Supports
Medium-camera photographs, 2020-
While taking a walk through the University of Warsaw Botanical Garden, I noticed sculpture-like, rickety, steel structures used for shaping plants. I immediately thought they may resemble the scaled skeletons of the living creatures residing in the premises of the garden. Although their purpose is to define how the plants will grow and in which direction they should develop, they also restrict the movement.
I am observing and analysing these architectural constructions and making analogue photographs of them. They are black and white in order to focus on the composition of lines. Taking pictures is a part of the process that could lead me to realising an installation inspired by plant supports: thinking how to take them out of their natural context, reshape and rescale them, change the material they are made of to open them up to different meanings.
One of Supports (100x100, framed in steel) was presented during Warsaw Gallery Weekend, 2020
More about the series on guestrooms.xyz thanks to Magdalena Adameczek & Romuald Demidenko
Medium-camera photographs, 2020-
While taking a walk through the University of Warsaw Botanical Garden, I noticed sculpture-like, rickety, steel structures used for shaping plants. I immediately thought they may resemble the scaled skeletons of the living creatures residing in the premises of the garden. Although their purpose is to define how the plants will grow and in which direction they should develop, they also restrict the movement.
I am observing and analysing these architectural constructions and making analogue photographs of them. They are black and white in order to focus on the composition of lines. Taking pictures is a part of the process that could lead me to realising an installation inspired by plant supports: thinking how to take them out of their natural context, reshape and rescale them, change the material they are made of to open them up to different meanings.
One of Supports (100x100, framed in steel) was presented during Warsaw Gallery Weekend, 2020
More about the series on guestrooms.xyz thanks to Magdalena Adameczek & Romuald Demidenko
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 colour 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
Phot. Michał Szaranowicz
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 colour 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
Phot. Michał Szaranowicz
H (Reconstruction Of Position)
Video, 2018
The work reconstructs the positions visible on the archival photographs found in Neuengamme, Hamburg. As opposed to the documented 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 Hospital in Warsaw
The project was financially supported by the Masovian Voivodeship
The video was presented as part of Three Plagues exhibiton in the Labirynt Gallery in Lublin (PL), 2019
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Video, 2018
The work reconstructs the positions visible on the archival photographs found in Neuengamme, Hamburg. As opposed to the documented 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 Hospital in Warsaw
The project was financially supported by the Masovian Voivodeship
The video was presented as part of Three Plagues exhibiton in the Labirynt Gallery in Lublin (PL), 2019
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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 also a slaughterhouse. The ambitious emerging housing development should change the place’s aura and turn it into 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 the level of the substance that flows 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
21.02-30.06.2020 in MOS, Gorzów Wielkopolski (PL)
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Phot. Michał Szaranowicz
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 also a slaughterhouse. The ambitious emerging housing development should change the place’s aura and turn it into 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 the level of the substance that flows 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
21.02-30.06.2020 in MOS, Gorzów Wielkopolski (PL)
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Phot. Michał Szaranowicz
Primary Swarm
Video, digital photograph, 2020
Duo work with Michał Szaranowicz, next chapter of Sluice (2018)
From Swarm in (Non-)Motion by Anna Ptak:
Swarm relies on an event developing in a given time. A group of Explorers traverses a cocoon-like space. Its rounded shape defines the manner of movement. The space on the outside plays the role of the queen bee. The figures look as if they had to learn to walk anew: slow-paced movement, careful gesture, the absorbing hole of the turbine where the eponymous swarm thrusts into. The movement from the point A to the point B. The other image, however, placed on the opposite side of the gallery, though belonging to that part of the cycle, counterpoints the adventurous nature of this journey. It is a photograph presenting an antihero: a child mannequin whose movement is being analysed. Here, this is how the movement occurs. An infantile body’s single achievement of acquiring the abilities to move, of defying the gravity and oneselve’s idleness is framed by a photograph, an anthropometric device that photography proves itself to be - continue reading.
21.02-30.06.2020 in MOS, Gorzów Wielkopolski (PL)
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Prints with 2 stills from the video now available via ig @polishartnow – 2 x 10+2ap, 53x30cm, archive paper Hahnemühle Photo Rag Pearl 308gsm
Video, digital photograph, 2020
Duo work with Michał Szaranowicz, next chapter of Sluice (2018)
From Swarm in (Non-)Motion by Anna Ptak:
Swarm relies on an event developing in a given time. A group of Explorers traverses a cocoon-like space. Its rounded shape defines the manner of movement. The space on the outside plays the role of the queen bee. The figures look as if they had to learn to walk anew: slow-paced movement, careful gesture, the absorbing hole of the turbine where the eponymous swarm thrusts into. The movement from the point A to the point B. The other image, however, placed on the opposite side of the gallery, though belonging to that part of the cycle, counterpoints the adventurous nature of this journey. It is a photograph presenting an antihero: a child mannequin whose movement is being analysed. Here, this is how the movement occurs. An infantile body’s single achievement of acquiring the abilities to move, of defying the gravity and oneselve’s idleness is framed by a photograph, an anthropometric device that photography proves itself to be - continue reading.
21.02-30.06.2020 in MOS, Gorzów Wielkopolski (PL)
vimeo
Prints with 2 stills from the video now available via ig @polishartnow – 2 x 10+2ap, 53x30cm, archive paper Hahnemühle Photo Rag Pearl 308gsm
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 thoughts as something unpredictable: something that 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 digitisation 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. 2624 people were informed about the action.
The card registration system was switched off for one day and 40 boxes for the contributions were placed next to the telematics readers. I have received 232 responses.
The 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
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 thoughts as something unpredictable: something that 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 digitisation 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. 2624 people were informed about the action.
The card registration system was switched off for one day and 40 boxes for the contributions were placed next to the telematics readers. I have received 232 responses.
The 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
In the ERGO Hestia Group’s Collection
Disciplinary Mechanisms
Digital and analogue photographs, moving images, 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.
By comparing individual devices according to their size, shape, material and the way they function, the series 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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Digital and analogue photographs, moving images, 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.
By comparing individual devices according to their size, shape, material and the way they function, the series 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
Video, digital photograph, 2017
Registration of semen collection from a stallion for the purpose of artificial insemination.
Courtesy of Wechta Stallion Station
The 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
An edition of the video is part of the Fondazione In Between Art Film
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Video, digital photograph, 2017
Registration of semen collection from a stallion for the purpose of artificial insemination.
Courtesy of Wechta Stallion Station
The 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
An edition of the video is part of the Fondazione In Between Art Film
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Untitled (Remote Control)
9 x 30x40cm, digital print on dibond, archive paper: Moab Entrada Natural Rag 190gsm
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
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 the state and an individual, diverts the direction of observation.
Thermography detects radiation in the long-infrared range and records the 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.
The 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
Part of 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 the state and an individual, diverts the direction of observation.
Thermography detects radiation in the long-infrared range and records the 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.
The 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
Part of ERGO Hestia Group’s Collection
White Marianna
Packshots, 2020
Series of 30 photographs depicting different fragments of White Marianna marble taken in quarries in Lower Silesia, Poland.
The project realised for (Un)common Ground conference in the Raffles Europejski Hotel, Warsaw.
More on (un)commongroud.pl
Packshots, 2020
Series of 30 photographs depicting different fragments of White Marianna marble taken in quarries in Lower Silesia, Poland.
The project realised for (Un)common Ground conference in the Raffles Europejski Hotel, Warsaw.
More on (un)commongroud.pl
7 Exercises
Night Flight
Video, 2019
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
The video was presented in the Jewish Historical Institute in Warsaw (PL), 2019, Stary Browar in Poznan (PL), 2019, as well as at Adam Mickiewicz University in Kalisz (PL), 2019
The project was financially supported by the Greater Poland Voivodeship
vimeo
Video, 2019
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
The video was presented in the Jewish Historical Institute in Warsaw (PL), 2019, Stary Browar in Poznan (PL), 2019, as well as at Adam Mickiewicz University in Kalisz (PL), 2019
The project was financially supported by the Greater Poland Voivodeship
vimeo
no mental scars, no nursed grudges
Silk fabric scraps, zin, hammock made out of upcycled parachutes, polaroid photographs from Avion Hotel, Brno (CZ) - sketches for performance, 2019-
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.
Publication was presented at the exhibition on_desire in the Städtische Galerie Hannover (DE), 2019/
parachute fabric cut outs for performance uniforms now as a part of Proposals for a show curated by Jan Domicz in Wschód Gallery, Warsaw (PL)
Phot. Jan Domicz
Silk fabric scraps, zin, hammock made out of upcycled parachutes, polaroid photographs from Avion Hotel, Brno (CZ) - sketches for performance, 2019-
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.
Publication was presented at the exhibition on_desire in the Städtische Galerie Hannover (DE), 2019/
parachute fabric cut outs for performance uniforms now as a part of Proposals for a show curated by Jan Domicz in Wschód Gallery, Warsaw (PL)
Phot. Jan Domicz