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.
Tue May 31, 2011 19:00
New artwork of Michal Brzezinski is ready now! Sound and video was prepared by generative transgormation of small fragment of DNA of flu virus Influenza. The DNA pattern was replaced by computer with the images of 16 types of bacteria.
Reconstruction of verbal identity code is an opportunity to visually verify the relationship of culture and subject (person). Reconstruction of this was the main axis of the video of my work, but the new project uses interactivity and processuality of modern tools of creation and presentation. It allows me to go beyond the hitherto developed methods of work (generative and cascade). Re: miniscencje are an attempt to give video art events unique performative dimension, more personality creator a precondition for the time and energy. Video footage is remixed on the fly and live they create new, more robust, multi-structures. They are the next step of development meditation video. Videos will be stored in a spontaneous dialogue between public power and the energy part of well-known works. Game of the video materials is an experiment with the creation of the tasks performed by operating on the border of the suspension of the computer. Playing with the unpredictability of interest to me as a transition from the aesthetics of liquidity, videomantry, trance and meditation, to the ecstatic intoxication noise, images and sounds generated by loaded straight from the perspective of human manipulation, but the computer require the conversion of huge amounts of data. Semantic of these transformations is the human mind as time-consuming and sometimes results in similar effects. So here there is a similar transition from saturation aesthetic pleasure of looking at the small forms, from false sense of understanding of the media often ironic photographs enlarged to unify many of the synthetic sample sizes in one dynamic transmission. The project is diferrent from my other major film projects, and diferrence is the basic dynamic of video-identity of post-humanity, which does not have a closed film structure, but transforms and adapts to the current situation. The computer is not a metaphor for the mind - is its extension.
i mean decade before...
its sad ;)