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competition film
Recording of Yesterday
Dir Michał Soja
Hundreds of stimuli, roles and tasks influence the chaotic image of reality forming in our mind. The work analyses our perception of a reality in disorder and attempts to translate memory into film. The author juxtaposes mechanical recordings of reality with subjective drawings, which constitute his personal recording of the events. This is a kind of video draft, deliberately careless in recording facts and events with a rather unclear meaning. The nervousness of the drawing underlines the impulsiveness and deliberate “lack of thought”. The author/narrator is hard to find: he becomes disintegrated, he neither wants nor is capable to control the stream of events.   Michał Soja was born in Krakow in 1994. He is still active in his native city. He mostly works with experimental animation, as well as object art and installations. He treats creative work as a cognitive process which delivers new points of view and ways of understanding reality. He is looking for his own methods of recording and observing the world. He tries to recreate the impression of the realistic and tangible nature of everyday life. He relies on drawings to convey his personal interpretation of reality, juxtaposing it with documentary materials providing an objective recording of events. He is currently a 3rd year student of painting at the Academy of Fine Arts in Krakow. He took part in the 2016 Triennale of Drawing in Wrocław, was nominated in the Young Wolves 2015 competition in Szczecin and presented his works at two individual exhibitions.  
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Lecture of Z. Cielątkowska: The contemporary relationship of art with theater, body and performance / LAZNIA 1
Laznia 1 Lower Town
"Every image is an image of the body. Each work is a visual representation of the body. Say it, say otherwise, that we see the body, even if they do not exist and that the formation of mold is to some extent the formation of the body "- wrote James Elkins.
The "Lake" (2016) directed by Yany Ross, one of the central figures - what's not in the original text of the drama - was created in the image of Russian artist Petr Pavlensky'ego known for its action in public places. The idea for this analogy may raise considerable doubt as nudity ever seen, and yet imperceptible, entered the consequences of such treatment. In the "Tsarina Catherine" (2013) directed by Victor Rubin title heroine in a coin you stack the box with holes through which you can touch her naked breasts and travels by encouraging the audience to this gesture of the people selected. Similarly, in 1968, he encouraged Valie Export in his iconic performance already TAP and TOUCH Cinema. As far as this quote before the nearly half century seems to be the holder and the significance of this gesture are still the same? In turn, the spectacle-spectacle Cezary Tomaszewski who is fun in quotations, borrowings and jokes with the avant-garde and contemporary "It's not bad, that would not work out nicely. Spectacle "(2014), one of the actors trying to play the" Open Book "Vito Acconci (1974) - achieving a similar effect known from the original.
The above-mentioned examples of references to the specific performances tend to a few questions; how contemporary theater uses the history and contemporary art? To what extent these references especially for performance - in the face of the changing concept of physicality and subjectivity seem to be relevant? When the series RE // MIX Commune / Warsaw looked like in "Paradise Now" (2015), one of the most important "theaters" for the visual arts - The Living Theatre gave rise to the association with the thesis Amelia Jones expressed in Self / Image: today we do not know how to live without the ideas themselves as an image.
Dawna space has undoubtedly saved. Today the body - especially naked - does not refer to the presence of only its absence - an image. Could it be that the body, which in the first performances seemed stubbornly, persistently, irritating and przeszkadzająco present today is not only strange, stubborn, persistent, irritating and nieprzeszkadzająco silent?
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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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