Friday, May 29, 2009

Vienna


















that's the KASHANTI style...








KASHANTI's concert at Zielone Mazowsze hostel (24th of May). Photos by Pawel Kubara.

pics from PRAGUE BIENNALE






Here are some pics from the Prague Biennale with my two new paintings.

Monday, May 25, 2009

SMELL IT!

I'm very pleased to invite you to the opening of the exhibition :

SMELL IT! 
Friendship as a form of living, production and action

Exhibition: May 28 – June 27, 2009
Opening: May 27, 2009 at 7 pm
Kunsthalle Exnergasse
Währingerstraße 59, Vienna
Austria

Artists: CHEAP / Vaginal Davis, Katrina Daschner, Hubert Fichte / Lil Picard, Marina Grzinic / Aina Smid, William E. Jones, G.B. Jones, Bruce LaBruce / Candy Parker, Marie Losier, Paolo Mezzacapo de Cenzo, Karol Radziszewski, Deborah Schamoni, Isabell Spengler, Dasen Stambuk, Jaan Toomik / Jaan Paavle / Risto Laius, Joyce Wieland / Hollis Frampton.
 
Curation and Organization: Dietmar Schwärzler, Exhibition Architecture: Robert Vörös

Friendships are not only one of the most important forms of social coexistence in every single biography; they also represent an essential requirement in the art world for cooperations as well as work and production conditions. But friendships also manifest as a way of life or as a part of subcultural community forms. Michael Foucault once said (as example) that the threat of homosexuality is not the sex one has with another rather the lifestyle one creates with another: friendships and networks. The exhibition Smell it! primarily presents artistic works that generate queer references or address the queer context within an open dialogue. Following the theme, productions from post-socialist countries will also be integrated, where reactionary and homophobic forces currently have a direct impact, and no sustained, visible queer tradition in artistic production exists. 

The exhibition takes place in cooperation with the Polish Cultural Institute. 

A magazine accompanying the exhibition will be published!  
Interviews with Katrina Daschner / Dorit Margreiter, William E. Jones, Rosa von Praunheim, Joao Pedro Vale / Nuno Alexandre Ferreira / Pedro Campos Rodrigues.
Contributions by: Jan-Frederik Bandel, Christa Benzer, Victor Brand, Vaginal Davis, ____fabrics interseason, Martin Frey, Sylvia Gruber, Marina Grzinic, G.B. Jones, Mario Kozina, Bruce LaBruce, Pawel Leszkowicz, Boyd McDonald, Ulrike Müller / Dean Spade, Carola Platzek, Karol Radziszewski (DIK Fagazine featuring Fag Fighters), Hans Scheirl in cooperation with house of the very island, Dietmar Schwärzler, Stefanie Seibold.


Friday, May 22, 2009

KASHANTI


I would like to invite you to my szu szu group newest action:
KASHANTI‘s first concert in Poland!

24th of May, 2009, Sunday
start: 7 PM hostel "Zielone Mazowsze"
ul. Nowogrodzka 46/6
Warsaw

also: Kashanti CD's promotion, video show, and exhibition of our maritime competition works

Kashanti is a group which sings experimental shanties.
Kashanti is szu szu.
Kashanti sings about life and art.

Kashanti have released two cds ("Kashanti" and "Sailors") and they have performed live twice (in Volt Gallery in Bergen, Norway in August, 2008 and in , Graz, Austria, October, 2008).
Volt Gallery, Bergen, hosted Kashanti’s first public performance. Apart from the concert there was a promotional event for the first cd with 9 original songs and an exhibition of works illustrating the songs.
Within "TIT FOR TAT - Counter Images for Transcultural Thinking and Acting - " Kashanti / szu szu performed in the public space of the streets of Graz. The artists, dressed in their performance clothes, were walking around the city with a specially prepared boat, on which there was audio equipment playing and recording sound. Passers by were provoked to join in recording a song about multinational and multicultural Graz. All people participating in the singing received a dictionary, in which maritime words had their non maritime equivalent, for example ocean – mother, harbour – flat. Some used it though others preferred to directly sing their stories and problems. A 27-minutes long, expressive song about Graz was recorded, in which almost all verses were in different languages. This song is Kashanti‘s second record: "Sailors".

szu szu records:
Szu szu's musical activities started during the Firmenladen project in Bern, Switzerland. As a part of their project the idea arose to record a reggae-ragga album. In an amateur production style Bob Kebap's "Wenn der Horror mit dem Humor" was made on which the main performer was the Slovak visual artist Erik Binder. Alongside the album there were accompanying video clips produced. This was the moment when szu szu records came to life, which now concentrates its efforts on releasing and promoting Kashanti's albums.

WE MAKE MAGAZINES



DIK Fagazine is featured in great new Colophon book WE MAKE MAGAZINES - INSIDE THE INDEPENDENTS.
"This book showcases more than 100 independent magazines from around the world. Featuring exclusive interviews and stunning layouts, it is a celebration of the energy and visual dynamite that can be found outside the publishing mainstream. This is your chance to discover a magazine about pain and beauty, a magazine for people who give a damn, and the (self-proclaimed) most melancholy magazine that’s actually anything but."

Wednesday, May 20, 2009

GT review


In the special Gay Times issue published on the ocassion of 25 years of this mag there is a review of my London exhibition.

Sunday, May 17, 2009

STUDY opening











A few pictures from my STUDY opening at Lokal_30.

Friday, May 15, 2009

Gay Men Play at NEW YORK PHOTO FESTIVAL


THE NEW YORK PHOTO FESTIVAL
13 - 17 May 2009
DUMBO, New York
http://www.newyorkphotofestival.com

Gay Men Play — the contemporary photographic representation of gay sex and gay recreational sexual identities. In an article to be published in the forthcoming summer 2009 issue of Aperture magazine, Boot argues, “The use of photography by gay men early in the 20th century is among the most interesting aspects of the phenomenon of photography now,” and his exhibition mixes the work of established photographers and artists with that of non-professional photographers. The main exhibition feature is a series of portraits by Stefan Ruiz of gay men geared up for play, shot during gay party weekends, in a mobile studio on the streets of San Francisco and Berlin. The exhibition also features an installation of photographs collected from gay networking websites by Christopher Clary, with projects by another 10 photographers shown on digital screens - among them Bruce LaBruce, Slava Mogutin, Brian Kenny, Donatien Veismann and Karol Radziszewski.

exhibition curated by Chris Boot

Tuesday, May 12, 2009

STUDY

I'm happy to invite you to my solo exhibition STUDIUM / STUDY

Lokal_30
ul.Foksal 17B / 30, Warsaw
Opening 16 May 2009, 7 p.m.

Exhibition open till 20 June 2009, Wed-Fri 4 p.m. – 7 p.m. or on the appointment
Breakfast with the Artist: 20 June 2009, from noon till 2 p.m.

"Nudity covered with clothes works as a secret, unambiguous reference. Uncovered, it emerges as a sign, thus coming back to the circulation of signs: nudity does signify."
Jean Baudrillard, "Seduction"

"A young man within a space of a small room poses for a camera. He seems obviously not confused with his role as he changes his poses, eagerly exposing his sculpted body and bending it, with perfect consciousness, in postures seductive or quoting figures known from the history of art. 

The model is young Poznań-based artist Janek Szewczyk, while on the other side of the lens we find Karol Radziszewski, a couple of years his elder. This time, however, Radziszewski – notorious for his voyeurism – decided to shoot his subject "legally", if by a peculiar sort of bargain. Namely, Szewczyk agreed to pose for a couple of hours under condition that he would have the right to use the effect for his work presenting his participation in things done by other artists. That’s how the collaboration started, resulting in 40-minutes long film and a photograph. The meeting stirred some tension as it caused seemingly quite natural relation in which the cameraman was dominant (as the watching one) and the model was subject (as being watched). However, this is no longer obvious if we consider that it was actually both parties that intended to benefit from effects of the session. Perhaps it was Szewczyk who in fact used up Radziszewski as hired camera operator for his own lengthy performance?

The pose Jan Szewczyk assumed on the photograph is no less of an ambiguity. It reveals how subjective perception becomes when influenced by all sorts of cultural contexts, sex and sexual orientation. Is the "Study", therefore, a perversion-loaded allusion to masculine body as a taboo of modern public space? Sometimes even a gesture of setting it within a conventional area of art occurs not enough, as experienced, among others, by Zofia Kulik, who attempted to present photos of masculine sex organs originating from classic sculptures held in the Hermitage gallery in Saint Petersburg. Or perhaps is Radziszewski’s work just a story told about a meeting of two artists and about their all-but-ordinary artistic duel? Karol proves once again that it is not our look that resolves what a watched photograph or film really is. Suspicions about potential relations between Radziszewski and his model may also come into play as possible interpretation of the project. The artist leaves this issue with no clear answer: after all, this is just “a study”, an open, undefined work which really awaits the viewer to complete it."