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competition film
Teaser 10 IN OUT FESTIVAL 2016
Dir Studio Botak

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Sreening of works in the competition (3) + meeting with artists / LAZNIA 1
1. Natalia Zalewska, The Last of the Mohicans, 2016  [00:07:19]
The pretext for making the film is the website of the Prophylaxis and Leisure Centre “Health” – still online, still inviting visitors to avail themselves of the services provided. Until recently, one could book a hotel room in a building that was designated for demolition over 10 years ago. The artist decided to show the realities and bring the building back to life by inviting the homeless – the last residents of the hotel – and organising a bonfire to say farewell to the health resort.
Natalia Zalewska was born in 1991 in Gdynia. She studies Mixed Media and Graphic Arts at the Academy of Fine Arts in Gdańsk. She won the Vice-Chancellor’s scholarship for the best students twice and took part in exhibitions held at the Institute of City Cultura, Wyspa Art Institute and Labirynt Gallery. She works with spatial installations, video art, linocut, serigraphy and documentary photography. The surrounding space is a point of reference in her works.

2. Grzegorz Jaroszuk, Mine De Rien/Story Of Nothing, 2015 [00:18:38]

3. Zuza Golińska, Magdalena Łazarczyk, Double Step, 2016 [00:05:42]
The protagonists of Double Step are mysterious sisters residing at the Spectrum Tower building in Warsaw. They look peculiar: almost like twins, they have one body, two heads, four legs and one pair of hands. When moving between the floors of the building, they encounter the Hosted Simply exhibition... 
Zuza Golińska and Magdalena Łazarczyk have collaborated for the past few years, also as the GOŁA collective. Their projects are a product of their individual artistic practices which they develop independently; they are mostly based on performative actions corresponding to the given surroundings. They have jointly made performances, installations and films. Both artists graduated from the Academy of Fine Arts in Warsaw and completed independent graduation projects at the Mirosław Bałka Studio of Spatial Activities (2015).

4. Dominik Ritszel, Turist/Turysta, 2015 [00:11:21]
The video Tourist is a loose series of representations of places associated with leisure and free time. Individual takes alluding to postcard landscapes or stills from travel and adventure films are juxtaposed with scenes of people relaxing on the beach, by the lake, having fun at the funfair or a village fair.
Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphic Arts at the Art Institute of the Silesian University (branch in Cieszyn). Between 2008 and 2013, he studied Graphic Techniques at the Academy of Fine Arts in Katowice. In 2009, he was an exchange student at the Academy of Fine Arts in Poznań. He graduated with honours from the Studio of Interpreting Literature headed by Prof. Grzegorz Hańderek. His works were shown at international video art festivals, such as Les Rencontres Internationales (Gaîté Lyrique, Palais de Tokyo, Paris), Ingràvid Festival, Proyector (Spain), Video Art Review THE 02 and FIPA (29th International Festival of Audiovisual Programmes, Barritz). He took part in group exhibitions, such as: Persistent Inability to Focus in Prague, Concealed – New Silesian Art at the State Art Gallery in Sopot, the Show Off section during the Photography Month in Krakow, Curators Network at MOCAK in Krakow, Waiting for Better Times at the Zachęta Project Room and Milk Teeth – a group exhibition of Silesian art. His solo exhibitions were held at the Kronika Centre for Contemporary Art in Bytom, Silesian Museum in Katowice, Szara Gallery in Cieszyn, Baszta Czarownic i Sopot and Bank Pekao Project Room. He made it to the final three of the 2013 Trójka Talents competition in the Visual Arts section and to the finals of the Grey House Foundation Award. In 2014, he was awarded the Young Poland scholarship. In April-May 2014, he was on the A.I.R. Laboratory residency programme at the Centre for Contemporary Art Zamek Ujazdowski in Warsaw. He received a mention of honour for his video Resonance shown during the 8th Young Art Biennale Fish Eye. He won the Young European Artist Trieste Contemporanea Award 2015.
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  • Jill Godmilow
    Jill Godmilow is a producer/director of non-fiction and other films that include the 1984 post-realist documentary feature, Far From Poland, about the rise of the Polish Solidarity movement; Waiting for the Moon (1987), a feminist/modernist fictional feature about the lives of the literary couple Alice B. Toklas and Gertrude Stein; Roy Cohn/Jack Smith (1995), a cinematic translation of a theater piece by performance artist Ron Vawter; What Farocki Taught, a replica and interrogation of a 1969 non-fiction film by German filmmaker Harun Farocki about the production of Napalm B during the Vietnam war, and most recently, a 6 hour, DVD archive, Lear ’87 Archive (Condensed) about the work of the renown New York City theatrical collective, Mabou Mines, on a fully gender-reversed production of Shakespeare’s “King Lear”. Among others, she has received fellowships from the Guggenheim and Rockefeller foundations and her work has been nominated for an Academy Award, invited to the Whitney Biennial and won first prize at the Sundance Film Festival. In 2003, her film Antonia: A Portrait of The Woman was added to the prestigious National Film Registry at the Library of Congress. She has just retired from 20 years of teaching film production and critical studies in the Department of Film, Television & Theatre at the University of Notre Dame.
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  • Zorka Wollny
    The works of artist Zorka Wollny (*1980 in Kraków) inhabit a space between art, theatre, contemporary music and dance and are always closely connected to the historic and functional context of specific architectural sites. Wollny understands architecture not simply as a material figuration, but rather as a cognitive space dependent on movement, an expression of cultural conditions and a scene of performative interventions. Following a critical interest in cultural codes, gestures and structural modes of behaviour, which she observes e.g. in art production and reception and in environments of post-industrial work, she develops not only installations and videos, but frequently also choreographic live-performances and concerts. In the latter, she deploys feminist and deconstructivist approaches to explore the thresholds and superpositions of private, public, subjective and institutional spaces and narratives.     
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Festival IN OUT
23-24 April 2016, Łaźnia CCA
Subject: Theatricality

The theatre may today seem to be an anachronistic medium. Pushed out of the mainstream by media that are better equipped to reflect reality – first film, then television – the theatre may be taken to symbolise artificiality or conventionality. However, older media do not die out – this is not the case of some media being replaced by others, as they are all interrelated in the media landscape, feeding on one another. What is more, the older ones are released from the ‘me too’ drive, so they may perform a critical function with respect to more recent ones. Something that is taken for an error in cinematography may prove to be subversive in terms of theatre: it disrupts cinematographic illusion, spoils the smooth narrative, prevents one from becoming involved, keeps showing that it is all a game of pretence, make-believe. That we are actually deluded by the cinema in its quest for hyperreality. Even though corporeality and liveness should have the upper hand here, we are much more seduced by the image – “film is the winner of this rivalry precisely on account of the viewer's need of immediacy and intimacy”, wrote Philip Auslander (Liveness: Performance in a Mediatized Culture, Taylor Francis elibrary, 2012). However, new media also enable the old ones to start a new life. This is more or less the essence of remediation (see Jay David Bolter, Richard Grusin, Remediation: Understanding New Media, The MIT Press, Cambridge London 2000). All in all, Bolter and Grusin’s thesis is a good follow-up of Marshall McLuhan’s well-known statement that the medium is the message, and the content of any medium is always another medium. Remediation is incessant, while the practices created by one medium are transposed onto other ones. This pertains to both the reception and methods of handling new media. Habits created by older media move on to the new ones (see Siegfried Zielinski, Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means, transl. by Gloria Custance, MIT Press, Cambridge MA, 2008). The Polish theatre has been employing video, film and new media strategies, embedding them in performances, for at least several seasons. From Krysian Lupa’s Factory 2 to Krzysztof Garbaczewski’s productions, theatre directors often reveal their fascination with other media, providing material for theoreticians writing about the co-existence of various media. Here, it should be clearly stated that the productions at hand do not only employ “new media aesthetics”, but rather they are organically connected with the theatrical medium: theatre directors problematize the presence of other media, thereby allowing theatre to perform its critical function. What is meant is the theatre, but also theatricality as a medium. As Samuel Weber wrote (Theatricality as a Medium, Fordham University Press, 2004), the theatrical medium “does not instantiate itself in individual, self-contained, and meaningful works, but rather in plays that never come together to form a self-contained whole, remaining true to their name: plays, fragments, pieces (in German: Stücke, in French: pieces). This irreducibly fragmentary character predestines the theatrical medium – which is to say, theatre as a medium – to emerge increasingly as a paradigm for the modern situation”. It follows that theatricality delineates a perspective of fractures, breaking with the continuous narrative in favour of fragmentation. The theatre is testing visual strategies. The old medium is absorbing newer ones. Can we reverse this situation, though? Introducing older media into the field of influence of newer ones also gives rise to tension. What can theatre and theatricality represent for video art and visual artists? How does the theatre’s function change in new media’s field of influence? Do theatrical strategies work in connection with other media – and how? And finally: how can we theatricalise video art?
10. IN OUT Festival curators:
Jolanta Woszczenko is a curator and historian. She is currently writing a PhD at the University of Gdańsk on experimental film and video. Since 2009 has been working on IN OUT Festival, since 2012 as a curator. At the Laznia CCA she runs the Parakino cycle of monthly meetings with experimental film and video artists and curators from Poland and abroad - Parakino.
Piotr Morawski is a cultural scientist and historian of culture. He works in the editorial board of Dialog (Dialogue) and at the Institute of Polish Culture at the University of Warsaw. He collaborates with the Zbigniew Raszewski Theatre Institute, most recently in the “Teatr publiczny. Przedstawienia 1765–2015” project (Public theatre. Representations 1765–2015) and in creating an electronic encyclopaedia of Polish theatre. He focuses on the cultural history of stage performances. He also writes about contemporary theatre and its social and cultural implications.
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