Piotrowska / Szczęśniak Portfolio (english)

Sara P iotrowska / Maciej Szczęśniak por tfolio

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S a ra Pio trows ka ( 1 9 8 9 ) and Ma c ie j Szc zę śnia k (1989) v isual ar t i st s, ex - c o u p le , a l l eg ed co us i ns , to g ether tr y ing to reclaim a banana plantation in B ra z i l as t h e d ro p of the chi l dl es s o ncl e , they w ork primarily site-specific, mostly u si n g t he c o n tex t o f the p l ace and a car. They hav e been cooperating permanently si n c e 2 01 6 o n t h e bas i s o f unco nd i ti o nal par ticipation, w hich ex pands to all aspec t s o f ev e r y d a y a n d creati ve l i f e. They l i v e in C racow and Warsaw.

Sara Piotrowska Bo r n in 1 9 8 9. M .A . i n Med i a A r t at Academy of Fine Ar ts in Warsaw. Foun di n g m e m b e r o f t he Wcz as yMag m agazine and L14 an interdy sciplinar y colle c t i v e for me d b y a r ti s ts and archi tects .

Ma in ly w o r k s s i te- s p eci f i c, i nteracting w ith par ticular spaces. Interested m o st l y i n c re a t in g spati al narrati o ns o pened for dialog w ith the v iew er by remode l l i n g s t ru c tu re o f the p l ace, chang i ng significance of the components. Aims to m o de l p l a tf o r ms o p ened f o r po tenti al permutations, platforms that w ould hav e a l i fe o f i t s o wn b e y o nd autho rs i ntenti o n.

Par ticipant of Sejsmograf III – a review of young polish ar t (2018), laureate of Young Ar t Biennale Rybie Oko 9 (2017) Selected exhibitions: Lectures 2015, Warsaw, Team 2015 Salon Akademii Galler y, Warsaw, per formance with The Fluts music band at The Ar tists Festival, Carpathian Downhill Galerie der HBK Saar, Saarbrucken, 2017, Myths and harlots as collective L14 Cracow Galler y Weekend Krakers, 2017, 12 Minutes to Symmetr y CLB Berlin, Berlin 2017, Impetuous, rough in manners, prone to authoritarianism, Bałtycka Galeria Sztuki Współczesnej, 2018.

Maciej Szczęśniak Bor n in 1 9 8 9 , i n Craco w. H e Graduated from the Intermedia Depar tmen t a t t he A c a d e m y o f Fi ne A r ts i n Cracow – bachelor ’s degree and New Media A r t Depa r t m e n t a t the A cad em y o f Fi ne Ar ts in Warsaw - master ’s degree. C urre n t l y P hD st u d e n t at the Facul ty o f A r t of the Pedagogical Univ ersity in C racow.

H e m o v e s o n the b o rd er o f m any disciplines, in the field of his interests a re : p ho to g ra p h y, vi d eo ar t, aud i o ar t, per formance or installations site-spec i fi c .

I n re a lize d p ro j ects he takes i nto account the cultural matrix , the histor i c a l , geo g ra p h ic a l and s o ci al backg ro un d on the space w ith w hich he w orks. He ofte n refe r s to a u to bi o g rap hi cal thread s , he analy zes the contex ts in w hich he fo u n d hi m se lf . Co - f ounder and m em ber of the ar tistic group Opcja, ar tistic group T h e F l ute s a n d a r t & des i g n g ro up L1 4 . Primitiv e tattoo ar tist. Lecturer at the Acad e my of Ph o to g ra p h y. Li ves and wo rks i n Warsaw.

Par ticipant of Sejsmograf III – a review of young polish ar t (2018), laureate of Young Ar t Biennale „Rybie Oko 9” (2017), finalist of Spilman Award 2014 (2014). Individual exhibitions: Impetuous, rough in manners, prone to authoritarianism (Bałtycka Galeria Sztuki Współczesnej, 2018), 12 minutes to symmetr y (CLB Berlin, 2017), Things that need to be explained* (TAMEX, 2016), GENRE SCENES | STILL LIFES, (Pod Śrubką Galler y, 2015). Selected group exhibitions: Whims (Rondo Sztuki Galler y, 2017), Myths and harlots (L14 Galler y, Cracow Galler y Weekend Krakers, 2017), The Ar tists (Reduta Banku Polskiego, 2016), Be sober! (Henr yk Galler y, 2015), Lectures (Sal on Akademii Galler y, 2015), Cold, Warm and Inhuman (BWA Sokół Galler y, 2014), Foehn is coming (Opcja Galler y, 2013).

Sara P iotrowska / Maciej Szczęśniak Humanist greets a day with no smile vi d eo p e r f o r m a nce, 2 0 1 9

Ser i e s o f c a me ra p er f o rm ances real i zed in reference ideas of post-humanism a nd tra n s-h u m a ni s m and ri s i ng s i g ns of an ending of humans era.

Matthew and the Centaur

The “ontological hygiene� in our culture, which aimed to effectively separate people 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 of posthumanist emanci-

The figure of the Vitruvian man

pation, one should include all monsters, all Others who were

Leonardo, breaks free from the

repressed by the process of humanization

and spreads in space

n so wonderfully sketched by

How wonderful we are, we owe to the relatives of our ancestors

surrounding circles and square

who were unsuccessful projects and passed away childlessly

Sara P iotrowska / Maciej Szczęśniak Humanist greets a day with no smile ca r p e t - m a n if es to , 2 0 1 9

Sara P iotrowska / Maciej Szczęśniak / Mateusz Szymanowski Artwork of the Future s cul p tu re / in stal l ati o n, 20 1 9

A r t i n st a lla tio n real i zed i n res po ns e to the call of this y ear ’s edition of Krake r s A r t we e k Week Craco w; J U M P concer ning the issues of the future.

The wo r k w a s i ns p i red by a f rag m e nt of Richard Wagner ’s essay entitled „Work o f A r t o f the Future”:

As M a n s t a n d s to Nature, so stands Ar t to M an. Man, or more par ticularly t he Vo lk c re a te s A r t to f i l l that want. Thos e w ho feel no w ant are outs iders to t h e Vo lk a n d crav e o nl y po i ntl ess luxur y – true Ar t thus comes only from t he a t a v is t ic n e ed s o f the Vo l k. The Ar tw ork of the Future w ill of course b r i ng f o r th th e A r ti st o f the Future who w ill be w ithout a doubt the Poet.

Sara P iotrowska / Maciej Szczęśniak Impetuous, rough in manners, prone to authoritarianism m i xe d me d ia , exhi bi ti o n d o cum entation, 2018

Thi s y e a r, 5 5 9 years have pas s ed since the death of Erik I, the Pomeranian d uke , K in g o f D enm ark, Sweden and Nor w ay, also called the first play boy of E uro p e . A sto r y that beg i ns and en ds in Darłow o prov es being surprisingly r i ch in se n sa ti o nal thread s . Er yk’s biography, like a peculiar mathematical for mu la , c o m bi nes a num ber o f motifs: pow er, lov e, chance, origin, i nte r n a tio n a l rel ati o ns , pi racy, treasures, enthronement, dethronement, w e a k c h a ra c ter and attracti ve app earance. Follow ing the chronology of life of t h e Po me ra ni an ki ng i s l i ke choosing the most conv enient place on the b ea c h o f h is h o m eto wn D arł o wo to obser v e eternally fascinating issues. We l ov e sto r ie s, and thi s o ne; unexp ectedly actual deser v es to be told once aga in .

ex hibition v iew

G rea t Ch a n c e s H e h a d a g re a t chances to b eco m e one of the most pow er ful rulers of E urop e . H e is a ccus ed o f wanti ng to change the fundamental constitutional p r i nc ip le o f th e K i ng ’s el i g i bi l i ty f o r heredity of the throne.

D ep riv e d o f th ree thro nes b y hi s o wn subjects, although he s hould be reme mbe re d ra t he r we ll

„ Ever yw here h e su c c e e ds, homage as to t h e ir kin g o f

E m p re s s in f la med wi th l ust „ E r i c w a s a h a nds o m e m an wi th g olden hair, large ey es, blushing skin and a pa l e , na r ro w n e c k . W i tho ut any hel p and touching the stirrup he w as jumping on his h o rse .

Ever y w o ma n who s aw hi m , and es pecially the empress, w as burning w ith lust ” [qu o te a f ter Jo h a n M ic hael vo n Co tta Scho nberg].

, l et the p e o p le s h o u t i n hi s ho no ur and p romis e that w ith the help of God they w ill pa y h im Go d’s gra c e a n d th at they wi l l do ev er y thing for him that they should do to their k in g .”

He even thought about building a unive rsit y A m atr y m ony w ith the chambermaid of his deaceased w ife

M ora Sto n e Sw ed ish c o ro n ati o n s to ne. D uri ng th e enthronement, the ruler sw ore allegianc e to t h e r i ght s o f h is p eo pl e and m ai ntai ned order in the k ingdom, and then he ascen de d t h e hi gh sto n e .

D e t h ro n e m e nt II

Dethronement III He w as a handsome man w ith golden h a i r.

Sara P iotrowska / Maciej Szczęśniak WE WERE HERE site - sp e c ifi c i nter venti o n, 2 0 1 5

We We re Here i s the s i te- s pecific realization dedicated for Salon Akademi i G a lle r y. Wo rk co ncerns two i s s ues. It is a commentar y on the old-fashione d, st r ic t r u le s o f exhi bi ti ng i n the par ticular galler y, and also a kind of ostentatio u s a p p ro p r ia ti o n o f s pace, wi tho ut respecting the aesthetics sacralized in th i s in stit u tio n . The p aradox o f o f thi s realization is the fact, that slightly disturbin g th e a e st h eti c o rd er o f the p l ace, the inter v ention still remains the par t of t h e v e r y ex h ibi ti o n ( beco m i ng a harmonious.

Sara P iotrowska / Maciej Szczęśniak I’m sorry if we could take a moment? Just what is it that makes today’s homes so different, so appealing? in sta lla tion, 2 0 1 5

A r t ists a sked res i d ents and people w orking in buildings that are forme r re sid e n t ia l b arracks o f s ub camp of Auschw itz-Birkenau, Neu-Dachs an d th e C e n t ral Lab o ur Cam p i n J a w orzno, for donating of an object from the i r h o m e s o r wo rkpl aces . Gai ned items are building a collection, w hich i s a te st a ment to the o ng o i ng ev er y day life in a place w ith a tragic histor y.

R e sid e n ts o f the s ettl em ent we re asked to independently select the thing s th a t th e y ag reed to g i ve ar ti sts. Installation is a collection of ev idenc e th a t lif e in the ever yday as pect occupies ev en the most hostile areas. Éla n v ita l b lu r s p ai nf ul hi s to r y us i ng w allpapers, sink s, children’s trolley s an d p o rc e la in . The cycl e cl o s es .

Sara P iotrowska / Maciej Szczęśniak and L14 collective Myths and harlots m ixe d m e di a, exhi bi ti o n d o cumentation, 2017

M y th o lo g y, acco rd i ng to s tru cturalists prov ides tools, that all allow to o rg a n ize the vi s i o n o f the wo rl d, by introducing distinct differences betw ee n th e e le m e nts and p ro vi des a logical model for solv ing contradictions. I t st r u c tu r izes and o rg ani zes human behav iours, including those considere d a s t a b o o . A m yth d o es no t explain - it states. The stor y does not tame, i s so le ly g ives i t a s af e f o rm . “ Th e w orld is infinitely defiant, but according to R o la n d B er thes “ any i tem i n the w orld has the capacity to mov e forma a m u te , c los ed bei ng to a s tate presented in the form of language, because a n y la w - natural o r no t, do es not stop from talk ing about things “.

T h e m a in cl ue to the narrati on is Dedal, my thological architect w ith h i s st ra te g y of taki ng a i m p ar ti al stand, that enables to distil the needs of th e u se r w ith o ut p as s i ng j ud g em ent.

[ T h e ex h i b i ti o n f uncti o ns as a w hole structure - thought and constructe d a s o n e n arrati o n i n two ways of reading it. The subsequent componen t s h a v e d o u bl e ti tl es i n A and B v ersion of perceiv ing them.]

A: Color palette of Knossos Palace, view from the courtyard, colonnade.

B: Color palette of the rape scene from the film “Irreversible”, Gaspar Noé, 2003.

A: Despite two hundred years of archeological excavations, no building was found, which, even roughly would be equivalent to the graphical representations known from antiquity.

B: Regula of the labirynth: follow your right hand put on the wall of the labirynth.

A: [noun] mistress (also lover)

Aa

B: [noun] mistress (also master)

A and B: Bull dancers from Knossos.

and B: LEDA goddess.

A and B: “... coarse massages, I can hear hands clapping on flesh...” Seneca in a letter to Lucylius.

Sara P iotrowska / Maciej Szczęśniak The meal p e r f o r ma n ce, pai nti ng , 2 0 1 4

T h e m e a l l o s es i ts o ri g i nal f unct ion w hich is to satisfy basic biological needs.

E a tin g is c o nti nued to the po i nt w hen fulfilling its original function (w hich i s sa tisf y in g hung er) s tar ts the re v erse process - the process of destruction .

T h e in itia l hung er i s repl aced b y a glut, and then intentionally disgust. Dinn e r is c o n t in u ed as a del i b erate, planned process of ov ercoming disgust f o r f u r th e r c ons um pti o n. N aus ea and phy siological inability to continue eatin g c ro wn e d the co urs e o f the per formance. Canv as / tablecloth on w hich th e d in n e r was eaten b eco m es i ts record.

Sara P iotrowska / Maciej Szczęśniak 12 minutes to symmetry m i xe d m edia, ex h ibit ion docu m entation, 2017

T h e g a lle r y s pace Satel l i t at Moritzplatz in Berlin becomes a place f o r a d ia lo g ue b etween ar ti s ts f rom Offenbach and Warsaw at the almost g e o g ra p h i cal center b etween t he tw o cities. In the search for a sy mmetr y, th e me e ti ng i n Berl i n s ho ws the results of joint deliberations on subject s p r im a r ily d eal i ng wi th the m eeting itself; „ spooky entaglements”, routes, we a t h e r fo recas ts , s i g ns , GPS recalculations and mispronounced name s o f to wn s. Bratpf anne/b r ytf anna, Kompressor/ kompresor and Urlaub/ urlop , st a y a lm os t s ym m etri cal .

Das L ied der St rasse Only in ge r man, t he or i gi nal t i t l e L a St ra d a [ a n g . t h e ro a d ] o f Fe llin i’s f ilm , is t ranslated a s D as Li ed der St raĂ&#x;e [ a n g . s o n g o f t h e ro a d ] , w h ic h ex p lic it s t h e t i tle in rat her mel odramat i c sense.

O ffenba ch am M ain, tow n w it h co u n t y r i g h t s .

Sch e m a o f t h e butter f l y ef f ect / Das Schmetterslingseffekt Schema.

The smell of new t ire s ma ke s m

m e ho r ny.

Sara P iotrowska / Maciej Szczęśniak The Third - „object requiring constant explaining and telling” m i xe d me d ia p ro j ect ( per f o rm ance ar t, v ideo, photography, tex t, object, inst a l l a t i o n ) 2015 – 2017

„ I a m n o t in teres ted i n a o b j ect wh ich aims at self-sufficiency, but in a defect i v e , u n r ip e o b je ct whi ch requi res ac tion and care on the par t of the ar tist, h i s re a n im a to r y acti vi ty, s o to s peak, one w hich constantly renders meaning to t h e o b je c t. A n ( i n) s el f - s uf f i ci ent object enters into an ar tistic sy mbiosis wi t h t h e a r tist, w i th hi s m i nd, as well as w ith the mind of the v iew er. It ceases to b e a me re o bj ect, and b eco m es an amalgam of object and subject–neit h e r o n e o r th e o ther, a m ental o b j ect. This object requires constant ex plain i n g a n d te llin g , and s eem s to be endow ed w ith a capacity for change accord i n g to th e d ire c ti o n co m m entar y takes. I am interested in such a ripening obje c t .”

A Fa v o r ite Theo r y o f A r t, A r tur Żmijew ski.

T h e a x is o f o ur pro j ect i s the analy sy s of the ar tistic duo, the subject of t h e “ p a ra -re se a rch” i s the s tructure of the ar tistic process itself, as w ell as, t h e re f le c tio n o n ho w the d ual ar t d ecision can be made. In communication sche me b e twe e n a r ti s ts we were m o s t i nterested in entity arising out of confontat i o n o f two a r tisti c atti tud es , two m essages. We called the outcome of this dia l o g , e n t it y g e n erated to g ether o r i n opposition to each other - “ The Third”. Ou r i n te ra c tio n to o k o n the f o rm o f ev er y day per formances and spatial installatio n s a d re sse d to the s eco nd p ar ti ci pant “ in” or “ through” space. Our dialog i s a c o n sta n t p ro ces s o f taki ng s tands w ith tow ards each other and the space w e a re in ; th e s pace i ts el f b eco m es the contex t, the substance and the car ri e r o f me a n in g . M o s t o f the acti o ns take form of lapidar y gestures, comments to

t h e c u r re n t s i tuati o n. W i th ti m e the div ision lines betw een w hat constitutes t h e s o - c a lle d “ the area o f ar ti s ti c creation” from the substance of the so - ca l l e d “e v e r y d a y lif e” ceas ed bei ng cl e ar and the project became the sole means o f c o mm u n ic ati o n o f the par ti ci p ants and the only meeting platform. “ The Th i rd” e v o lv e s in weeks as i nbred and inner communication code. At first the a re a o f t h e p ro ject was l i m i ted to a room by Smulikow ski Street, w hich w as a livi n g p la c e a n d a wo rkp l ace. W i th ti me the activ ities star ted to include other fla t s, a st u d io , a car ( cars ) , b ui l d i ng to be demolished, accidental w alking path s, a h o te l - o c c up yi ng s ubs equent urban spaces w here the authors liv e. The s a i d “ T h ird ” f u llf i l l s i ts el f “i n” and “through” a par ticular space.

The Third, brothers / sisters.

T h e T h i rd wi tho ut a ti tl e.

T h e T h i rd : ki wi .

Th e Thi rd : little m o n um ent.

Th e Third : lit tle m a d o nna.

The Third k now s po st -a po / guests.

Yesterday actions didn’ t go a s pla n n e d.

/ to o m uch tv / T h e Thi rd i s these par ts of a hous e that are big and w here you ca n in v ite

The Third is movin g pa rqu e t form the s econd flo o r to o u rs.

The Third, Archite c t u re o f lig h t

The Thi rd - w e look better, w ider.

The Third as a floor in our home .

.

The Th ird , a Ca ttel an’s trust test wi th the use of cheaper materials.

The Th ird , wh a t I’m l o o ki ng at whi l e mak ing ar t decision.

The Th ird us es the back of the painting / Sw imm in g po o l.

D o e s The Thi rd has l i m i ts? Test.

Th e Thi rd , c o mp le te the structure!

T he Third is mak ing small from big.

M ilit ia Co m pany o f Di stri ct II under the C ommand of Captain Frans B a n n inck Co cq

The N ight Watch

Th e Sh o o t in g C om p any o f Frans Ba nning C ocq and W illem van Ruyten b u rc h

Maciej Szczęśniak Hyacin ths smell like fet m ixe d m e di a, exhi bi ti o n, 2 0 1 9

„To d a y, the A r ti s ts ei ther enj o y international recognition or are nobody (... ).

T h o se w h o i m ag i ned that they still had the hard ground of a flat w orld unde r th e ir f e e t were wro ng . The f l at w orld is w et. This is a large H2O tank , an d we mo v e i n i t p ad d l i ng l i ke i n a kay ak.Or, to put it more pathetically, w e dri ft in a la rg e res er vo i r, s wi m i n a place, immersed in an airless, liquid, late m o d e r n wo rl d , ho pi ng to f i nd any direction (or sense). Formerly commo n in stit u tio n s - am o ng them the w elfare state should be mentioned as a p ro min e n t p l ace - g uaranteed the stability of our passenger ship sailin g in t h e o pen s ea, but to d ay our liv ing and w orking env ironment consist s m a in ly o f l i f eb uo ys f l o ati ng o n the sur face, flow ing from time to time sma l l lif e b o a t s and rarel y l uxur y yachts passing us. (...) Therapists, couche s a n d o t h e r ps ycho s o ci o l o g y s pecialists are to help us get used to the ne w liv in g e n v i ro nm ent - thes e m en tal suppor t w orkers are entrusted w ith th e n o b le ta sk o f f reei ng entrepreneurial and creativ e indiv iduals from fear o f d ro w n in g . Tho s e who thi nks t hat traditional dr y land based on sanctifie d in stit u tio n s s ti l l pro vi des hi m w ith suppor t is cheated himself. W ithout a sp e c if ic i d ea f o r the f uture, the ar tists are tossed in w av es and hav e to sa il f re e ly. So m eti m es , b ut rather rarely, they find small lifebuoy s amon g th e wa v e s , al l o wi ng them to h old their heads abov e w ater for a momen t .

In a d d it ion, they m us t f i rs t i nf l ate them, and the smallest puncture cause s th e a ir e scap e f ro m them . W i th any luck, a double lay er of insurance polic y will a llo w them to dri f t a l i ttl e longer. „ [Pascal Gielen]

B u t h o w can yo u res i s t thi s warm w ind from w hich the snow is melting , sin c e e v er ythi ng can b e ar t to day, ev er y thing can function as ar t, because a r t h a s f reed i ts el f f ro m al l re strictions, also from the limits of its own d e f in it io n , and g ai ned abs o l ute freedom. Oh dear ar t! Hy acinths smell like f e t, wh e n o nce ag ai n we d eci de not to abandon y our profession. [za Konstyntym Ildefonsem Gałczyńskim, Grzegorzem Dziamskim, Franzem Schuber tem]

M a c ie j S z czes ni ak’s exhi b i ti o n in P iotrow ska/ Szczes niak Atelier is par t o f a n a r t istic and res earch pro j ect implemented as par t of his doctoral studie s a t th e Fa cul ty o f A r ts o f the Pedagogical Univ ersity.

c u ra to r : Sara P i o tro ws ka

exh ib itio n v ie w s

R E J E CTI O N A r t is e ternal sp ring .

A r t is a warm wind ,

f ro m w hich the sno w m

m el ts .

A r t I s t ’s w o r k is n e v e r d o n e .

W OUL D I T B E P OS S I B L E TO S E LL O NE ’ S O W N The a ct ual q uest i on asked i n spr i ng 20 1 7 b y M a c ie j S z c z ę ś n ia k to S a ra P io t ro w s k a at the time o f

Fence

I n 2 0 1 7 , a little-k p aints a f ence c a r tist.

B LOOD P LASMA? fi nanci al collapse.

Precar ian v ir tu o s o f o r s t a te m o n e y

known ar tist for 20 0 PLN a day om m is sio n ed by a ver y f amous

THIS IS ART Toda y eve r y t hing can be ar t , ev e r y t h i n g c a n f u n c t i o n s a s a r t , b e c a u s e ar t ha s freed it self f rom all rest r i c t i o n s a l s o f ro m t h e re s t r i c t i o n s o f it s own def init ion, ( . . . ) ar t ist s f re e d f ro m t h e re s t r i c t i o n o f h i s to r y a n d gained t h e oppor t unit y to create i n a n y w a y.

(Grzegorz Dziamski)

Tombstone T he p oint of vi ew of t he average eco n o m is t , w h o w o u ld ex p la in t h a t t h e lo w - p a id ar tist is remunerated i n an i nt angi bl e w a y – t h e jo y o f w o r k a n d t h e u n iq u e s t a t u s o f l ife choice – bei ng „ poor and happy.”

A r t ist s’ t rade union: I n s e a rc h o f a b e t te r to m o r ro w.

Sara P iotrowska / Mateusz Szymanowski Deterministic Flow of the river Schelde site - sp e c i f i c i nter venti o n, o b j ect/ stella, 2018

Wo r k w a s real i zed duri ng the residency in Dendermonde as a „ implemented” a rc h e o lo g i cal s i te i n the o l d riv erbed of Schelde riv er. An installation re c o n st r ucts the chai n o f s tra nge attractors modeling the course of th e h isto r y o f D end erm o nd e.hi s to riography in reference to the Edw ards Loren z re se a rc h o f “the Butter f l y Ef f ect” phenomenon. “ The butter fly effect” i s m o st f a m i l i ar i n term s o f weat her but can also rev eal the changes in th e c o u r se o f events cas cad i ng from the mediev al legendar y animal and a sto n e , to 2 8 o l d rus ty l o cks opened in 2004. While sequence of ev ent s, sh o w s ra ndo m nes s and unp redictability, it also show s a strange kind o f o rd e r. T h e ri ver, the Bayard’s horse, the stone and some old rusty lock s su d d e n ly o p ened - had the ri ve r not changed its route, the trajector y of th e e v e n t s mi g ht have b een vas tl y different.

[inscriptions:] As the river changed its course 28 prisoners managed to escape 7 of them were captured within hours The four sons of Aymo It has to be four consecutive brothers without a girl in between A few have been found in Italy and Russia The lock was old and rusty They simply walked away Tied all their sheets together Climbed over the wall The horse weighs 800 kg Without the brothers on top Jumped on a phone booth Ran away They all have to be born in Dendermonde.

Maciej Szczęśniak Skirmish v id e o / p er f o rm ance do cum entation, 2015

A r t ist in per f o rm ance nam ed skirmish, compares and analy zes th e c h a ra c te ri s ti cs o f m o to r s ki l l s i n a state of sobriety and alcohol intox ication .

T h e a r t ist per f o rm s s everal f i xed by him simple phy sical activ ity accordin g to e a r lie r wri tten s cenari o . H e compiles them in a duet, comparing v isu a l c h o re o g ra p hy o f no rm al p hys i cal state and the characteristic „ distor tion” ( o r e v e n imp os s i b i l i ty) o f m o to r s kills ev oked by alcohol. Maciej Szczęśniak i s m a k in g d o cum entati o n o f hi s a ctiv ities in a state of intox ication, confront s th is v ie w i n o rd er to d raw co nc lusions about his behav ior.

Sara P iotrowska / Maciej Szczęśniak Joint Venture Performance Proposal conc e p t p e r f o r mance