Michal Brzezinski
Since 2009
Works in United States of America

Michał Brzeziński - Artist combining software-video activities with biological material systems, futurologist of culture. His roots of the artistic activitiy have ground in music subcultures and video art. His wide, theory based, artistic and curatorial activity had animated theoretical discourse touching video-identity problem in the years 2000 to 2010 in Poland. Curator working with galleries such as the Museum of Art in Łódź, Center for Contemporary Art Łaźnia in Gdańsk, and Contemporary Art Center Bunkier Sztuki in Kraków. Referring to the conceptual art and mediated experience of recent art transforms art itself and englobe into video art, formulated the strategy describes this process as Fake Art, arising from the antimaterialistic theory of art as communication.
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overgoing call

Thu Feb 28, 2013 20:20

//overgoing call


I would like to send my proposal of my curated video art events, screenings, lectures, workshops...



I would like to invite for exchange and cooperation in making compilations of works to present it in frames of various art event.



I would like to invite to send me propositions of your events, screening, lectures to put it on my website - art data base for the institutions.




Fri Oct 05, 2012 18:00 - Mon Nov 05, 2012

Gliwice, Poland

Expanded Life Definition: Michał Brzeziński :: October 5 - November 5, 2012 :: Czytelnia Sztuki, Willa Caro, ul. Dolnych Wałów 8a, 44-100 Gliwice, Poland.

The exhibition touches the problem of transspecies communication and the changing definition of life in the context of information systems, and the changing definition of a human kind transformed by the recent technology from biotechnology, and the increasing prevalence of transgenic organisms and various human body integration with computerized machines — from various simple devices (smartphone) subject to the convergence of extended brain functions such as memory, numeracy, to the knowledge of foreign languages, or medical grounds, up to the senses such as sight, hearing (monitoring, interception) to advanced nanotechnology equipment to support the immune system, and performing various operations for the army (Smartdust). Works of art exploring the territory posthumanistic ideas in a critical way and without a utopian vision of the future, often refer to the category of FAKE as a subversive artistic methods. By free use of tactics FAKE questions are asked about the status of the cognitive sciences based on media-mediated experience – and therefore a blurring of the boundaries between knowledge and creativity.



Thu Nov 10, 2011 18:00 - Sat Dec 10, 2011

Nowy Sącz, Poland


Michał Brzeziński is an artist faithful to the medium of video, who has been strivingfor a decade to restore the art of video to the position of experimental art and who hasnegated attempts at adapting and appropriating it to the role imposed by the context of thetraditional visual arts. He attempts to discover new elements both in the montage and invisual aesthetics of this medium. The present exhibition constitutes another breakthroughin his creative output which has generated many a controversy so far. Since thesecontroversies are not political but aesthetic in nature, his works are a far cry from scandal-seeking and populism. However, in the artistic context, this show is truly ‘volcanic’ and,
following subsequent eruptions of Brzeziński’s ideas, the intellectual landscape is swept offthe surface and the defining of a new aesthetic space commences.
It may seem that works so saturated with intellectual ideas must remain dry and distant.Brzeziński, however, by making his ideological revolution, reinstates art as cool, expressive,intriguing, striking or maybe even slick. In this sense, his idea may permeate the viewers’mind organically without causing an avant-garde aversion to the artistic artifact whichplays a subordinate role to the idea. Slickness is thus a kind of a communicative interfacewhich stirs imagination or emotions, a form of invocation.
What does the idea of the FAKE ART exhibition consist in? The nature of art, accordingto Brzeziński, lies in the sign. The sign is the material means (the medium) and the objectto which it refers (meaning). Digital video, though, does not have the characteristicstypical for other media (a pixel is not a feature of vector graphics, image flatness is nota feature of a 3D image, and each image may be printed or projected in various ways.)Thus, it is features of the final form of presentation, not features of the digital image,that constitute artifacts and visible features. In this respect, the digital image is a perfectpotentiality: its characteristic feature is a lack of features. Brzeziński has coined the termof ‘d-effect’ in order to render the double relationship between an effect and a defect, toundermine ‘failure’ aesthetics by introducing the term of ‘fake’.
What consequences does it bring to the digital image aesthetics? Media art has traditionallyequated the meaning with the medium, exploring aesthetic properties of the medium.Tautological forms have been created which, supposedly, refer the meaning to the mediumitself. Fake art aims to transcend this construction and refer digital image to other mediasince digital video lacks intrinsic features and cannot naively refer to itself. In this respect,the idea of art according to Brzeziński thus approaches the classic situation known fromfigurative art which depicts external meanings in the medium, for instance, a deer paintedon canvas using oil paint or a light projection on the wall. Classic art also equates the formwith the content. Brzeziński reinstates the sign in the digital era. Instead of simulating thedeer or depicting the medium itself, FAKE ART strives to falsify other media. With the useof one medium, it visualizes impossible constructions of another medium, uses irony andgenerates absurd research results.
For example, Brzeziński simulates an explosion of gold nano-particles or a process ofbacterial incubation which is calculated in 3D space on the basis of a DNA code of a fluvirus. From the scientific point of view, these constitute absurd actions, non-existent innature, neither discovering nor depicting the truth about the world. Nevertheless, in thecontext of art, they acquire an aesthetic, often metaphorical or symbolical dimension.Structures of this type, which infect science and transform it into art, are actualisations ofconceptual art. Processing of objects, images and artifacts of the cognitive process aims toblur the obviousness of conclusions drawn and sometimes to fabricate theories that wouldhave a social, political, religious or even mystical dimension. This dimension, however, willonly come into being as a result of interpreting a fraudulent fact.



Sun Nov 06, 2011 21:45

The project involves the creation of graphics and video based on a complex analysis conducted in which researchers can help in the study of a form of bacterial cultures, which are the leaven in the dough “herman” – a kind of “chain of luck”. Grout is usually passed between the “housewives” creating a kind of bond and neighbor-culture. The analysis will involve not only the flora, which arises from the exchange leaven the dough, but also the cultural dimension of such exchanges. The study will be the relationship between culture made present in the texts of culture and its relationship with the microbial culture. Impact of the presence of bacteria can express themselves through building of a community, or exclusion from it. Inculturation into the microbal culture is the same cultural initiation like mental inculturation. Man as a child are starting their social activity by numerous more or less danger diseases, thus suffering. The exchange of bacterial flora in the expandable communities initiates other inner relations of the society, also in the mental level. Epidemics of diseases and mutations in bacteria or viruses are stimulated by globalization processes. Building the resilience of organisms associated with assimilation and annexation of various organisms inhabiting the human body. Sometimes this is done by grafting, sometimes in a natural way. Starting or changing sexual partners is associated especially for women with temporary ailments bacteriological nature – of course only until the domestication of a new culture of bacteria. The exchange of cultures living in our houses of bacteria for their multiplication, and killing during baking so the dough is almost a ritual dimension, and the consumption effects of that sacrifice leads us to build a broad anthropological associations – culture-around this gesture. The exhibition is to seek and disclose such relationships.For this project I would like to persuade a group of neighbors from the house, or apartment building to participate in this project. It will be a kind of hermetic ragged penetrate the aura of art activities in a specific community arts neighborhood. The results of the analysis will be combined with the documentation of the event and presented as an integral part of artistic work that will arise as a result of this process. In an exhibition will be presented also: videos with interviews with the families who participated in the project, as well as videos documenting the process of laboratory tests. During the opening will be exposed to great tasting (several meters), a cake that turns into referring to the life forms found in the tested leavened.The primary measure will be to use theoretical tools: wide range of cultural studies and practical: the bio-tech research. Will be invited to the draft environmental science-related. We will use laboratory tests in the field of biotechnology and food sciences, and will conduct an analysis of fermentation, which will give a base of information are then processed to build a comprehensive and overall design of the exhibition. The measure will also use video and prints. By the way, driving in NT Gallery, Lodz, I established cooperation with Technical University of Lodz, which had to deal with art projects that appear on the interdisciplinary interface between science and art, which will certainly help me in the practice of scholarship.The end result will be to create a new kind of ties in the community where the project will be implemented and the implementation of specific works: the series of films inspired by images and structures pozyskanymi during testing. The works of video and accompanying graphics were synthetic record will conduct an experiment process of socio-artistic-scientific, and cultural contexts of its connotations. Research and analysis related to the effects kulturoznawcze work derived from laboratory tests may also affect incentives for the relationship between local scientific communities.After the exhibition a catalog showing the entire process of formation and duration of the exhibition as a social experiment in its multidimensionality.