no mental scars, no nursed grudges
Publication covered with an old silk fabric scrap, hammock made out of upcycled parachutes, polaroid photographs taken in the Avion hotel in Brno, 2019
The title of the work comes from Zygmunt Bauman’s essay From Pilgrim to Tourist - or a Short History of Identity, from the passage: The Player.
Special thanks do Polina Davydenko and Lukáš Dobeš.
Work presented at the exhibition on_desire in the Städtische Galerie Hannover (DE), 2019.
Publication covered with an old silk fabric scrap, hammock made out of upcycled parachutes, polaroid photographs taken in the Avion hotel in Brno, 2019
The title of the work comes from Zygmunt Bauman’s essay From Pilgrim to Tourist - or a Short History of Identity, from the passage: The Player.
Special thanks do Polina Davydenko and Lukáš Dobeš.
Work presented at the exhibition on_desire in the Städtische Galerie Hannover (DE), 2019.
Bloodstream
Installation, thermal wire, 2019
Bloodstream refers to the floating movement made by employees within Spectra building. In a significant communication route, we put a symbolic blue vein made out of thermal wire and connected it with a wall of the company premises. The shape of the installation resembled the topologist’s sine curve characteristic for the study of continua. By choosing the thin line and this particular color we wanted to reflect on Edward Krasiński whose works are a part of Starak Family Foundation’s collection.
While going down the passageway, the perception of this organic system changed. It was possible to touch the cable and feel the energy that responded to ambient temperature.
Duo work with Michał Szaranowicz for the Starak Family Foundation, presented in the Spectra Art Space in Warsaw (PL), 2019.
Installation, thermal wire, 2019
Bloodstream refers to the floating movement made by employees within Spectra building. In a significant communication route, we put a symbolic blue vein made out of thermal wire and connected it with a wall of the company premises. The shape of the installation resembled the topologist’s sine curve characteristic for the study of continua. By choosing the thin line and this particular color we wanted to reflect on Edward Krasiński whose works are a part of Starak Family Foundation’s collection.
While going down the passageway, the perception of this organic system changed. It was possible to touch the cable and feel the energy that responded to ambient temperature.
Duo work with Michał Szaranowicz for the Starak Family Foundation, presented in the Spectra Art Space in Warsaw (PL), 2019.
H (Reconstruction Of Position)
Video, loop, 2018
The work reconstructs the positions visible on the archival photographs found in Neuengamme, Hamburg. As opposed to the documentated event, in the video there is no one who influences the girl’s posture by holding her body - she repeats the choreography after somebody who is standing behind the camera.
Girl: Maria Kamińska
Choreography: Magdalena Fejdasz
Sound: Żaneta Rydzewska (Delirium-Edition - organisation for tomorrow’s art)
DOP: Krzysztof Werner
Location: former Bersohn and Bauman Children’s Hospital in Warsaw
Video was presented within the Three Plagues exhibiton in the Labirynt Gallery in Lublin (PL), 2019.
Project was financially supported by Masovian Voivodeship.
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Video, loop, 2018
The work reconstructs the positions visible on the archival photographs found in Neuengamme, Hamburg. As opposed to the documentated event, in the video there is no one who influences the girl’s posture by holding her body - she repeats the choreography after somebody who is standing behind the camera.
Girl: Maria Kamińska
Choreography: Magdalena Fejdasz
Sound: Żaneta Rydzewska (Delirium-Edition - organisation for tomorrow’s art)
DOP: Krzysztof Werner
Location: former Bersohn and Bauman Children’s Hospital in Warsaw
Video was presented within the Three Plagues exhibiton in the Labirynt Gallery in Lublin (PL), 2019.
Project was financially supported by Masovian Voivodeship.
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Sluice
3-channel video installation, oyster shells, 2018
In Warsaw, on the East bank of the Vistula, across the river from the Museum of Modern Art an investment Port Praski (in English: Praga Harbour) is being realised. Between 1885-2012 the area served as a harbour, which was surrounded by rather poor tenement buildings and a green wasteland, there was a slaughterhouse, too. The ambitious emerging housing development should change the place’s aura for a European-class district (the architects even refer to the City of London).
The investment cannot be finished until a water lock is built. In our installation, we would like to touch upon Port Praski and point out to the lock’s function - as a mechanism that changes level of something that goes through it.
For the exposition, we chose a room that contained different levels itself. The space was located in the vicinity of Port Praski.
Master’s degree duo work with Michał Szaranowicz realised in Mirosław Bałka Studio of Spatial Activities, presented in the Komputer Gallery in Warsaw (PL), 2018.
Upcoming presentation: 21.02-29.03.2020 in MOS, Gorzów Wielkopolski (PL).
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3-channel video installation, oyster shells, 2018
In Warsaw, on the East bank of the Vistula, across the river from the Museum of Modern Art an investment Port Praski (in English: Praga Harbour) is being realised. Between 1885-2012 the area served as a harbour, which was surrounded by rather poor tenement buildings and a green wasteland, there was a slaughterhouse, too. The ambitious emerging housing development should change the place’s aura for a European-class district (the architects even refer to the City of London).
The investment cannot be finished until a water lock is built. In our installation, we would like to touch upon Port Praski and point out to the lock’s function - as a mechanism that changes level of something that goes through it.
For the exposition, we chose a room that contained different levels itself. The space was located in the vicinity of Port Praski.
Master’s degree duo work with Michał Szaranowicz realised in Mirosław Bałka Studio of Spatial Activities, presented in the Komputer Gallery in Warsaw (PL), 2018.
Upcoming presentation: 21.02-29.03.2020 in MOS, Gorzów Wielkopolski (PL).
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Trajectory of Bodies
Performative action, 2018
Electronic readers have been installed in all buildings of the ERGO Group. The employees use them when entering or leaving the company premises. The system can identify an employee with his or her personal card and record the exact time spent at work.
I chose dreams and thoughts as the side of life that is unpredictable and escapes monitoring and examination with the technical capabilities of ERGO Hestia as both the insurer and the employer. I focused on the relation between the corporation and the individual. I was interested in control and privacy, risk management and the limits of predictability. I wanted to move away from the digitization of data and image.
I asked the ERGO Hestia Group employees to write down any dream they remembered. The only requirement was that the report would be handwritten and anonymous. The employees of the central office in Sopot, of thirty agencies and two foundations belonging to the Group were invited to participate in the activity. 2624 people were informed about the campaign.
The card registration system was switched off for the duration of the campaign and 40 boxes for “dreams” were placed next to the telematics readers. I received 232 responses.
Outcomes of the action were presented at the exhibition of the finalists of the 17. Hestia Artistic Journey Competition, in the Museum of Modern Art in Warsaw (PL), 2018.
Currently in the ERGO Hestia Group’s collection.
Performative action, 2018
Electronic readers have been installed in all buildings of the ERGO Group. The employees use them when entering or leaving the company premises. The system can identify an employee with his or her personal card and record the exact time spent at work.
I chose dreams and thoughts as the side of life that is unpredictable and escapes monitoring and examination with the technical capabilities of ERGO Hestia as both the insurer and the employer. I focused on the relation between the corporation and the individual. I was interested in control and privacy, risk management and the limits of predictability. I wanted to move away from the digitization of data and image.
I asked the ERGO Hestia Group employees to write down any dream they remembered. The only requirement was that the report would be handwritten and anonymous. The employees of the central office in Sopot, of thirty agencies and two foundations belonging to the Group were invited to participate in the activity. 2624 people were informed about the campaign.
The card registration system was switched off for the duration of the campaign and 40 boxes for “dreams” were placed next to the telematics readers. I received 232 responses.
Outcomes of the action were presented at the exhibition of the finalists of the 17. Hestia Artistic Journey Competition, in the Museum of Modern Art in Warsaw (PL), 2018.
Currently in the ERGO Hestia Group’s collection.
Disciplinary Mechanisms
Photographs, videos, 2016
By analysing the shape and material of hunting gear, the work examines the oppressiveness of environment geometrisation and looks at the analogy between hunting and photography: between fire arms and camera, appropriating through firing a shot and capturing within a frame, pulling the trigger and pushing the shutter release button, between the moment of entrapping and recording. The aim of the project was to portray disciplinary mechanisms, the structure of disciplinary forms and supervision processes in a neutral point of view.
In the context of the given works, the term mechanism might be interpreted in two ways – either as a structure mechanism directly induces real subjection or as a device mechanism that creates a subconscious, hierarchical relationship between the observer and the observed. An example of a structure mechanism is a live trap, whereas a film recorded with a trail camera is an example of a device mechanism.
By comparing individual devices according to their size, shape, material and modus operandi, the project poses the question about the limits of interference in freedom.
Grand Prix at 12. Inspirations Festival in TRAFO Center for Contemporary Art in Szczecin (PL), 2017.
vimeo
Photographs, videos, 2016
By analysing the shape and material of hunting gear, the work examines the oppressiveness of environment geometrisation and looks at the analogy between hunting and photography: between fire arms and camera, appropriating through firing a shot and capturing within a frame, pulling the trigger and pushing the shutter release button, between the moment of entrapping and recording. The aim of the project was to portray disciplinary mechanisms, the structure of disciplinary forms and supervision processes in a neutral point of view.
In the context of the given works, the term mechanism might be interpreted in two ways – either as a structure mechanism directly induces real subjection or as a device mechanism that creates a subconscious, hierarchical relationship between the observer and the observed. An example of a structure mechanism is a live trap, whereas a film recorded with a trail camera is an example of a device mechanism.
By comparing individual devices according to their size, shape, material and modus operandi, the project poses the question about the limits of interference in freedom.
Grand Prix at 12. Inspirations Festival in TRAFO Center for Contemporary Art in Szczecin (PL), 2017.
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Play Down
Digital photograph, video, 2017
A registration of stallion semen collection for the purpose of artificial insemination.
Work was presented at the exhibition VISIO. Moving Images After Post-Internet curated by Leonardo Bigazzi in Palazzo Strozzi, Florence (IT), 2019, during the 9. Polish Biennale of Young Art Fish Eye at the Baltic Gallery of Contemporary Art in Słupsk (PL), 2017, as well as in The Fort Institute of Photography in Warsaw (PL), 2017.
Courtesy of Wechta Stallion Station.
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Digital photograph, video, 2017
A registration of stallion semen collection for the purpose of artificial insemination.
Work was presented at the exhibition VISIO. Moving Images After Post-Internet curated by Leonardo Bigazzi in Palazzo Strozzi, Florence (IT), 2019, during the 9. Polish Biennale of Young Art Fish Eye at the Baltic Gallery of Contemporary Art in Słupsk (PL), 2017, as well as in The Fort Institute of Photography in Warsaw (PL), 2017.
Courtesy of Wechta Stallion Station.
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Untitled (Remote Control)
9 x 30x40cm, digital print on dibond, archive paper: Moab Entrada Natural Rag 190gsm
The exhibition of the finalists of the 16. Hestia Artistic Journey Competition (laureate), Museum of Modern Art in Warsaw (PL), 2017; phot. Piotr Litwic.
9 x 30x40cm, digital print on dibond, archive paper: Moab Entrada Natural Rag 190gsm
The exhibition of the finalists of the 16. Hestia Artistic Journey Competition (laureate), Museum of Modern Art in Warsaw (PL), 2017; phot. Piotr Litwic.
Untitled (Remote Control)
Thermograms, 2017
Topographic series of thermograms featuring places in Warsaw, Poland, where political decisions are being/have been made. The way of depicting deflects the relation between a state and an individual, diverts the direction of observation.
Thermography detects radiation in the long-infrared range and records temperature emitted by objects. The thermographic camera used in the project, exposes the construction of the significant, influential buildings, the inside of their organisms as well as their tissues.
Work was presented at the exhibition of the finalists of the 16. Hestia Artistic Journey Competition (laureate) in the Museum of Modern Art in Warsaw (PL), 2017, as well as within Immoblized - show at Fondation Hippocrène, Paris (FR), 2018, promoting the emerging art scene in Poland.
Currently in the ERGO Hestia Group’s collection.
Thermograms, 2017
Topographic series of thermograms featuring places in Warsaw, Poland, where political decisions are being/have been made. The way of depicting deflects the relation between a state and an individual, diverts the direction of observation.
Thermography detects radiation in the long-infrared range and records temperature emitted by objects. The thermographic camera used in the project, exposes the construction of the significant, influential buildings, the inside of their organisms as well as their tissues.
Work was presented at the exhibition of the finalists of the 16. Hestia Artistic Journey Competition (laureate) in the Museum of Modern Art in Warsaw (PL), 2017, as well as within Immoblized - show at Fondation Hippocrène, Paris (FR), 2018, promoting the emerging art scene in Poland.
Currently in the ERGO Hestia Group’s collection.
Night Flight
Video, loop, 2018
The work touches upon the ways of sharing and sustaining data and is inspired by Gustawa Jarecka, a writer and an archivist. She was supposed to translate Night Flight by Antoine de Saint-Exupéry – a story about a pilot responsible for transporting mail by plane.
Her: Monika Łopuszyńska
Sound: Żaneta Rydzewska
DOPs: Wawrzyniec Skoczylas, Michał Szaranowicz
Video was presented in the Jewish Historical Institute in Warsaw (PL), 2019, Stary Browar in Poznań (PL), 2019, as well as at the Adam Mickiewicz University in Kalisz (PL), 2019.
Project was financially supported by Greater Poland Voivodeship.
vimeo
Video, loop, 2018
The work touches upon the ways of sharing and sustaining data and is inspired by Gustawa Jarecka, a writer and an archivist. She was supposed to translate Night Flight by Antoine de Saint-Exupéry – a story about a pilot responsible for transporting mail by plane.
Her: Monika Łopuszyńska
Sound: Żaneta Rydzewska
DOPs: Wawrzyniec Skoczylas, Michał Szaranowicz
Video was presented in the Jewish Historical Institute in Warsaw (PL), 2019, Stary Browar in Poznań (PL), 2019, as well as at the Adam Mickiewicz University in Kalisz (PL), 2019.
Project was financially supported by Greater Poland Voivodeship.
vimeo