Tuesday, June 9, 2009


If you happen to be in Graz (Austria) this week you are more than welcome to come for a special screening:

on Wednesday, June 10, 2009, 8 pm
with: Joanna Sokalowska, curator of the video selection
Location: , Volksgartenstrasse 6a, 8020 Graz

The programme is based on the presentation of video works and documentation of artistic activities held at the Zacheta National Gallery of Art, Warsaw as a part of the project Another City, Another Life. The updated selection presented hereby features works dealing with the social, economical and political transformation in post-socialist cities in Eastern Europe.
Video works by: Vahram Aghasyan (Yerevan), Zbynek Baladrán (Prague), Chto Delat? (St. Petersburg), Miklós Erhardt (Budapest), Angelika Fojtuch (Warsawa), Khinkali Juice (Tbilisi), Karol Radziszewski (Warsaw), R.E.P. (Kiev), Skart (Belgrade), Mona Vatamanu & Florin Tudor (Bucharest), Voina (Moscow)

And here is the text by Benjamin Cope about my WALL:

For his intervention in the cityscape of Warsaw, Karol Radziszweski proposed and realised the construction of a cement wall in the space of Park Świętokrzyski. The wall was delivered to the square in preconstructed form on the back a truck by a group of workmen. At this stage the wall was hollow, so the group of men laboured hard to give the wall a solid foundation: they broke up old concrete slabs and inserted them inside the wall’s hollow interior to make it stable, themselves also climbing inside the wall to drag in the concrete slabs. Finally, they sealed up the wall to leave it firmly and neatly standing. They then drove away leaving the wall to stand without any concrete purpose in the space of this small park, alongside busy pavements in central Warsaw. The action of the erection of the wall, with a particular focus on the labour of the workmen, was shown in video documentation in Zachęta.
Although Radziszewski’s project has parallels with Richard Serra’s Tilted Arc, a 3m high steel wall that famously obstructed passage across the Federal Plaza in New York during the 1980s, these two site-specific works raise different issues. For Radziszewski’s wall above all poses the question of the sense of the frenetic construction now taking place in Warsaw and of the way in which such construction, especially in the form of gated communities, is enclosing, dividing and limiting space which could be public. The collapse of the Berlin Wall hardly seems to have been accompanied by the falling of walls lyrically promised by Jacek Kaczmarski, but rather by their multiplication, fragmentation and dissemination. Another important element in Radziszewki’s work is the highly visible purposeless hard work carried out by the workers: why should they labour to build a pointless wall in the middle of a public square in today’s Warsaw? Should an artist not be more responsible in the work done in his name that he merely commissions? In this sense, the work also becomes a reflection on the status of the Polish labourer in the new configurations of capitalism dominated by immaterial flows and apparently arbitrary decisions.

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