Pussykrew for Panther Modern, Room 7 exhibition, 2015
different movements. “Because we see the body as something undefined, our work touches so many different environments: our videos are loved by queer communities, because of the liquid sexuality they express, but our 3D sculptures are praised by both industry professionals and post-internet kids because of the aesthetics. We focus on internet aesthetics, pop culture, corpor ate discourse, daily life and global issues. So, we don’t fully belong to a singular group. What we have in common with our audience is a strong emotional connection with all the things that are happening around us. Right now!” www.niochnioszki.net www.replayboardroomgallery.com Biome :: is now on display at the Replay Boardroom Gallery until 15 May. Open for public every Friday from 10am to 4pm (Herengracht 280, Amsterdam).
Jungle Affairs, triptych, prints, 2015
Aleksandrowicz ponders. Pussykrew’s fascination with virtually generated environments motivates them to play with the contrast between deconstructed digital images and sterile cinematic poetry using the traditional language of a painting. Not that the two are huge fans of the classical fine arts. “To be honest, I really have a problem with the medium of painting. I’m very critical towards that kind of art. I have favourite video artists and fashion designers, but I don’t remember when was the last time I saw a beautiful painting,” Aleksandrowicz laughs. Wojtas concurs: “We love the idea of people hanging our installations on the walls of their houses, framed nicely. Given the slow pace of most of our video works, you could say we more or less make digital paintings. The aesthetics are pretty epic and meditative: sometimes people don’t even see them moving!” Both Pussykrew’s video animations and 3D printed sculptures are blurring the borders between the physical and the digital realms. Filtered through carnal data mesh, liquid apocalyptic dysphoria and 3D fantasy shuffle, they play with issues of materiality, creating new synthetic-organic forms, which are constantly in the process of mutation. Wojtas states: “To us, there’s no distinction between the real world and the rendered. It’s very natural, very fluid.” The two work between borders and identities, Aleksandrowicz says: “We’re all cyborgs, we’re all connected through electronic devices. We don’t like to work with fixed ideas. The models we portray transcend space and gender.” That might explain why their work is embraced by so many