his writing becomes increasingly distorted and fragmented. The content of these writings mainly consists of messages addressed to his family.