Technique: Installation consisting of microphones, tripods and cables.

Dimensions: Variable, depending on the arrangement of the space.

Year of creation: 2011

Collection: Konrad Smolenski's works can be found in many collections of contemporary art, both in Poland and abroad.

General description: The installation consists of dozens of black microphone stands set up in a bright room. The tripods are tilted in different directions and overlap each other. They are entangled with cables. The microphones on the stands face to the right.

Detailed description: The installation of The End of Radio is made up of black tripods located in a bright room. The tripods are three-legged and bend in the middle. They have holders for microphones. They stand very close together in irregular rows. They are tilted in different directions. Some spread out very wide, others - almost reaching the floor. The stands are connected by tangled cables that wind along the floor. Despite the different positions and settings, all the microphones on the tripods point to the right.

Konrad Smolenski is a Polish contemporary artist, known for creating works at the intersection of sound installation, performance and sculpture. In The End of Radio he explores the theme of communication, its excess and the void it leaves behind. The work's title refers to the iconic song by the band Shellac, suggesting that the work may not only be a commentary on radio technology, but also a metaphor for the end of an era of traditional media dominance.

In the installation, Smolenski addresses the transience of sound and content in an age when information dissipates at breakneck speed, often losing its meaning. The tangled wires and chaotic arrangement of microphones are a visual allegory of the modern world, in which messages are lost in an excess of stimuli and noise. The work combines minimalist form with strong emotional impact and reflection on social and cultural changes.

Audiodescription text: Emilia Szymanska

Audiodescription consultation: Adrian Wyka