Portfolio Piotrowska Szczęśniak

SARA P I O T ROW SKA / M A CIEJ S Z C ZĘ Ś NIAK PO RT F OL IO

S AR A PI OT R OW S K A (1989) AND ​M ACI E J S Z CZ Ę Ś NI AK ( 1 9 8 9 ) V I S U A L ART I ST S, AL L E G E D COUS I NS, ACADE MI CS , L I V E AND WO R K I N K R A K O W AND WAR SAW. G R ADUAT E S OF CULT UR AL ST UDI E S (B A , J A G I E L L O N I A N UNI V E R SI T Y), I NT E R ME DI A (B A, CR ACOW ART ACADE M Y ) A N D M E D I A ART S (MA, WAR SAW ART ACADE MY). T HE Y MOS T LY W O R K S I TE S PE CI F I C,

CONDUCT I NG

L ONG -T E R M

CAS E

S T UDIES .

TH E Y

USE

OB JE CT, I NS TAL L AT I ON, PE R F OR MANCE , T E XT, PR O C ES S – R A R E LY CONCL UDI NG SE AR CHE S W I T H SI NG L E ART PI E CE S . T H E S U BS E Q U E N T PR OJE CT S F OR M MULT I E L E ME NTAL ST OR I E S, MONOG R A P H I E S - E V ER E V OLV I NG COL L E CT I ONS OF F I NDI NG S OR QUE S T I ONS. TH E Y C O N S I D ER T HE MS E LV E S AS ACADE MI CS - B E I NG NAT UR AL LY PR ON E TO PA RTI S A N ME T HODOL OG I E S. T HE Y HAV E B E E N COOPE R AT I NG SI N C E 2 0 1 5 , A F TE R DI SCOV E R I NG T HE K I NSHI P OF I NT E R E ST S AND B L O O D . TH EY H AV E B E E N R UNNI NG AN ART I S T-R UN-SPACE PI OT R OW S K A / S ZC Z Ę Ś N I A K AT E L I E R I N K R AK OW S I NCE 2019.

INDIVI D U A L EXH I B I TI ON S: 2 0 1 6

„TH I N G S TH AT NEED TO BE EXPLAIN ED” , TAMEX POP-UP GA LLE RY, WARS AW

2 0 1 7

“1 2 M I N U TES TO SYMMETRY” , C LB GALLERY, BERLIN

2 0 1 8

“I M PETU OU S, RO U GH IN MANNERS, PRO NE TO AUT HORITARIANIS M”, BA LT IC GA LLE RY OF CONT E MPORARY A RT, S LUPS K

2 0 1 9

“A RTWORK O F THE FU TURE” , KRAKERS, C RAC OW A RT WE E K, T E LKOM T E LOS , CRA COW

2 0 1 9

“WH EN THE INCEN TIVE CO MES, WE ARE ALREADY WORKING”, PIOT ROWS KA /S Z CZ Ę Ś NIA K AT E LIE R, CRA COW

2 0 2 0

“GEN TLE WAY” , AUTO MAT ARTSPACE, SAARBRUCKE N

SELEC TED G R OU P EXH I B ITIO N S: 2 0 1 5

“L EC TU R ES” , SALO N AKADEMII, WARSAW

2 0 1 6

“TEA M ”. S ALO N AKAD EMII, WARSAW

2 0 1 6

“TH E FLUTES” , ZAC H ĘTA N ATIO NAL GALLERY “ THE A RT IS T S ” FE S T IVA L, WARS AW

2 0 1 7

“M YTH S A ND HARLO TS” , L14 G ALLERY, CRACO W

2 0 1 7

“C A R PATHIAN DO WNIH ILL” , HBK GALLERY, SAARBRUCKE N

2 0 1 7

YOU N G A RT BIEN N ALE EXHIBITIO N AT BALTIC GA LLE RY OF CONT E MPORARY A RT (FINA LIS T )

2 0 1 8

“D OLER S” , LAN D ART FESTIVAL, KULTUURC ENT RUM BE LGICA

2 0 1 9

“H U M A N I S T GREATS A D AY WITH NO SMILE” , PIOT ROWS KA /S Z CZ Ę Ś NIA K AT E LIE R, CRA COW

2 0 1 9

K R A K OWS KI SALO N SZTUKI, PAŁAC SZTU KI, C RA COW

2 0 2 0

“POC H WAŁA PRZEMIJALNO ŚC I” , 01 G ALLERY, O NLINE

2 0 2 0

“SH OW OFF 2” , MATC A ARTSPACE, C LU J-NAPO C

RESID EN C I ES, AWA R D S, PRO JEC TS:

2 0 1 3

EU R OPEA N FO RU M O F H ISTO RY AND ARTS, LIEGE

2 0 1 7

“SEJ SM OGRAF 3” - YO U N G PO LISH ART REVIEW, CRA COW, KAT OWICE , TARNÓW

2 0 1 7

LA U R EAT ES O F BIEN N ALE O F YO U N G PO LISH ART “RYBIE OKO”

2 0 1 9

LA U R EAT ES O F ZAKŁÓ CEN IA/APO PTO ZA - PO LIS H ART COMPE T IT ION

2 0 1 9

ZON E C , SITE-SPECIFIC ID EAS, PRO JEKTHO USE POT S DA M

2 0 2 0

EN K LAWA, GALERIA PRO PAGAN D A, WARSAW

2 0 2 0

„WĘZŁ Y. WIED ZE ASYSTEMO WE” , RESID ENCY, EL E ME NTARZ DLA MIE S Z KA ŃCÓW MIA S T, CRA COW

SERIES OF CAMERA PERFORMANCES AND A MANIFESTO/CARPET

H U MA N I ST GR EET S A D AY WI T H N O SM I L E

REALIZED IN REFERENCE TO THE IDEAS OF POST-HUMANISM AND RISING SIGNS OF AN ENDING OF HUMANS ERA.

vid eo p er f orm ances , carp et 2 0 2 0

THE “ONTOLOGICAL HYGIENE” IN OUR CULTURE, WHICH AIMED TO EFFECTIVELY SEPARATE PEOPLE MATTHEW AND THE CENTAUR

FROM NON-PEOPLE, TURNED OUT TO BE FICTION, BECAUSE WE KNOW THAT WE ARE EVOLUTIONARY AND FUNCTIONAL HYBRIDS

TRANS-HUMANISM, POST-HUMANISM AND A REMINISCENCE OF HUMANISM

Maciek i Centaur

ARTISTS HELPLESS WHILE FACING THE END

AMONG THOSE WHO ARE THE SUBJECT

THE FIGURE OF THE VITRUVIAN MAN SO

HOW WONDERFUL WE ARE, WE OWE TO THE

OF POSTHUMANIST EMANCIPATION, ONE

WONDERFULLY SKETCHED BY LEONARDO,

RELATIVES OF OUR ANCESTORS WHO WERE

SHOULD INCLUDE ALL MONSTERS, ALL

BREAKS FREE FROM THE SURROUNDING

UNSUCCESSFUL PROJECTS AND PASSED

OTHERS WHO WERE REPRESSED BY THE

CIRCLES AND SQUARE AND SPREADS IN

AWAY CHILDLESSLY

PROCESS OF HUMANIZATION

SPACE

MANIFESTO/CARPET

T H IS

YE AR ,

55 9

YE A RS

HAVE

PASSED

SINCE

THE

D E AT H OF E R I K I , T HE POMERANIAN DUKE, KING OF D E N MAR K , SWE DE N A ND NORWAY, AL SO CAL L ED THE F IR ST P LAYB OY O F E U ROPE. A STORY THAT BEGINS AND EN DS I N D AR ŁO WO P ROVES BEING SURPRISINGLY RICH IN SE NSAT I O N AL T HREA DS. ERYK’S BIOGRAPHY, L IKE A P E CULI AR M AT HE MATICAL FORMUL A, COMBINES A N U MB E R OF MOT I F S: POW ER, L OVE, CHANCE, ORIGIN, IN T E R NAT I O N AL

R E LATIONS,

PIRA CY,

TREASURES,

EN TH R O N E ME NT, D E THRONEMENT, W EAK CHA RA CTER AND

AT T R AC T I VE

APPEA RA NCE.

FOL L OW ING

THE

C H RONOLO GY O F LI F E OF THE POMERANIAN KING IS L IK E C HOOSI NG T HE MOST CONVENIENT PL ACE ON T H E B E AC H O F H I S H OMETOW N DA RŁ OW O TO OBSERVE ET ER N ALLY FASCI NATING ISSUES. W E L OVE STORIES, A N D T HI S ONE ; UNE X PECTEDLY ACTUAL DESERVES TO B E T OLD ONCE AGAI N.

I M PET U OU S , R OU GH I N MA N N ER S, PR ON E TO A U T H OR I TA R I A N I SM research an d ex h ibition docu m en tation : m ix ed m edia, ob jects, sp atial in stallation ; visu al ballade, Baltic A rt Gallery, 2 0 1 9

G R EAT CHANCES HE HAD A G R EAT CHANCES T O B ECOME ONE OF T HE M O S T POW ER F UL R ULER S OF EUR OPE. HE IS ACCUS ED OF WA N TI N G T O CHANG E T HE F UNDAMENTAL CONS T IT UT IONAL PR IN C I P L E OF T HE K ING ’S ELIG IB ILIT Y F OR HER EDIT Y OF T HE T HR O N E .

DEPR IV ED OF T HR EE T HR ONES B Y HIS OW N S UB JECT S , ALTH O U G H H E S HOULD B E R EMEMB ER ED R AT HER W ELL

EX H IB IT IO N VI E W

EMPR ES S INF LAMED W IT H LUS T „ER IC WAS A HANDS OME MAN W IT H G OLDEN HAIR , LAR G E E Y E S, B L U S H I N G S K IN AND A PALE, NAR R OW NECK . W IT HOUT ANY HELP AN D TO U C H I N G TH E S T IR R UP HE WAS JUMPING ON HIS HOR S E. EV ERY W OMAN W H O S AW H I M , A N D ES PECIALLY T HE EMPR ES S , WAS B UR NING W IT H LUS T ” [ JOH A N M I C H A E L V O N COT TA S CHONB ER G ] .

„EV ERY W HE R E HE SUCCE E DS, L ET THE PEOPL E SHOUT IN HIS HONOUR A N D P R O M I SE T H AT WI T H THE HEL P OF GOD THEY W IL L PAY HIM H O M A GE AS T O T HE I R K I NG OF GOD’S GRA CE A ND THAT THEY W ILL DO E V ERY T H IN G F O R HI M T H AT THEY SHOUL D DO TO THEIR KING.”

HE EV EN T HOUG HT AB OUT B UILDING A UNIV ER S IT Y A MAT RY MONY W IT H T HE CHAMB ER MAID OF HIS DEACEAS ED WI F E

I M P ET U O U S , R O U GH I N MAN NE RS, PRONE TO AUTHORITA RIANISM

DET HR ONEMENT I I I HE WAS A HAND SO M E M A N W IT H G OLDEN HAI R .

D E T H R O N EME NT I I

DET HR ONEMENT I

M ORA STONE SWEDISH CORONATION STONE. DURING T HE ENT HR ONEMENT, T HE R ULER SWORE AL L EGIA NCE TO THE RIGHTS OF HIS PEOPLE AND MAINTAINED O RDER IN THE KINGDOM, A ND THEN HE AS CENDED T HE HIG H S T ONE.

柔道 ON

THE

7.0 8 .2020

P O LI S H

GEN T L E WAY P O LI CE M AN

WHI LE

PACYFING P ROTE S T S AG AI NS T HO M O P HO BI A US E S HADAKA-J IME , KNO WN AS „ NAKE D CHO KE ” , O NE O F

ex h ib ition d ocu m en tation , vid eo, objects, letterin g, in stallation , au dio, A u tom at, 2 0 2 0

THE 3 6 CONS TRICT I O N T E CHNI Q UE S I N J UDO . T HI S PARTICULAR E VE NT DRAG G S O UR AT T E NT I O N T O T HE P E CULIAR FIG URE O F T HE NE W E M BO DI M E NT O F A JUDOKA – A P OLICE O FFI CE R.

JUDO’S

M O ST

PROMINENT

F E AT U R E

IS

ITS

C O M P E T I T I V E E L E M E N T, W H E R E T H E O B J E C T I V E JŪDŌ IS A MODE RN M ART I AL ART, CRE AT E D I N 1 8 8 2 BY

I S T O E I T H E R T H R O W, TA K E D O W N , I M M O B I L I ZE

JIG ORO KANO AS A P HY S I CAL, M E NTAL, AND M O RAL

O R O T H E RW I SE SU B D U E T H E O P P O N E N T W I T H

P E DAG OG Y. J ŪDŌ, 柔 道 - CAN BE T RANS LAT E D AS „ T HE

A PIN, JOINT LOCK OR A CHOKE. IT IS ITS

G E NTLE WAY”. „JŪ” , 柔 I S TAKE N FRO M AN E X CE RP T

E F F E C T I V E N E SS A N D VA R I O U S ST R AT E GI E S O F

OF THE ANCIE NT CH I NE S E M I LI TARY T RE AT I S E , HUÁNG

SU B D U I N G A N U N W I L L I N G SU B J E C T – W H AT

SHÍG ŌNG SĀN LÜÈ ( „ T HRE E S T RAT E G I E S O F HUANG

M A D E J U D O T H E B A SI C E L E M E N T O F P O L I C E

SHIG ONG ”), WHICH S TAT E S : „ S O FT NE S S CO NT RO LS

TRAINING ALL OVER THE WORLD.

HARDNE SS”.

T H I S P E C U L I A R M I X T U R E O F ZE N “GE N T L E N E SS” A N D T H E A RT O F L E GI T I M AT E V I O L E N C E F O R M S A ST O RY P R E SE N T E D I N T H E E X H I B I T I O N .

J UDO I S DEFINED AS A WAY TO OP T I M ALLY UTIL IZE THE POW ERS OF B O T H BODY AND MIND. THE P UR P O SE IS

TO

OF

JUDO

T EACH

ME NTAL

P R ACTICE

AN D

D E F ENSE,

AN

PHYSICAL

DISCIPL INE

THE

TRAINING

OF

THROUGH ATTA CK

L EADING

UNDE RSTA NDING

A ND

OF

TO THE

E SSE NCE OF THE WAY - IN THIS CASE , T HE MARTIA L WAY OF L AW

“G ENT LE”

E NF O R CE MENT.

R ES T R ICT S TO

T HE

CAR OT ID APPLIED CAN

NAK ED

CHOK E

B LOOD B R AIN

V IA

ART ER IES .

COR R ECT LY,

CAUS E

F LOW T HE W HEN IT

T EMPOR ARY

UNCONS CIOUS NES S IN A F EW S ECONDS .

TH E G OOD CIT IZ ENS OF OUR COUNT RY

T H E P O LI CE AR E A C ONSTITUTED BODY OF PERSONS EM P O WE R E D B Y A STAT E , W ITH THE AIM TO ENFORCE T H E LAW, T O E N SUR E THE SAFETY, HEALTH AND PO S S E SSI ONS OF C I T I ZE NS, AND TO PREVENT CRIME A N D C IVI L DI SOR D E R .

JŪ -

柔 MUTAT E S I NTO L AW ENFORCEMENT, PHA SE 1, 2 AND 3.

Z E N B AT O N S

ET Y MOLOG Y S T UDIES

L EV ER AG E,

MOMENT UM,

B ALANCE,

CENT ER

OF

G R AV IT Y,

F R ICT I O N ,

TR ANS MIS S ION AND MANIPULAT ION OF T HE HUMAN ANAT OMY ’S V ITAL POI N TS

WEIGHT

A R T W OR K OF T H E FUTURE A RT IN STAL L ATION RE ALIZED IN RESPONSE T O T HE CALL O F 2 0 1 9 E DITION OF KR AKERS ART WEEK CR ACOW; JUMP C O N C E RN IN G TH E ISSUES OF T HE F UT UR E. T HE WORK WA S IN SPIRE D BY A F R AGMENT OF RICHAR D WAGNER’S E S S AY E N TITL E D „ W OR K OF ART OF T HE F UT UR E”:

AS M A N STA N DS TO NAT UR E, SO STAND S ART T O MAN. M A N , OR M ORE PA RTICULARLY T HE VOLK CREAT ES ART T O FILL TH AT WA N T. T HOSE WHO F EEL NO WANT ARE O U TSIDE RS TO TH E V OLK AND CR AVE ONLY POINT LESS L U X U RY – TRU E A RT T HUS COMES ONLY F R OM T HE ATAVISTIC N E E DS OF THE VOLK. T HE ART WOR K OF T HE F U TU RE W ILL OF C OU RSE B RING F ORT H T HE ART IST OF T H E FU TU RE W H O W ILL B E WIT HOUT A D OUBT T HE POET.

scu lp tu re, in stallation , m arble plate, Telkom Telos Cracow A rtw eek, 2 0 1 9

C H OR U S C HOR U S O P E R AT I NG SYSTEM WAS FOUNDED IN T HE 1 9 8 0 S OF X X CENTURY IN INRIA (FRENCH N AT I O N AL R E SE AR CH INSTITUTION DEA L ING W ITH C OMP UT E R SCI E NCE A ND APPL IED MATHEMATICS).

SYST E M

OWE D

I TS

NAME

TO

A

CHOIR-L IKE

ST R U CT U R E – AND WAS ADA PTED TO IMPL EMENT T HR E ADS WI T H SHA RED MEMORY. THE KERNEL INVO K E S AN D AN NIHIL ATES THREA DS TIED UP IN E N DLE SS P R OCE SSES.

T HE ANCI E NT CHOI R, SERVING A S THE MODEL FOR T HE O P E R AT I N G SYSTEM, PL AYS IN A TRAGEDY A R O LE OF AN E NGA GED COMMENTATOR OF THE ACT I O N ON STAGE. CHOIR HEL PS THE VIEW ERS T O “ F I N D T HE R I GHT PATH OF PARTICIPATION IN T HE WO R LD ” ( F.N I ETSCHE). CHORUS SERVES AS A MULT I T UDE SOUNDTRA CK THAT GIVES A HINT WHE T H E R O N E SHOUL D BE PREPA RED FOR GRIEVE, F E AR , OUT R AGE O R A GL IMPSE OF JOY.

m eth od ology developm en t/operatin g system con cep t; m od els, draw in gs, reality ch ecks, n ew s m aterials, Galeria P rop agan da, 2 0 2 0

CHOR U S COLLE CT S OBSERVATIONS INSTEAD OF A NALY Z ING , A DDS

T H R E ADS

MUCH

SLOWE R

W ITHOUT T HA N

PRIORITY,

OTHER

PROCESSES

OPERATING

DATA

IN 2020, , INB UT T HE FACE OF R ADICALLY SYSTEMS

NGIN G IS ACIR CUMS TANCES , WI T H I NCOMPAR ABLY GREATER COMMITMENT.CHA CHORUS TRA NSFO R MED PASSI ONAT E COMMENTATOR AND A SOL EMN SONG TOWAR DS

F R OM

AN

WE

ART IS T IC

DUOSNOWB INTO ALL, A DIS T R IB UT ED OPER AT ING T HE ZE R O P HASE OF ART - W HICH, AS “ROL L ING WH I CH

C ONSTAN TLY

GROW ING,

CHOR US OS 2.0; DUAL-COR ED, A BSORBS SYSTEM, SUBSEQUENT

ED, (J.S Y NCHR ONOUS E LE M E N T S O F R E AL ITY, TO FINAL LY BECOME COMMITT A GL OBE.” LU DWI Ń SK I ) .

MEMORY

W IT H

F LEXIB LE

S HAR ED T HR EAD

MANA GEM ENT. DEPR IV ED OF AT ELIER , W E HAVE B ECOME ONLY A W OR K ING METHOD T O B E IMPLEMENT ED IN ANY PL A CE AN D CONT EXT.

C H O R US COLLE CT S O B SERVATIONS INSTEA D OF ANA LYZING , ADDS

T HR E ADS

MUCH

SLOWE R

WI T HOUT T H AN

PRIORITY,

OTHER

PROCESSES

OPERATING

SYSTEMS,

DATA BUT

CHORUS/ O P ER AT I N G SYST E M A R C H I T EC T U RE

W IT H INCOMPAR AB LY GREATER COMMITMENT. CHORUS IS A PA S S IO NAT E C OMME NTATOR A ND A SOL EMN SONG TOWARDS T H E Z E R O P HASE O F ART - W HICH, A S “ROL L ING SNOW BA L L , W H IC H

CONSTAN T LY

GROW ING,

A BSORBS

SUBSEQUENT

E LE M E N T S OF R E ALI T Y, TO FINAL LY BECOME A GL OBE.” (J .

LU D W IŃ SK I ) .

R H Y T H M FAC I LI TAT E S R E MEMBERING, ORGA NIZES MESSAGES .

C H O R US SYST E M AR C HI TECTURE IS CURRENTLY DEVEL OPING , IT IS M EANT T O B E A R E F RA IN IN YOUR SPOTIFY, YOUR W EATHER F O R E C AST, I N STAGR AM F ILTER, A FONT, COMMENTA RY ON THE B B C ; O NE O F T H E MAN Y OFFERS OF REA L ITY CHECKS.

m eth odology d evelop m en t/op eratin g system con cept; m odels, d raw in gs, reality ch ecks, n ew s m aterials, Galeria P ropagan d a, 2 0 2 0

C H OR U S/ D EK A MER O N p erf orm an ce, Galeria P ropagan d a, 2 0 2 0

MYT H S AND H A R L OT S M Y TH OLO GY,

ACCORDING

TO

STRUCTURAL ISTS

PR O VI D E S T O O LS, T H AT AL L A L L OW TO ORGA NIZE THE V IS ION O F T HE WORL D, BY INTRODUCING DISTINCT D IF FE R E N CE S B E T WE EN THE EL EMENTS AND PROVIDES

ex h ib ition d ocu m en tation : m ix ed m edia, ob jects, d raw in gs, lab iryn th s, L 1 4 , 2 0 1 6

A L O GI C AL MODE L F OR SOLVING CONTRADICTIONS. IT S T R UCT U R I ZE S AND ORGA NIZES HUMAN BEHAVIOURS, IN C LUDI NG T HOSE CONSIDERED A S TABOO. A MYTH

T HE MAIN CLUE T O T HE NAR R AT ION IS DEDAL, MY TH O L O G I C A L

D O E S NOT E X P LAI N - IT STATES. THE STORY DOES NOT

AR CHIT ECT W IT H HIS S T R AT EG Y OF TAK ING A IMPARTI A L STA N D ,

TA ME , I S SOLE LY GI VES IT A SAFE FORM. “ THE W ORL D

T HAT ENAB LES T O DIS T IL T HE NEEDS OF T HE US E R W I TH O U T

IS IN F I N I T E LY DE F I ANT, BUT A CCORDING TO ROL AND

PAS S ING JUDG EMENT.

B ERT H E S “ ANY I T E M IN THE W ORL D HA S THE CAPA CITY T O M O VE F R O M A MUTE, CL OSED BEING TO A STATE

[ T HE EXHIB IT ION, R EALIZ ED IN COLLAB OR AT IONS W IT H A G R O U P O F

PR E SE N T E D I N T HE F ORM OF L A NGUAGE, BECA USE A NY

DES IG NER S , AR CHIT ECT S AND ART IS T S L14, F UNCT ION S A S A W H O L E

L AW - N AT U R AL OR NOT, DOES NOT STOP FROM TAL KING

S T R UCT UR E - T HOUG HT AND CONS T R UCT ED AS ONE N A R R ATI O N I N

A B O U T T HI NGS “ .

T W O WAY S OF R EADING IT. T HE S UB S EQUENT COMPO N E N TS H AV E DOUB LE T IT LES ; A AND B V ER S ION OF PER CEIV ING T H E M . ]

A:

DES PIT E T W O HUNDR ED Y EAR S OF AR C H E O L O G I C A L

EXCAVAT IONS , NO B UILDING WAS F OUND, W H I C H , E V E N R OUG HLY W OULD B E EQUIVALENT T O T H E G R A P H I C A L R EPR ES ENTAT IONS K NOW N F R OM ANT IQUIT Y. A:

COLOR

PALE T T E

OF

K NOSSOS

PAL ACE,

VIEW

FROM

THE

HAND PUT ON T HE WALL OF T HE LAB IRY NT H .

C O U RT YA R D , C OLO N NAD E .

B:

C O LO R

PALE T T E

OF

B : R EG ULA OF T HE LAB IRY NT H: F OLLOW Y O U R R I G H T

T HE

RA PE

“ I RR E V ER S IBLE ” , GASPAR N OÉ , 2003.

SCENE

FROM

THE

FIL M

A: [N OUN] M I ST R E SS (AL SO L OVER) B : [N OUN] M I ST R E SS (A L SO MA STER)

A AND B : LEDA G ODDES S .

A AND B: BUL L DA NCERS FROM K NOS S OS .

A: “...

COAR S E

MAS S AG ES ,

I

CAN

CLAPPING ON F LES H...”

B :

S ENECA IN A LET T ER T O LUCY LIUS

HEAR

HANDS

12 MI N U T E S TO SYM MET RY TH E

GAL L E RY

BE RLIN

SPACE

BE C OME S

A

SAT ELLIT PLACE

AT

OF

MOR IT ZPLAT Z

D IALOGUE

IN

B ET WEEN

ARTISTS FROM OFF ENB ACH AND WAR SAW B EING ALMOS T GE OGRAPH IC AL

CENT ER

B ET WEEN

T HE

T WO

CIT IE S .

IN TH E SE ARC H F OR A SYMMET RY, T HE MEET ING I N BE RLIN SH OW S THE RESULT S OF JOINT D ELIBERAT ION S ON SU BJE C TS PRIMARILY D EALING WIT H T HE MEET IN G AN D ROAD ITSE L F ; „SPOOKY ENTAGLEMENT S”, R OUT ES , W E ATH E R

FORE C AST S,

SIGNS,

GPS

RECALCULAT ION S

AN D MISPRON OU NCED NAMES OF T OWNS. BR AT PFANNE / BRYTFAN N A, K OM PRESSOR / KOMPR ESOR AND UR LAUB/ U RL OP, STAY AL MOST SYMMET RICAL.

ex h ibition docu m en tation , realized in collaboration w ith Max Bru cke, A n n e Krieger, CL B Berlin 2 0 1 7

D AS LIE D D E R S T R AS S E O N LY IN G E R M AN , T H E O R IG IN AL T IT LE LA S T R AD A [ANG . T H E RO A D ] O F F E LLIN I’S F ILM , IS T R AN S LAT E D AS D AS LIE D D E R S T RA SS E [AN G . S O N G O F T H E R O AD ], W H IC H E X PLIC IT S T H E T ITL E I N RAT H E R M E LO D R AM AT IC S E N S E .

O F F E N B AC H AM M AIN , T O W N W IT H C O UN T Y R IG H T S .

SC H EMA OF THE B UTTER FLY EFFECT / D AS SC H METTER SL INGSEFFEKTSCHEMA .

MAP OF T H E PARTNER SHIP TOWNS

I D ID S O M E T H IN G IN B E R LIN LAS T Y E AR , IN KR E UZ B E R G , G R E AT O PE N IN G , G R E AT PUB LIC

Arti sts a ske d re si d ent s and peo ple wo r king in building s t ha t a re f orm e r re si d e nt ial bar r acks o f subcamp o f Auschwitz Bi rke na u , N e u -Da chs and t he Cent r al Labo ur Camp i n Ja worz no to d ona te an o bject fro m t heir ho mes o r wo r kplaces .

Re si d e nts of the set t lement were asked t o independent l y se l e c t th e th i ngs t hat t hey ag reed t o g ive ar t ist s. Gained i te m s a re b ui l d i n g a co llect io n o f evidence t hat life in i t s e ve ryd a y’s f orm s o ccupies even t he mo st ho st ile areas. Éla n vi ta l b l urs p a i nf u l hist o r y using wallpaper s, sinks, children’s trol l e ys a nd p orc e l ain.

I’M S O R RY, COULD WE TA K E A MOMENT? J U S T W H AT IS I T T H AT MAKES TO D AY ’ S HOMES SO D IF F E R E N T, SO APPEALING? in stallation , galeria S ektor 1 , 2 0 1 5

„I A M NOT I NT E R E ST ED IN A OBJECT W HICH AIMS AT S ELF - SUF F I CI E NCY,

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O B JE C T WH I CH R E QUIRES ACTION A ND CA RE ON THE PA RT O F T HE ART I ST, HIS REANIMATORY A CTIVITY, SO TO S PE AK , ONE WH I CH CONSTA NTLY RENDERS MEANING TO T H E OB JE CT. AN ( I N) SEL F-SUFFICIENT OBJECT ENTERS IN T O AN ART I ST I C SYMBIOSIS W ITH THE A RTIST, W ITH

THE THIRD - „ OB JEC T R EQU I R I N G C ON STA N T EXPL A I N I NG AND T EL L I N G”

m ix ed m edia project ( p rocess, p erf orm an ce art, video, p h otograp h y, tex t, ob ject, in stallation , b ook) 2 0 1 5 – 2 0 1 7

H IS MI ND, AS WE LL AS W ITH THE MIND OF THE VIEW ER. IT CE ASE S T O B E A MERE OBJECT, AND BECOMES AN A M ALGAM O F OB JE CT A ND SUBJECT–NEITHER ONE OR

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R EQ U I R E S C ONSTAN T EXPL A INING A ND TEL L ING, AND S EE MS T O B E E N DOWED W ITH A CA PACITY FOR CHANGE A C CO R DI NG T O T HE DIRECTION COMMENTARY TAKES. I A M I NT E R E ST E D I N SUCH A RIPENING OBJECT.” M Y FAVOR I T E T H EORY OF A RT, ARTUR ŻMIJEW SKI.

T HE AXIS OF OUR PR OJECT WAS T HE ANALY S Y S O F TH E ART IS T IC DUO, T HE S UB JECT OF T HE “PAR A-R ES EARC H ” I S T HE S T R UCT UR E OF T HE ART IS T IC PR OCES S IT S ELF, A S W E L L AS , T HE R EF LECT ION ON HOW T HE DUAL ART DECIS IO N C A N B E MADE.

IN C O M MUNI CAT I O N SC HEME BETW EEN A RTISTS W E W ERE M O S T INT E R E ST E D I N E NT ITY A RISING OUT OF CONFONTATION O F T W O ART I ST I C AT T I T UDES, TW O MESSA GES. W E CA L L ED THE

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“THE

T H IR D ”. OUR I N T E R AC T I O N TOOK ON THE FORM OF EVERYDAY P E R F O R MAN CE S AN D SPATIAL INSTA L L ATIONS A DRESSED TO T H E S E C OND PART I C I PANT “IN” OR “THROUGH” SPACE. MOST OF T H E A C T I O N S TAK E F O R M OF L A PIDARY GESTURES, COMMENTS T O T H E CUR R E NT SI T U AT I ON. “THE THIRD” EVOLVED IN W EEKS A S IN B R E D AND I N NE R COMMUNICATION CODE. W ITH TIME THE D IV IS IO N LI NE S B E T WE E N W HAT CONSTITUTES THE SO-CA L L ED “A R E A OF ART I ST I C C R E ATION” FROM THE SUBSTANCE OF THE S O - C A LLE D “ E VE RYDAY LIFE” CEA SED BEING CL EAR A ND THE P R O J EC T B E C AM E T H E SOL E MEA NS OF COMMUNICATION OF T H E PA RT I CI PANT S AND T HE ONLY MEETING PL ATFORM.

T H E J O Y OF N AM I N G T HE OCCURING PHENOMENONS AND O B S E RV I N G HOW T HE Y MUTATE IN THE DIRECTION OF THE C O M M EN TARY B E C AM E THE MA IN CHA RA CTERSTIC OF THE P R O J EC T AND T H E WO R K ING METHOD.

T HE T HIR D, B RO TH E R S / S I S TE R S .

T HE T HIR D: K IW I. T HE T HIR D: LIT T LE MONUMENT. T HE T HIR D: LIT T LE MADONNA.

T H E T H I R D WI T HOUT A TITL E.

THE THIRD KNOW S POS T-APO / T HE T HIR D AS T HES E PART S OF A HOUS E T HAT AR E B I G A N D W H E R E YOU CAN INV IT E G UES T S .

T HE T HIR D - W E LOOK B ET T ER , W ID E R .

T HE T HIR D AS A F LOOR I N O U R H O M E .

THE THIRD IS M OV ING PARQUET FORM T HE S ECOND FL OOR TO OUR S .

THE THIRD, A RC HIT ECT UR E OF L IGHT.

TH E T H IR D , A C AT T E LAN’S T R UST TEST W ITH THE USE OF CHEAPER M AT ER IALS .

TH E T H IR D , W HAT I ’M LOOK I N G AT W HIL E MA KING A RT D E C IS IO N.

T H E T H I R D USE S T H E BA CK OF THE PAINTING / SW IMMING POOL.

D O E S T HE T H I R D HAS LIMITS? TEST.

T HE T HIR D, COMPLET E T HE S T R UCT UR E!

T HE T HIR D IS MAK ING S M A L L F R O M B I G .

M ILIT I A C OMPANY OF D ISTRICT II UNDER THE COMMA ND

T HE S HOOT ING COMPANY OF F R ANS B ANNING COCQ AND

O F C AP TAI N F R AN S B ANNINCK COCQ

W ILLEM VAN R UY T ENB UR CH

T H E NIGHT WATCH