BIO
Michał Brzeziński - Artist combining their 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.
LAST MOMENT FOR PROPOSALS - PARAKINO 2010
Deadline:
Wed Aug 19, 2009 00:00
Location:
Poland
PARAKINO - the presentation of world video art, controversial documentaries and individual, artistic projects making use of moving image.
Curator: Michał Brzeziński
http://video-art.pl
Curator: Michał Brzeziński
http://video-art.pl
PARAKINO
Deadline:
Sat Sep 12, 2009 00:00
Location:
Poland
We are lookong for interesting curatorial presentations
in frames of PARAKINO (paracinema) for 2010
in Contemporary Art Center Laznia in Gdansk, Poland.
http://laznia.pl
We are interested in exchange and extended way of cooperation in promoting video art.
Contact: michal@brzezinski.net
--
http://michal.brzezinski.net
michal@brzezinski.net
+ 48 505 202 294
CSW ŁAŹNIA // curator of PARAKINO
http://www.laznia.pl
m.brzezinski@laznia.pl
in frames of PARAKINO (paracinema) for 2010
in Contemporary Art Center Laznia in Gdansk, Poland.
http://laznia.pl
We are interested in exchange and extended way of cooperation in promoting video art.
Contact: michal@brzezinski.net
--
http://michal.brzezinski.net
michal@brzezinski.net
+ 48 505 202 294
CSW ŁAŹNIA // curator of PARAKINO
http://www.laznia.pl
m.brzezinski@laznia.pl
SUMMER FILM WORKSHOPS
Dates:
Thu Jul 30, 2009 00:00 - Tue Apr 28, 2009
Location:
Poland
30 JULY - 1 AUGUST 2009, 10 AM - 5 PM
MICHAŁ BRZEZIŃSKI
ARJON DUNNEWIND
SUMMER FILM WORKSHOPS
This year’s summer workshops will broaden cycle of presentations of PARAKINO. Practical actions organized by Michał Brzeziński and Arjon Dunnewind ( Dutch IMPAKT Festival director) will take place. Structure of the workshops will be similar to the dialog of audiovisual presentations prepared by the moderators. There will be an opportunity to see the newest works promoted by organizations, awarded on festivals, as well as get acquainted with history of experimental cinema within the help on particular works. System of esthetical references in which these works will appear will be a source for discussion and creation of works. Ways of reevaluating and sorting creative space, which are operated by European structures of organizations taking care about promotion of art, will be another field for discussion, and participants will have opportunity, by using their own audiovisual forms make their own answers, enriching this discourse of the contemporary art. They will also master practical knowledge about those dominant contexts.
MICHAŁ BRZEZIŃSKI
ARJON DUNNEWIND
SUMMER FILM WORKSHOPS
This year’s summer workshops will broaden cycle of presentations of PARAKINO. Practical actions organized by Michał Brzeziński and Arjon Dunnewind ( Dutch IMPAKT Festival director) will take place. Structure of the workshops will be similar to the dialog of audiovisual presentations prepared by the moderators. There will be an opportunity to see the newest works promoted by organizations, awarded on festivals, as well as get acquainted with history of experimental cinema within the help on particular works. System of esthetical references in which these works will appear will be a source for discussion and creation of works. Ways of reevaluating and sorting creative space, which are operated by European structures of organizations taking care about promotion of art, will be another field for discussion, and participants will have opportunity, by using their own audiovisual forms make their own answers, enriching this discourse of the contemporary art. They will also master practical knowledge about those dominant contexts.
FAIL and FAKE as AESTHETIC OF NEW MEDIA
http://postvideoart.wordpress.com/2009/04/09/fail-and-fake-and-aesthetic-of-new-media/
[...] Video usualy is presented on dvd or DV tapes, or on youtube, vimeo… All of these mediums are kind of vocabulary but digital video is like virus existing in diferrent media. This specific kind of image is connected with device and time of popularity of it. Digital video is something more than that. Digital image is simulating those effects of devices and this simulation is FAKE! As in my work MANDALA from 2001 where i had explored bad half images synchronisation, and codec errors mixed with small resolution of image.
But it was just part of creative process and all of these errors was my way to find special kind of effects, and finaly it was burned in DVD. So every DVD player makes fake because it is not creating errors, he is plaing his role in perfect way, but we see failure. As many other kinds of ERROR music those video was fake. It is unusual to see the cellular phone video in cellular phone device. Usualy we can see it in the cinema or on the wall of gallery in HD resolution monitors or projected from good beamers. This viral migration of image, triumph of failure of technology is faked. All other sampled noices, technics of failure aesthetic, or simulations of 16mm or 8mm films are the same in the digital video vocabulary. Does not matter if you are using old film effect or effect of pixelisation. All this vocabulary is vocabulary of fakes. Fake needs failure to extend his vocabulary. But video is Fake like any other kind of language. [...]
http://postvideoart.wordpress.com/2009/04/09/fail-and-fake-and-aesthetic-of-new-media/
[...] Video usualy is presented on dvd or DV tapes, or on youtube, vimeo… All of these mediums are kind of vocabulary but digital video is like virus existing in diferrent media. This specific kind of image is connected with device and time of popularity of it. Digital video is something more than that. Digital image is simulating those effects of devices and this simulation is FAKE! As in my work MANDALA from 2001 where i had explored bad half images synchronisation, and codec errors mixed with small resolution of image.
But it was just part of creative process and all of these errors was my way to find special kind of effects, and finaly it was burned in DVD. So every DVD player makes fake because it is not creating errors, he is plaing his role in perfect way, but we see failure. As many other kinds of ERROR music those video was fake. It is unusual to see the cellular phone video in cellular phone device. Usualy we can see it in the cinema or on the wall of gallery in HD resolution monitors or projected from good beamers. This viral migration of image, triumph of failure of technology is faked. All other sampled noices, technics of failure aesthetic, or simulations of 16mm or 8mm films are the same in the digital video vocabulary. Does not matter if you are using old film effect or effect of pixelisation. All this vocabulary is vocabulary of fakes. Fake needs failure to extend his vocabulary. But video is Fake like any other kind of language. [...]
http://postvideoart.wordpress.com/2009/04/09/fail-and-fake-and-aesthetic-of-new-media/
FAIL and FAKE as AESTHETIC OF NEW MEDIA
http://postvideoart.wordpress.com/2009/04/09/fail-and-fake-and-aesthetic-of-new-media/
[...]Video usualy is presented on dvd or DV tapes, or on youtube, vimeo… All of these mediums are kind of vocabulary but digital video is like virus existing in diferrent media. This specific kind of image is connected with device and time of popularity of it. Digital video is something more than that. Digital image is simulating those effects of devices and this simulation is FAKE! As in my work MANDALA from 2001 where i had explored bad half images synchronisation, and codec errors mixed with small resolution of image.
But it was just part of creative process and all of these errors was my way to find special kind of effects, and finaly it was burned in DVD. So every DVD player makes fake because it is not creating errors, he is plaing his role in perfect way, but we see failure. As many other kinds of ERROR music those video was fake. It is unusual to see the cellular phone video in cellular phone device. Usualy we can see it in the cinema or on the wall of gallery in HD resolution monitors or projected from good beamers. This viral migration of image, triumph of failure of technology is faked. All other sampled noices, technics of failure aesthetic, or simulations of 16mm or 8mm films are the same in the digital video vocabulary. Does not matter if you are using old film effect or effect of pixelisation. All this vocabulary is vocabulary of fakes. Fake needs failure to extend his vocabulary. But video is Fake like any other kind of language. [...]
http://video-art.pl
[...]Video usualy is presented on dvd or DV tapes, or on youtube, vimeo… All of these mediums are kind of vocabulary but digital video is like virus existing in diferrent media. This specific kind of image is connected with device and time of popularity of it. Digital video is something more than that. Digital image is simulating those effects of devices and this simulation is FAKE! As in my work MANDALA from 2001 where i had explored bad half images synchronisation, and codec errors mixed with small resolution of image.
But it was just part of creative process and all of these errors was my way to find special kind of effects, and finaly it was burned in DVD. So every DVD player makes fake because it is not creating errors, he is plaing his role in perfect way, but we see failure. As many other kinds of ERROR music those video was fake. It is unusual to see the cellular phone video in cellular phone device. Usualy we can see it in the cinema or on the wall of gallery in HD resolution monitors or projected from good beamers. This viral migration of image, triumph of failure of technology is faked. All other sampled noices, technics of failure aesthetic, or simulations of 16mm or 8mm films are the same in the digital video vocabulary. Does not matter if you are using old film effect or effect of pixelisation. All this vocabulary is vocabulary of fakes. Fake needs failure to extend his vocabulary. But video is Fake like any other kind of language. [...]
http://video-art.pl
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