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


Robert B. Lisek

in Galeria NT

10 IX 2010, 19.00


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


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 /


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.



Fri Jul 09, 2010 00:00

we are the community of the curators and we are looking for the other international independent curators and institutional partners to form the project and apply for a grant(s) and exchange the opportunities.





Wed Jul 07, 2010 00:00



GALERIA NT is public funded, not-commercial institution in Poland
Before you ask please check the address: http://galeria-nt.pl

We are waiting for proposals for NEW TECHNOLOGY ART exhibitions.
please prepare PDF with your proposal including draft of budget plan
[each email up to 2 mb] and send it to address:
Please one proposition in one email.

We are waiting for proposals for VIDEO ART screenings.
We will negociate the fee for the screenings individualy after delivery.

Please send the DVD’s and include also short description of the project, each work, and each of artists (the best with statement). It will really help us if you will send all your details that we will need to prepare your future contracts, and your fee proposition.

Send it for the address:

GALERIA NT - Michal Brzezinski
ul. R. Traugutta 18,
90-113 Lodz, Poland

All proposals can include also solo projects, as curatorial, multi artists.

There are no restrictions. The best proposition will be taken as part of the official program for the 2011, or we will ask also about screenings in 2010.


Art as Platform of Discourse


Art and Information


Art as Platform of Discourse

In the world of today not only new artistic qualities (pieces of information) are produced. Thanks to digital recording we can preserve them in an unchanged form and make them available to the general public (so far for free, and we have to fight for it, but not necessarily allowing breaking copyrights). Today, everything which consisted ephemerality of the old world of rarities: vinyl records, photocopied poetry volumes, unique vhs recordings, books offering cheap enlightenment, music and videos, so elusive and tempting, everything landed in realms such us youtube.com, vimeo.com, in countless different chomik.pl, or in computers joined in p2p networks. Private information became available to the general public and lost its intimate character. The process has been ongoing so far. Cameras monitoring streets, car parks, chops, malls, staircases or registers of entries to offices and houses - these are only temporarily separate cyberspace fields. Sooner or later they will be joined or their users will want to integrate them into one network, which we will ask what to eat for breakfast in the morning. The archives of present-day intelligence services can answer that question even today. In such world the art cannot be just interactive and remain only a commodity. Art has become a continuous feedback, fluctuation of data, creation of living structure or organism, constructing a social network service or a platform similar to processing or even an institution animating artistic activities. Museum of Art in Łódź (a.r. group, mainly Strzemiński and Kobro) at its beginnings or Zentrum für Kunst und Medientechnologie Karlsruhe (Weibel) are examples of such institutions. Today such collective works are usually internet projects, such as Perpetual Art Machine, Human Emotion Project, or Exquisite Corpse. These projects are created by their authors only at the very early stage, and are then developed by other individuals, so the work has a collective character. The type and quality of such projects vary, depending on the level of development and interference of the artists, introducing such platforms into the cyberspace or social tissue. Most of them, however, move towards direction pointed by the Dadaists, later avant-guarde movements or different artists creating collective artworks. Moreover, art has opened to the subject not only as a viewer-consumer but also as a creator. Artist no longer offers ready, completed products but delivers creative platforms. We can thus say that the transition to the 2.0 culture has been made.

In other words, we have moved from art as objectively treated information to art as objectively treated space. Life has become the final effect of art or maybe the art itself has become life-designing. Artists such as Ben Fry (creator of processing - platform used by Andre Sier) create complete works, giving unlimited opportunities of transforming into countless number of artworks, which are signed by names of other artists. These works form one organism, present in many places, which creates different algorithms or data processing structures. However, this organism is also a living environment, which we can organise, given the opportunity of introducing new elements and rules into the visual space. Thus, the art of today is a result of the dialogue between the computer and the living environments. The works of Andre Sier, who uses processing to generate his own worlds (through visualisation of the data of our presence in the gallery), become a rhizome of the dialogue. Entering such interactive structure, created by multiple authors, we become a part of his artwork. But are we its authors? The authors are the artists - creators of software basis or the programmers, such as Andre Sier, who presents his co-works, which do not exist without us. The art needs you!




Fri Jun 18, 2010 00:00 - Fri May 14, 2010



exhibition title: Ape-x

artist: André Sier

curator: Michał Brzeziński

vernissage date: 18/06/2010

the exhibition will be open from 18/06/2010 to 30/07/2010


Biographic entry
Andre Sier works as an intermedia artist and a programmer. He is educated in philosophy, painting and sculpture. He creates objects, which need application of audiovisual programming languages. While creating them, he cooperates with visual artists, performers and musicians. He has been teaching audiovisual programming and organizing workshops since 2002.

Description of the exhibition
Contemporary art opens to a subject as a creator. Contemporary artist, being familiar with the art of internet and software, does not offer ready products, but delivers easy-to-use creative platforms, which live independently afterwards. Consequently, we can say, that we have moved to 2.0 culture whose manifestation is also Gallery NT. Artists such as Ben Fry (creator of the processing - platform used also by Andre Sier) create artworks presenting infinite opportunities of transforming into unlimited number of subsequent artworks. These are not only the tools, although artists treat them as such. These works constitute one organism, enabling proliferation of subsequent, interrelated artworks - collective, but expressing the ideas or expression of certain people. Contemporary art tries to establish interpersonal and social bonds, but respects freedom and expression of individual, since the individual is a condition of its existence.
Such situation is visible in the works of Andre Sier, which become a rhizome of such dialogue, at the same time visualizing data brought from our presence in the gallery. It is not us, who decide about the final shape of the artwork, but our body, which speaks for ourselves. Entering a gallery, we do not intend to interfere with the artwork, since we have no readiness for the artwork in our consciousness. Next, observing its reaction to our behaviour, we pay attention to the way we function in that particular space and we learn its (artwork’s) language. The artwork is our partner, subject which has its own logics, coupled to our body and, thus, to our mind. In his other works, Sier creates worlds closed in the glass ball of computer monitor. He produces simple subjects, which he puts to evolution and sets up laws, which will rule these worlds:

„Now I’m a network of cells 2,5. My state depends on 1,4, 2,4, 3,4, 1,5, 3,5, 1,5, 2,5, 3,5 and we will be adding these values to check the current map of rules and to check if I’m dead or alive. I’m alive. Now, I’m a network of cells 3,3. My state depends on 2,2, 3,2, 4,2, 2,3, 4,3, 2,4, 3,4, 4,4 and we will be adding these values to check the current map of rules and to check if I’m dead or alive. I’m dead. Now I’m a network of cells 7,3. My state depends on 6,2, 7,2, 8,2, 6,3, 8,3, 7,4, 8,4, 9,4 and we will be adding these values to check the current map of rules and to check if I’m dead or alive. I’m alive.” (Andre Sier)

The work of Andre Sier refers to the cubism aesthetically and visually, but, being interactive, it does not evoke either broken mirror reflecting our face, or typical cubist painting, which usually presents the picture spread on geometric solid figures. It is the art of multitude of parallel information, which are procured by different, not necessary visual channels and subsequently visualized by the computer. Computer is an instance creating a picture, based on rules established by the artist. Gained information splits on the figures of algorithms. His works also struggle with the understanding of physical and evolutionary mechanisms or the chaos theory and use simulation for that. These are not ready artworks, but processes or sometimes records of particular spaciotemporal relations. Processualism and peformativity of his works, as well as the temporality of final effects is the fugitive artifact for the work of art. Graphics produced by the speakers splashing ink, which makes random patterns on paper, is only a conscious, fetishistic record of what happened in gallery on a particular day, since the sources of sound are the movement and the sound detected by the system. However, it has nothing to do with the artist’s expression or the search for chance in the painting, it is not an action painting either. The essence of his art is algorithm - structure, which lays at the basis of picture produced by the machine, it is a programming language game, emerging at the meeting point of human and machine languages. It is possible to find it if we look at his works with tenderness which characterizes the way human being looks at the other human being in action.

Michał Brzeziński