Wednesday, August 19, 2009

TO PEE IN A BUN preparations vol2

TO PEE IN A BUN is a quotation taken from a classic figure of Polish conceptualism, Edward Krasiński. The artist once wrote a short poem:

WOULDN’T IT BE FUN
TO PEE
IN A BUN

Zachęta is the owner of a unique work by Krasiński – a project prepared for a monographic exhibition in 1997. This is a spatial arrangement of photographic reproductions on a scale of 1:1 of Jan Matejko’s famous "Battle of Grunwald" and other paintings that were part of Zachęta’s pre-war collections.



TO PEE IN A BUN preparations vol1









So now I've became a curator :) Some pics from the preparations to my exhibition at Zacheta National Gallery of Art in Warsaw.
More info soon!

SIUSIU W TORCIK / TO PEE IN A BUN
Works from the Collection of Zachęta National Gallery of Art
5 September 2009 - 22 November 2009

Sunday, August 16, 2009

Workers Leaving the Workplace


Arbeiter verlassen die Arbeitsstätte/Workers Leaving the Workplace

opening: 21st August 2009, 19.00
21.08 - 27.09.2009
Galerie für Zeitgenössische Kunst Leipzig
Karl Tauchnitz Str. 11

curated by Joanna Sokolowska

Participating artists: Miklos Erhardt; Anna Molska; Karol Radziszewski, Julita Wojcik; Skart, Weekend Art: Aleksandar Batista Ilic in collaboration with Ivana Keser and Tomislav Gotovac

The exhibition comprises works, that question the modified production relations in Eastern European societies that are undergoing transition, particularly relating to new labour concepts. Can artists construct a symbolic capital and new social forms in the places where secure jobs are disappearing and social relationships and leisure models shaped by outdated employment relationships are being broken down in the process of transition?

> Arbeiter verlassen die Fabrik < (Workers Leaving the Factory) is the title of the famous essay film by Harun Farocki dedicated to different cinematic representations of this theme in the industrial age. What happens though to workers who have long abandoned their factories because most no longer exist? They re-emerge as actors of artistic production in immaterial form in the “social factory” - the museum.

The exhibition is supported by the Polish Institute Berlin/ Bureau Leipzig

Monday, August 10, 2009

MARIOS DIK in OZON






MARIOS DIK appeared in Greek magazine OZON (July/August 09, issue 70)
photography: Kris Kozanowski
stylist: Monika Brzywczy
makeup&hair: Klaudia Jaspi
model: Charles (Orange)

Thursday, August 6, 2009

We Would Like You To Know That We Are Not Them


We Would Like You To Know That We Are Not Them

ARTIST FILMS FROM LOKAL_30_WARSZAWA_LONDON

videos by:

ANNA BAUMGART, Thrue, 2001,
ZUZANNA JANIN, FIGHT, 2001-2009
TOMASZ KOZAK, Yoga Lesson, 2007
NORMAN LETO, Buttes Monteaux, 2008
ELODIE PONG, Secrets for Sale, 2003
KAROL RADZISZEWSKI, Chwalcie łaki umajone, 2006
JOZEF ROBAKOWSKI, From My Window, 1978-2000
JASMINA WOJCIK, Samsara, 2008

opening 5 AUG 2009 at 6 p.m.
RSA FINLAY ROOM

show open from 6 AUG till 13 SEPT 2009

THE ROYAL SCOTTISH ACADEMY OF ART & ARCHITECTURE
THE MOUND, EDINBURGH, EH2 2EL

We Would Like You To Know That We Are Not Them

"Whether I’m painting or not, I have this overweening interest in humanity. Even if I’m not working, I’m still analyzing people."
Kasimir Malevich

"Creating a video art exhibition that focuses on the artist’s image and intrinsic self-commentary seems to be a very special task. A piece of art appears to be here a vehicle for remarkable, almost direct encounter of the viewer with the artist.

In the exhibition We Would Like You To Know That We Are Not Them, the artists each show the world from a very distinctive outlook; they adopt the roles of an actor, narrator, commentator or collector of the images of reality, which they witness together with the public. Therefore, they enable us to find themselves in the situations/images which they have created for us.

People mostly tend to put an equation sign between the artist and his/her artwork. However, history shows that this relation has evolved in time. Nowadays, the artist rarely has anything in common with the archetype of the romantic creator held by the power of whimsical inspiration. Among the new roles, one can point out a role of a social critic, and even a kind of intermediary who connects philosophy, anthropology and even sciences with the real fabric of the world. Furthermore, the artist adopts with increasing frequency, managerial responsibilities of production processes. Consequently, masterhood in the arts is getting abandoned; it results in simple amateur camera shots and homemade video sequences. Simple form and documental features win over creativity and artificiality of film craftsmanship.

One of the most important strategies in contemporary art appears to be the strategy of incarnation, i.e. playing roles which are a kind of simulacrum of real acting. As a result of this strategy, artworks of great authenticity and honesty have been created, strict and rigid, when compared to the other areas of arts, where artists often are trying to astonish or charm the viewer. In these cases, the artist does not charm and does not flirt with the public. Instead, they incorporate themselves into the situation and by their very presence emphasise the meaning of the situation.

Additionally, what should be seen in this context is a need of the artist to experience the world that has been given to them - as if it was not enough for the artist to be an artist; as if it was necessary for them to compensate for the vague status of the contemporary artist by playing an identifiable role of being someone else - a she-boxer, or a romantic heroine from a black and white movie.

Karol Radziszewski, a young artist, publisher and editor of the gay artzine DIK Fagazine, has had challenges of a somewhat different kind to overcome. Usually, he invites his family to take part in his projects. By doing so, he creates a twofold image of himself: a young artist after coming out, consistent in his actions with his preferences on the one hand; and on the other, he appears to be a loving son and grandson, having his close relatives always in mind. As an instance, his grandmother, always ready to support him, often takes part as a leading character in his videos. In Chwalcie laki umajone (Praise the Lord, flowered meadows) (2007) Radziszewski appears as a singer to record, together with his grandmother, a video clip of traditional religious chant. To encounter a rebellious youngster with a devout old lady is not only the game and clash of contraries, but also a critical look at tradition, the unnatural adoption of devout patterns of behaviour, and burdensome restrictions imposed on the culture by religious upbringing. Once again, Radziszewski has created a situation of non-obviousness connected with the essence of the relation between himself and the characters of his works."

Agnieszka Rayzacher

MARIOS DIK catalogue












MARIOS DIK catalogue is available now! 96 pages, featuring great photo shoots by Kuba Dabrowski, Alessandro di Giampietro, Paul Mpagi Sepuya and video screens by Bartek Arobal, Stefan Botez with Paul Dunca, Patryk Chilewicz, Fanny Paul Clinton with Natasha Rees, Grzegorz Dziedzicki, Marcin Gajewski, Brian Kenny, Jay Barry Matthews, Slava Mogutin and Gio Black Peter, Jan Szewczyk.
in Poland you can order it at: Spis Tresci