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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 (2) + meeting with artists
1. Katarzyna Swinarska, Dygresyjna tożsamość, 2015 [00:14:07]
 
Katarzyna Swinarska works with painting, video works – often following the conventions of video performances, and multimedia projects where she combines projection and sound. What is most striking in her works is the analytical approach to image. In 2015 she curated the multimedia exhibition Love Me, or Leave Me on the origins of the Institute of Visual Arts in Sopot; she presented two individual exhibitions in Poland and one in Belgium. She is currently preparing an individual exhibition Silent Heads in Grodno and working with Elvin Flamingo on a joint project Us – Common Organism. Her paintings form part of private collections in Poland, Germany, Austria, the Netherlands, Switzerland and the US and have been purchased by the State Art Gallery in Sopot and the Wyspa Art Institute in Gdańsk. She lives and works in Sopot. She is the finalist of the 2nd Triennale of Pomeranian Art in Sopot in the Sculpture and Video Installations category (2015), holder of the art scholarship of the city of Sopot (2016 and 2014), nominee to the 3rd Contemporary Art Triennale in Rzeszów awards (2013), holder of the Mobility Fund scholarship awarded by Gdańsk (2012), Cultural Scholarship of the City of Gdańsk (2010), scholarship awarded by the Governor of the Pomeranian Province for creators of culture (2010) and a three-month art residency in Switzerland (2010). In October 2014, she obtained her PhD from the Academy of Fine Arts in Gdańsk.
 
The film A Digressive Identity was created as a one-off video performance inspired by Olga Boznańska. The artist adopted Boznańska’s costume as her point of departure: the long, old-fashioned dress and white apron the painter wore at her studio. She loaned a dress from the theatre and arranged her house to resemble Boznańska’s Parisian workshop. The impractical, lavish dress was old-fashioned even in the photographs of the painter in her studio – it was to serve as a pretext to analyse the aging process of the painting medium. However, the presence of viewers during the performance and growing tension provoked Katarzyna Swinarska to a reflection on corporeality and the aggressive, assessing look. The monologue was entirely improvised. The material was shot by Andrzej Wojciechowski in late 2014; a fragment was later used by Anna Baumgart in her film The Dark Matter of Art. The performer edited the film herself several months later thanks to Agata Jakubowska, who became interested in her concept of impersonating female artists described in her 2014 doctoral thesis.

2. Susan Kataifan, Olga, 2016 [00:10:05]

3. Ada Kobusiewicz, TARA 01, 2015 [00:03:47]
There are different ways to theatricalise video art. My way has to do with the light atmosphere which I applied to my video works. I was working more then 7 year in theatre with the stage light. First as a light technician and then as a light designer. This experience allowed me create a magic theatre atmosphere in some of my works, like Tara Project. In the creation of this pice was very important for me to use the right light position, as same as we do in theatre, to design expected atmosphere, to create a space using the light. Tara develops in the world of a newborn baby, putting emphasis on her body movements provoked by different emotions. Tara´s body movements have amazed me since the early days of her life, they are something new, something I was not aware of before, which I find extremely fascinating. They provoked me to reflect on the adult world, my world, so different from the world of Tara, especially on the emotional level. Taras mind and body interact. Her emotions directly affect her body. Her physical, tangible sphere, extended in space, interacts with the intangible, private world, ordered in time but not in space. Ideally, the video should be projected in a huge, dark and noiseless space with the maximum possible size.
 
She was born in Poland in 1978. In 2004 she moved to Spain where she studied at the University of Granada, Faculty of Philosophy and Arts and at the Andalusian Institute of Arts where she completed different courses related with stage light design. In 2012 she finished MA Degree in Art, Research and Production at the Academy of Arts in Granada, Spain and in 2014 MA Degree in Light Design at the Academy of Arts in Novi Sad, Serbia. From April 2014 she is researcher of PhD programme in Research in Arts at the University of Basque Country in Spain. Her background revolves mainly around space, body and light. For her, light increases and experiments with the dimensions of a space through new technologies, improvisations and sometimes through vast and unexplorable happenstance. She exhibits in Austria, Spain, Serbia, Italy, Croatia, BIH, Finland and UK and her works has been shown at festivals in USA, Sweden, England, Austria, Serbia, France, Portugal, Germany, Mexico, Spain, Greece, South Korea and Russia. She lives and work in Austria, Serbia, Spain and Poland.

4. Pim Dinghs, De nacht zweeft duizelde, 2014 [00:14:57]
 
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People
  • 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
10th IN OUT FESTIVAL 2016
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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