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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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Projection of the film Prince / LAZNIA 2
The Prince
directed by Karol Radziszewski
stage design by Dorota Sajewska
starring: Klara Bielawka, Maria Maj, Agnieszka Podsiadlik, Paweł Tomaszewski, Teresa Nawrot
production year: 2014
duration: 71 min
Are we able to say anything about Jerzy Grotowski as a person? Or has he been entirely dominated by his own myth? Karol Radziszewski loves to rewrite Polish art history, defying canonical truths. The Prince is an attempt at casting a sideways glance at Grotowski: through the eyes of actors from the Laboratory Theatre, in particular Ryszard Cieślak. His role in The Constant Prince was a breakthrough. Without him, Grotowski would not have become so radical towards the body. Radziszewski reconstructs Cieślak’s biography based on fragments of preserved productions, recordings of trainings, letters, and interviews. He employs a group of young men, who are to try their hand at the famous final scene of The Constant Prince. However, the myth of the ingenious creative duo of Grotowski and Cieślak is only deconstructed by introducing Teresa Nawrot into the narrative. The actor, who served as Grotowski’s assistant for many years and was Cieślak’s lover, reveals the intimate behind-the-scenes story of the Laboratory Theatre. The Prince is neither a film nor a stage production – it is theatre recorded by a camera, based on archive materials, at the same time played and improvised. The new form was dubbed “video theatre” by its authors.
Karol Radziszewski (b.1980) is a filmmaker, photographer, author of installations and interdisciplinary projects. He graduated from the Faculty of Painting of the Academy of Fine Arts in Warsaw. He is the publisher and editor-in-chief of DIK Fagazine. He founded the Queer Archives Institute. In 2009, he won the Passport Award of Polityka weekly. His works have been shown, among others, in Zachęta National Gallery of Art, Museum of Modern Art in Warsaw, Muzeum Sztuki in Łódź, Contemporary Museum Wrocław, National Museum in Warsaw, Centre for Contemporary Art Ujazdowski Castle, Kunsthalle Wien, New Museum in New York, Cobra Museum in Amsterdam and at the PERFORMA 13 Biennale in New York, 7th Göteborg Biennale, 4th Prague Biennale, New York Photo Festival and 15th WRO Media Art Biennale.
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  • Zofia Cielątkowska
    Philosopher, an art critic and curator. She is in a constant state of writing something. Doctor of Humanities in the discipline of philosophy (Philosophy, Jagiellonian University, 2013). Her doctoral thesis was devoted to the performance area (“Embodiment of the Subject. Philosophy and Performance within the Context of Contemporary Critique of Culture”). A graduate of Philosophy (Philosophy, Jagiellonian University, 2006) and Curatorial Studies (Art History, Jagiellonian University, 2008). She has published a number of critical essays in various art magazines (, 2+3D, Obiegu, Contemporary Lynx etc.). Received a scholarship from The University at Buffalo (Department of Visual Arts, 2010). Curator inter alia of The Collection of Contemporary Art (NInA) and “Pracownie” Project.  Lecturer at the Academy of Art in Szczecin. She works mainly between art and theatre (with the emphasis on between).
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  • Joanna Krakowska
    Joanna Krakowska is a historian of contemporary theatre, essayist, translator and editor. She works in the editorial board of Dialog (Dialogue) and at the Institute of Art of the Polish Academy of Sciences. She specialises in the history of contemporary theatre, political theatre and drama as well as the social and moral transformations that are reflected in contemporary art. She is the author of the following research projects: “Teatr publiczny. Przedstawienia 1765–2015” (Public theatre. Representations 1765–2015) and “HyPaTia Historia Polskiego Teatru. Feministyczny projekt badawczy” (HyPaTia History of Polish theatre. A feminist research project). Her publications include: Mikołajska. Teatr i PRL (Mikołajska. The theatre and communist Poland), Warsaw: WAB, 2011; Soc i sex. Diagnozy teatralne i nieteatralne (Soc and sex. Theatrical and non-theatrical diagnoses), Warsaw: Oficyna Wydawnicza Errata, 2009 (with Krystyna Duniec); Soc, sex i historia (Soc, sex and history), Warsaw: Krytyka Polityczna, 2014 (with Krystyna Duniec), and an anthology of Polish drama (A)pollonia: Twenty First-Century Polish Drama and Texts for the Stage (Chicago: Seagull Books, 2014; with Krystyna Duniec, Joanna Klass).
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  • Piotr Morawski
    Piotr Morawski is a cultural scientist and historian of culture. He holds a PhD in the Humanities. 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. His most recent publication is Ustanawianie świętości. Kulturowa historia angielskich widowisk religijnych w XVI wieku (Establishing sanctity. The cultural history of religious performances in 16th-century England) (Warsaw: Wydawnictwa Uniwersytetu Warszawskiego, 2015).
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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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