Michal Brzezinski
Since 2009
michal@brzezinski.net
Works in United States of America

PORTFOLIO (5)
BIO
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.
Discussions (26) Opportunities (23) Events (11) Jobs (0)
DISCUSSION

IMAGO MVNDI (2002) remastered in 2010


http://postvideoart.wordpress.com/2010/10/31/imago-mvndi-2002-remastered-in-2010/

IMAGO MVNDI is the first known to me Polish digital & structural film where layer of material was put as the subject. Coding/decoding errors it contains video files - so today called as data moshing, and errors in the definition interlace in video that has been used as a deliberate visual effects that was used on multilayer composition to express unification of inner and outer landscapes. Layer of contents provides a sort of private prayer, connecting issues of territorial and spiritual identity, which was so simple and devoid of irony expression was rejected by me in subsequent works of art because of the possibility of overusing the various nationalist movements. The film was pushed to the margins as dangerous, but an intimate spiritual adventure in which the religious syncretism is poured into the form of Catholicism, and attachment to territory. Film was inspired by works of Stan Brakhage that I read about only in Ryszard W. Kluszczynski book (Film, Video, Multimedia).

EVENT

Pomyłka / The Tipping Point of Failure.


Dates:
Thu Oct 14, 2010 00:00 - Thu Oct 14, 2010

Location:
Poland

Title: Pomyłka / The Tipping Point of Failure.

29 Oct - 05 Dec 2010
Galeria NT / Imaginarium
ul. R. Traugutta 18, 90-113 Łódź
curator: Michal Brzezinski

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ROSA MENKMAN (1983, Arnhem, Netherlands) is a leading international theory-practitioner of glitch art. She has written extensively on digital artifacts and noise, including the Glitch Studies Manifesto (2010). Her videos and real-time performances have been included in festivals like Cimatics (Brussels '08 + 09), Blip (Europe and US in 2009), Video Vortex (Amsterdam '08 + Brussels '09), ISEA (Dublin '09) and File (Sao Paolo '10). She was also one of the organizers/curators of the successful GLI.TC/H festival that took place in Chicago in 2010. She has collaborated on art projects and performed together with Alexander Galloway, little-scale, Govcom.org and the Internet art collective, Jodi.org. Menkman received her Master’s degree in 2009 and is currently pursuing a practical PhD at the KHM Cologne, writing on the subject of Artifacts.

Today many people enjoy their time watching super 8 tapes, while listening to poorly recorded vinyl records or endlessly copied cassette tapes. They enjoy the discolorations, cracks, and noises of these media. This retro-fetishism shows that we find ourselves at an aesthetic turning point; the good quality of the old image is no longer important. Instead, we are attracted to the traces of "old" media, that seem to be absent or at least imperceptible in the "new" media of today. Artists such as Rosa Menkman aim to show and evaluate the flaws that we haven't yet learned to appreciate or even recognize in our new media - the imperfection.

Roman Jakobson identified various functions of communication in the primary axis between the addresser, the addressee and the message. When communication revolves only around the message itself, it has, according to Jakobson, a poetic function. Such a message does not communicate anything but its structure. Glitch is a radical implementation of this postulate on the grounds of visual arts.

The aesthetics of glitch, which continues traditions of structural film, comes from the interest in the medium itself, and thus, the process of image formation. The medium and its inherent specificities has become radically important for contemporary art, since many significant contemporary artworks use some form of exploitation of the material of (modern) media, or are known thanks to documentation done within these media.

The exhibition of "Pomyłka / Tipping point of failure" („Pomyłka” means „Mistake”) aims to pinpoint a quintessential phenomenon of aesthetics and contemporary art - the phenomenon of glitch. The aesthetics of glitch stems from an interest in the structure and research on conditions and characteristics of each medium.
Technically, this is can be accomplished by the exploration of the opportunities offered by for instance circuitbending and databending. These techniques that are often used by artists that are working within this field of art can be divided into several main types. Firstly, they focus on observation of the audiovisual effects caused by reconstruction of hardware, such as soldering wires, the changing of values (of resistors or data), introducing external components to the integrated circuit, etc. A second type is intentional damaging the media. A third type is damaging and redesigning data in digital files, when the artist gets to the content of the file and changes it manually by typing in a variety of values (computer graphic programs perform the same actions but in a mechanical way). A fourth type is the action associated with the transmission of the signal and its modulation. Artists repeatedly send the same files between devices up to the point when some of them commit certain errors. A fifth type of activities are actions related to the repeated compression of files or using errors of various compressed audio-visual materials.
To this collection we can also add many other related strategies such as the usage of TV interlacing or "freeze frame" in the VHS machines, the scrolling of the preview of DV devices, exposing differences in the frequency of images' refreshing and scanning rates in the camera and TV systems, the usage of differences in the lighting of different parts of the old style kinescopes that are invisible to the naked eye or the large variety of feedback techniques, etc. It is an extremely interesting field of aesthetic exploration, which influences design, advertising industry and popular culture.
Often, the artists within this field treat each of these tactics as a research in the extensions of the human senses. Such orientation places them close to the position of for instance scientists. Artists, similarly to scientists, set up a research context and let the examined matter speaks for itself. But in glitch art, the word mistake has also become a synonym for the natural consequences of actions and gives right to a following and a following trial, which might cause different effects every time. From this perspective, glitch art could become a chapter in the history of art by just a simple exploration of the aesthetical relationships between a first and a subsequent mistake and its references to known canons of composition. Each of the redesigned devices can produce dozens of interesting abstract images per second and disrupt a yet to be constructed history by the inherent impossibility of capturing ephemeral artifacts - mistakes.
However, this kind of art can also, and maybe more interestingly, be understood in a metaphorical or even political or ethical way. Glitch is obviously related to the aesthetics of punk or DIY strategies. Striving for a poor quality image (Low Quality) or deliberately destroying or redesigning a final message, or to recapture the creativity of a medium can be described as the key features of an anti-corporate attitude.
Rosa Menkman aims to show and evaluate the flaws that we haven't yet learned to appreciate or even recognize in our new media - the imperfection - and sets out to create an awareness of the many questions and different dichotomies inherent to these imperfections are brought to the front.
„Within a high-tech world, consumers are blinded by the sparkles of the latest protocol. They are on an elevator that seems to take them to a realm that functions cleaner, better and faster. However, during this trip in the elevator they never seem to arrive at a final destination - the holy grail of perfection. New media are not perfect and will never be perfect. Diverging and sometimes even opposing retro-fetishism, we need to be aware of the doctrine of our flawed, yet superficially perfect new media.„
The essence of Rosa Menkman's art does not lie in achieving visual effects or within the development of just another glitch aesthetics. Instead she is conducting an advanced glitch studies, in which she strengthens practical research in aesthetics and design by scientific research, with focal points on politics, art-history and technological forms and discourses.
While artists are no longer interested in achieving results, but they want to explore the material and are open to the strangest sensory conclusions, it must be a meaningful sign that we live in a time in which totalitarian and fascist aesthetics of ideal projections, or the principle of so-called art without randomness, are fading into oblivion.
Instead, once again, art has become the domain of creative experiment. This is why, if the history of art wants to explore this strategy, it has to go very deeply not only into the artifact, the mistake, but into a process of creating these images and the unveiling of their hidden logic. The artists no longer create finished works of art or even exclusive artistic ideas, but instead they produce creative platforms, where the addressee has the power to become the creator of the final work of art. In this sense, glitch is a constantly mutating entity, that can move from a ephemeral form of randomness to a new paradigm. This is where we can find the tipping point of failure.


OPPORTUNITY

*.VHS *.EXE *.DNA


Deadline:
Sat Nov 20, 2010 00:00

Location:
Poland

*.VHS *.EXE *.DNA
Wednesdays, at 19.00 in NT Gallery

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*.VHS *.EXE *.DNA is a series of meetings with artists, art lovers, theorists and researchers of the latest phenomenas with academics from Technical University of Łódź. The meetings will include presentations of video works conducted by professors of Strzemiński Academy of Art in Łódź (Konrad Kuzyszyn) and PWSFTviT (Robakowski). The aim of the meetings is to develop crative assumptions on which the art and science can work within a common framework. The artists will have an opportunity, unique and unprecedented in Poland, to familiarise themselves with the basics of the latest technologies. The NT Gallery will also help artists to start cooperation with Technical University of Łódź and to get the financial support during the project, as well as in the organization of exhibitions and the further representation of created work in the global art world (assistance in sending the works to international festivals, legal representation).

We are also opened on cooperation with diferrent countries artists, and working on the projects via internet!

GALLERY NT will be engaged in production of art and active promotion of artists. The *.VHS *.EXE *.DNA series of meetings is therefore a way of creating ideas and searching out artists who can develop their works.

The aim of the *.VHS *.EXE *.DNA series is not necessary to create finished works of art, but rather to initiate creative process and discussion about the prospects which science can offer to art.

*. VHS - film and video
*. EXE - computer science and robotics
*. DNA - biotechnologoes and nanotechnologies


EVENT

*.VHS *.EXE *.DNA


Dates:
Wed Oct 06, 2010 00:00 - Tue Oct 05, 2010

Location:
Poland

*.VHS *.EXE *.DNA
Wednesdays, at 19.00 in NT Gallery

image

*.VHS *.EXE *.DNA is a series of meetings with artists, art lovers, theorists and researchers of the latest phenomenas with academics from Technical University of Łódź. The meetings will include presentations of video works conducted by professors of Strzemiński Academy of Art in Łódź (Konrad Kuzyszyn) and PWSFTviT (Robakowski). The aim of the meetings is to develop crative assumptions on which the art and science can work within a common framework. The artists will have an opportunity, unique and unprecedented in our country, to familiarise themselves with the basics of the latest technologies. The NT Gallery will also help artists to start cooperation with Technical University of Łódź and to get the financial support during the project, as well as in the organization of exhibitions and the further representation of created work in the global art market (assistance in sending the works to international festivals, legal representation).

GALLERY NT will be engaged in production of art and active promotion of artists. The *.VHS *.EXE *.DNA series of meetings is therefore a way of creating ideas and searching out artists who can develop their works.

The aim of the *.VHS *.EXE *.DNA series is not necessary to create finished works of art, but rather to initiate creative process and discussion about the prospects which science can offer to art.

*. VHS - film and video
*. EXE - computer science and robotics
*. DNA - biotechnologoes and nanotechnologies


EVENT

CRASH 2.0


Dates:
Fri Sep 10, 2010 00:00 - Wed Aug 11, 2010

Location:
Poland


CRASH 2.0
Robert B. Lisek


EXHIBITION
in Galeria NT


WERNISSAGE
10 IX 2010, 19.00


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Openin hours: Tue - Fri 12.00 - 18.00, Sat 14.00 - 20.00

biodata:

Robert B. Lisek is an artist and mathematician, focusing on systems and processes (computational, biological, social). Passing through conceptual art, hacktivism, software art and radical social interventions, his activities are impossible to be subjected to categorization. He is the pioneer of art using the methods of artificial intelligence and bioengineering. Robert B. Lisek uses disorders and suspensions of languages and systems, including code and commands errors, as well as network worms and viruses. In the Spectrum project which is a scenario of bio terrorist attack on Warsaw, he used the techniques of molecular biology, exploring the most fundamental process in nature, which is a self replication - the multiplication and spreading of structures. In particular, he focused on [DNA self replication] and built a new strain of bacteria that spreads rapidly in water. Lisek also researches security, privacy and identity problems in the network society. He built the NEST Intelligence Agency Citizens which is an advanced software and a portal to search for hidden relationships between individuals, groups, events, objects and places.

Robert B. Lisek is the founder of Fundamental Research Lab, initiator and the leader of the group Laboratory of Art Symposium ACCESS as well as the author of over a hundred exhibitions, actions and workshops. His projects were presented (among other places) in: NEST ARCO Art Fair, Madrid; GENGINE National Gallery of Warsaw; FLOATLower Manhattan Culture Council, New York; WWAI Siggraph, Los Angeles; Gespenst Leto Gallery, Warsaw; Falsecodes Red Gate Gallery, Beijing; State of Emergency Embassy - Entropia Gallery, Wroclaw; FLEXTEXT Byzantine Museum, Athens; FXT - ACA Media Festival, Tokyo; STACK - ISEA 2002, Nagoya; SSSPEAR-17th Meridian, WRO Center for Media Art, Wroclaw /

Description:

The exhibition of Robert B. Lisek analyzes the context of a "security" idea based on an example of the Smolensk crash.

Robert B. Lisek analyzes the social processes which, through increasing public insecurity, contribute to the legitimacy of violence, deprivation of freedom and civil liberties and the consolidation of the authority as well as its credibility. At the outset, the artist raises questions about the nature of security:

What is the basis of security? What ensures it? He asks about the state of security absence - permanently sustained uncertainty and constant raising of fears to maintain the services and structures responsible for security.

Conspiracy theories as a modern heresy, apostasy from the doctrine of faith sustained by the media have recently become a very strong inspiration for artists around the world.

The history of modern societies knows many forms of activity such as hijacking of both aircraft and people, mysterious disappearances, plane crashes, bomb attacks, and others that have influenced changing political situation and the distribution of power relations of a particular country or group of countries. Rapid social chain reactions accompanied by such incidents become a primary energy, a type of libido that animates culture, and this constitutes the starting point for the project Crash 2.0.

It is widely known that such incidents and revolutions usually resulted in the introduction of so-called doctrine "son of a bitch, but our son of a bitch" (S.O.B. in short). This obviously contributes to the rise of conspiracy theories around Smolensk accident, which are, however, treated here as one of a class of phenomena occurring around the world. The project addresses the issues of security and analyses the disaster, particularly the air crash near Smolensk as a culturally active factor, a factor which causes a political crisis and changes in existing system. Robert Lisek uses the methods of contemporary art and theory of computability, raises questions concerning political power and discussion which focuses on the key points of the collective experience of the disaster. The artist describes the work of the installation in short words:

The project begins with the analysis of large data sets, examines how the disaster / conflict is depicted in the web and media. Then, the new information is concluded, as well as the probability of future events.

Robert Lisek stays within the long avant-guarde tradition which started with efforts to cut off the artwork from the subjective individual, the artistic vision, inspiration and the need for expression. Drawing this line in the text constitutes a repetition of the avant-guarde history. The artist defines this context in a following way:

In art, there is a tradition which combines both critical and analytical approach with activities that can be seen as a political praxis. The artist is inspired by groups such as Group Material active in the US in the 90's, and his work should be considered in the context of contemporary groups connected to hacktyvism and tactical media: Institute of Applied Autonomy, Critical Art Ensemble.

It is important that when Robert Lisek tackles the issue of Smolensk, he distances from the old paradigm of the artist showing subjective point of view, and this way he can cut off from the explicitness characterizing the authors of conspiracy theories, which would inevitably discredited the artist entangled in his own opinion based solely on the belief. The artist researches alternative story lines and to achieve it, he uses a web worm written by him i.e. a programme for automatic search for information in the web (based on the model of the software used by Russian special services GRU) and NEST portal (http://fundamental.art.com / NESTofficial.html) which is a web platform designed to analyze and visualize connections between individuals, groups, events, documents and places. This way, the artist arranges a situation in which the outside reality speaks for itself. In such arrangement, the artist's creation is limited to constructing transparent apparatus and arranging such construction as a spatial artwork.

Using his own system, Robert Lisek recovers, analyses and visualises information, creates a history, doing the job of historians. The model of history with the monkey at the typewriter is transformed into a model of a thinking machine which selects the data, creates versions and stories itself. Intellectual's work in the world of today transforms into the consciousness of communicating the rules of work, whereas the work in a traditional sense is done by machines. Similarly, in the field of social communication, open sources and the opportunity to intervene in the source code enable to put this artistic project in the place previously occupied by the media. Corporate Media imposed global outlook according to the policy of the capital standing behind them. On the other hand, the project 2.0 CRASH proposes ever proliferating versions of events, connects facts using contemporary logic and mathematics. The mechanisms behind its work, related to analysis and data processing are much more readable than the mechanisms of power manipulating the media. Open sources makes the means of processing information takes reconfigurable! Corporate media are therefore useless, become eliminated and replaced by an art project, since they provide only one possible course of events. In the world of media there seem to appear a new site for alternative portals, becoming leading sources of information, for example WikiLeads, which published 75 000 documents revealing an alternative picture of the war in Afghanistan. Such information is then analyzed. Crash 2.0 also provides information unavailable from official channels, subversive reinterpretations of events, alternative narratives, from which we can choose the most suitable one. However, such a choice is always limited and shows that we believe only to what suits our limited minds.

CRASH 2.0 - Robert B. Lisek

The vernissage will will be accompanied by the audio performance SUNUS


SUNUS is a radical music project which creates new dimension of music through innovative exploration of hacking practices within already existing areas of sound. The works of SUNUS constitute a crossing and a transgression of many musical genres: stochastic music, spectral music, concrete music, futurista musica, noise. The music of SUNUS features radical disruptions of language systems, subversion of rules, commands, errors and codes. SUNUS reinforce extreme interventions that destabilize existing music production. SUNUS applies asymmetric and "chaotic" sequences indicating deeper, hidden powerful symmetries of music built upon light construction. The works of SUNUS take a unique place, since they examine the cultural intersections of critical art and the art of programming. The core of SUNUS in practice is a search for new, hidden structures and compositions.