Satijn Panyigay (b. 1988, Nijmegen) is a half Dutch, half Hungarian photographer. Satijn Panyigay makes work that invites its viewer to slow down. In strict but poetic analog color images she’s suggesting presence in seemingly empty spaces. Her work, in absence of any direct human narratives, is surprisingly humane – she addresses the feelings of its observer.
Satijn Panyigay is currently on view solo at Museum W. Past exhibitions include Depot Boijmans Van Beuningen, Fotomuseum Den Haag, Museum Tot Zover, Villa Mondriaan, and art fairs such as Art Rotterdam, Unseen Photo Fair, PAN Amsterdam and Amsterdam Art Fair. Panyigay’s work is in the collections at a.o. Museum Boijmans Van Beuningen, Museum Tot Zover, Museum Van Bommel Van Dam, and Museum W.
Panyigay’s latest project is dedicated to capturing the empty exhibition spaces of leading Dutch museums of contemporary art. She photographs them vacant, in between the shows. In 2019, she shot Museum Boijmans Van Beuningen just after its closure for a major renovation for the series Twilight Zone (2020). Panyigay captured the uncovered museum’s essence at a moment between the museum’s closure and the start of the rebuilding, a twilight zone that no one sees. Read more about this series here
The follow-up series Liminal Land (2021) was created in the museum’s brand new depot, just before the art collection was housed there. Later, the museum asked to photograph their building once again, during the asbestos remediation process. The series Soft Solace (2021) emerged from this. The empty Kröller-Müller Museum is also part of the project Twilight Zone (2021) — captured on film with no visitors or art on display. Read more about Twilight Zone (The Kröller-Müller Museum) here
The series (Living) room (2019) shows the living room of a young art collectors couple, destroyed by a fire. Photographs resonate with the feeling that the house owner had when he woke up in the middle of the night because of the fire. In this series, Panyigay reflects on loss, the transience of time, and resilience after impactful events.
The melancholic photo series Behind Death’s Door (2011) shows the houses of recently deceased people, cleared out by specialised companies. The photos are hermetic, there is no contact with the outside world, which results in an oppressive atmosphere of loneliness and nostalgia. This also applies to the series Melankólia (2016-ongoing), shot in Hungary in search of her roots, in a place of Panyigay father’s origin.
Click here for the CV