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Beata Bartecka Krzysztof Solarewicz Lukasz Rusznica photography Pranckiewicz

Czym i w jaki sposob

Pranckiewicz Czym i w jaki sposob PDF
Tekst o tym, czym fotografia moze byc, w jaki sposob mozna z nia pracowac. Tekst powstal przy okazji wystawy Chemia Biologia Fizyka w galerii BWA Design we Wroclawiu, Polska. Artysci: Pranckiewicz, Rusznica, Solarewicz. Kurator: Beata Bartecka.

Strona wystawy.

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Pranckiewicz

Print Now project

Two graphic works by Waldemar Pranckiewicz are included in the Print Now project organized by Bearspace Gallery during London Art Fair, 13 ‚?? 17 February 2010, Islington, London, UK. Stand: P19

One of the works is called Warning and depicts a detail of nature together with printed text taken from news which warning about eating squirrels brains because they can carry a variant of mad cow disease.

The other piece is called Ondrugs and is a spam text from e-mail printed on a light blue shape.

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Warning, ink and a stamp text on paper, A4 size, 2009, edition of 4.

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 Ondrugs, detail.

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 Ondrugs, acrylic and a stamp text on paper, A3 size, 2009, edition of 4.

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Pranckiewicz

Eurasian Wink

WALDEMAR PRANCKIEWICZ
Eurasian Wink
Mosaic and a three-dimensional drawing at Centre of Polish Sculpture in Oronsko, Poland, 2009.

In September 2008 I took two instant photographs of my friends and both were asked to wink to the camera. It was meant to be a funny way of doing a photographic portrait. Then I thought that I can make a series of photographs people winking to me and to execute this I set up simple rules: I will take photographs only Asian women, only the ones I know and the series will consisted of 24 stills. I did not complete yet my project and so far I did 17 portraits. The whole process of doing photographs transformed from taking snaps into more complex arrangements of choosing location and way of posing. At some point I got idea to transform one of photographs into a mosaic. I was curious how a non-serious expression of face can look in a very ancient and noble technique.

In summer 2009 I was invited to show my winking portraits and a mosaic at Centre of Polish Sculpture in Oronsko, Poland. When I arrived there in August I was told that I can not do a show in the gallery space. Immediately I start thinking about a new way of showing my work or creating completely new piece. And I decide that I can do a temporary artwork somewhere outside. All photographs of my Asian friends were taken in Europe and I knew that many of them will probably go back to home and maybe some of them will stay in Europe forever. It is not that I started see the project in relation to migration but somehow it struck to my mind that all this displacement takes place on a big continent called Eurasia. So I decide to do a map of Eurasia and place there my mosaic of winking face and call it Eurasian Wink.

The work was open 1st September 2009 and was planned to be shown two months. Currently the piece is still on display.

Special thanks to Leszek Golec who was supporting this work from the beginning.

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Nomadic Focus Pranckiewicz

Nomadic Focus

NOMADIC FOCUS
Formulating and distributing artistic materials

Nomadic Focus was a piece by Waldemar Pranckiewicz presented during a group show called Interzone in the Studio BWA gallery, Wroclaw, Poland. The project took place between 22nd and 29th October 2009. Waldemar Pranckiewicz invited 11 artists to submit materials either with a personal content or related to important issue. Over the week he presented participating artists in a form of screenings, talks and arrangements around the gallery space. Interior design during the Nomadic Focus project was created from donated tables, pillows, lamps and plants. The whole space became a cross between a reading-room and a place for screenings, talks and discussions. Nomadic Focus was about generating awareness of different concepts, sensibilities or strategies around the world related to culture, society and wide understood politics.

Participants:

Wac??aw Ropiecki [PL] ‚?? Selected photographs from 70‚??. Photographs from the Zmien swiat [Change the world] series.
Presented photographs from ‚??70 and early ‚??80 were mainly self-portraits and depicted various surroundings and emotional states. The more recent works are documenting a Christian charity work among people in Russia.

Czekalska+Golec
[PL] ‚?? Leaflets and film propagating a vegetarian lifestyle.
The artistic duo of Tatiana Czekalska and Leszek Golec promote idea of vegetarianism and many of their works emerged from cooperation with animals, mainly dogs and cats. Leaflets produced by artists were given away during the Nomadic Focus project and the presentation of selected works done by the duo took place.
More about Czekalska+Golec: www.czekalska-golec.pl

Jacek Zachodny [PL] ‚?? Presentation based on a trip to India and Iran.
Jacek Zachodny is working from many years on his piece about the issue of death. To get a different perspective on this topic he travelled beyond Europe. He makes video and mixed-media works. Jacek presented his films recorded in Iran and India. There was a discussion about his films and works afterwards.
More about Zachodny: www.jacekzachodny.strefa.pl

Przemek Sanecki [PL] ‚?? Artist‚??s Talk
Przemek Sanecki is making performances and films. The Studio BWA gallery prohibited presentation of his work or hosting a talk with him as a result of his previous performance at one of the gallery spaces a few months earlier. During that performance he snorted a white powder which resulted in sending by the gallery‚??s lawyer a legal notice to police about possible offence. A talk with Sanecki as a part of the Nomadic Focus took place in another gallery, which ironically was located in the same building but two floors beneath. A half of the talk was about his performance practice and other half was about current actions taken against him by the BWA gallery.
More about Sanecki: www.sanecki.art.pl

Carl Jacobs [BE] ‚?? Posters.
Jacobs is an art historian and was an assistant curator during the Brussels Biennial production period in 2007-2009. Currently he works as a lab manager in the Artificial Intelligence Laboratory at the Vrije Universiteit Brussel. He is designing and editing various publications related to art and science.
In the space of the Studio BWA gallery were installed his two posters. First said: The viewer asks the artist gently though compellingly to concentrate again on qualitative matters The second asked: Are you part of the 95% who doesn‚??t care or are you part of the 5% who does care but knows it has no influence at all.

Jesper Alvaer
[NOR] – Istanbul Biennial Bootleg.
Alaver is an artist based in Prague, Czech Republic. Many of his projects may be characterised as long-term investigations and work takes into account various life worlds and the effects of cultural constructions. His projects often materialise in form of installations, videos or undocumented interpersonal meetings. [Quoted form the www.oca.no website]

Fatima Hussain [PK] ‚?? The Redo Pakistan project
Fatima Hussain is an artist based in Pakistan. Her Redo Pakistan project is a platform for presenting ideas for scenarios of the country, be it geographical, political or intellectual.
More about Redo Pakistan: Other Asias

Elpewicz [PL] ‚?? Would be nice to have a look
Project by Elpewicz is inspired by photographs of Edward Krasinski and his family and friends interacting with a scotch tape in 1969. Photographs were taken by Eustachy Kossakowski. Elpewicz creates his own interactions between a woman, a kid, a dog and a man, and all of that takes place in the Saska Kepa district in Warsaw, Poland. The scotch tape is not so important this time but still appears in a series of domestic and outdoor improvisations. The project under the nickname Elpewicz was created by: Anna Lawrynowicz, Mia Lawrynowicz, Lukasz Rusznica, Nina (a Pinscher dog) and Waldemar Pranckiewicz.
Photo documentation of Elpewicz’s books can be seen here.

Annelys de Vet
[NL] ‚?? Presentation of the books: Subjective atlas of Serbia and Subjective atlas of Palestine
Annelys de Vet is a critical graphic designer based in Brussels and head of the design- department of the Sandberg Institute Amsterdam.
Her work explores the role of design in relation to the public and political discourse. Since 2003 De Vet is working on a series of subjective atlases that are ‚??mapping‚?? a country, region or political entity in a personal way by the inhabitants themselves. They are invited to map their country in their own way; be it political, critical, culinary, romantic, negative or positive. Personal involvement is always a starting point, with the aim to produce human, cultural and unconventional images and in doing so develop alternative views towards political entities that lack a nuanced representation in the media. [Extract form provided CV]
More about Annelys de Vet: www.annelysdevet.nl

Slavs and Tatars [Eurasia] – Presentation of the books: Kidnapping Mountains and One Star Forever.
Founded in 2005, Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. Based between Brussels, Cambridge, and Moscow, the collective‚??s work spans several media, disciplines, and a broad spectrum of cultural registers (high and low) focusing on an oft-forgotten sphere of influence between Slavs, Caucasians and Central Asians. Slavs and Tatars is Kasia Korczak, Payam Sharifi, Boy Vereecken and Victoria Camblin. [Quoted form the group website]
More about Slavs and Tatars: www.slavsandtatars.com

Vanessa Winship ‚?? Georgia in progress
Vanessa Winship is a photographer living and working in the Balkans and the Caucasian region. In a frame of Nomadic Focus there was a presentation of her photographs form the series Georgia in progress, followed by a discussion about Georgia and the look of photographed people.
More about Winship: www.vanessawinship.com

All texts by Pranckiewicz if not otherwise stated.

Waldemar Pranckiewicz wants to thank you all dear participants and people involved in production of the event.
Special thank you goes to Beata Bartecka for the assistance before and during the project.

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More photos:

Robocza Uwaga Nomadyczna Grupa (Opening Party)

Nomadic Focus Progress

Nomadic Focus Closing Event 

 

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f13 foreign correspondents Lukasz Gorczyca

Foreign Correspondent: Lukasz Gorczyca + Additional materials about history and the state of journalism.

In 2003 an art critic Lukasz Gorczyca published on his blog an article about Polish sculptor Wladyslaw Hasior (1928 – 1999) and public sculptures located in Elblag, a city in northern Poland. Below there is a part of this article and I only add that many of the artworks mentioned there are (unfortunately) still falling into decay.

Lukasz Gorczyca is a curator, a writer and a co-owner of the Raster Gallery.
Blog [PL] Gallery [PL/EN]

Hasior – an extraordinary sculptor
Wladyslaw Hasior, who had died few years ago, was both an artist and a person fascinated by the provincial, church fete material culture. He belongs to a group of artists who had been abandoned by Polish culture about two decades ago. The value of his works has been called into question when some pointed at Hasior’s sculptures in which the legend of people’s power lived on. Perceived as an artist from the “ancien regime”, a star peculiar to the art of Polish People’s Republic. He slid (was put in fact) into the shade on the Polish art scene. That simple, or rather simplistic, histo-cultural mechanism had worked perfectly for yet another time, causing a factual harm. As Hasior, and his, to some point insane, works deserve to be treated absolutely seriously nowadays. The label of a dusty museum relic is somewhat too trivial while referring to works that have had shaped the Polish landscape (both mental as well as physical) with verve and imagination. Apart from numerous, though not necessarily displayed, works in museums (we recommend Zakopane and Wroclaw) Hasior left a number of works in public space, primarily monuments. Ranging from plain stone works (like the monument of the Tatry Mountain Rescue Team in Zakopane), to impressive sculptures incorporating water and wind (monuments in Kuznice and Czorsztyn), to experimental forms like Monument of the Shot Hostages in Wroclaw – cast in concrete in moulds dug directly in the ground and then set on fire. Fire was also the favorite element used by the artist in his “processions” and other, ephemeral, projects in public space. It was also fire that had appeared in Szczcin in 1975, when on the slopes surrounding the castle Hasior “unveiled” his new work “Firebirds”. This impressive and prodigious installation made of iron and sheet metal remained in Szczecin for good. After a few moves in the 90’s it eventually landed in Kasprowicz park on the outskirts of city center. That was the moment when its slow but gradual degeneration began.

Elblag – the untapped potential
Modern sculptures, monumental metal forms placed in city space or in parks park are, just like electricity poles, a perfect target for the junk collectors. A few years ago in Elblag those people looted a large part of the famous piece by Henryk Morel, which overlooks the city from a nearby hill. It is one of a few dozen of works made within the framework of the Biennial of Spatial Forms, held in Elblag in the 60’s. In many ways this event was pioneering on a global scale, what is more, it all resembled a utopia that came true. The Biennial was realized under the patronage of ZAMECH, the local industrial plant, and artists had worked along with plant workers building their works from scrap material. In the center of Elblag one can still see numerous modern sculptures by leading Polish artists of the 60’s. Their condition is fairly good – obviously they are being repainted every now and then. Yet for the time being, not only junk-collectors but Elblag officials as well, may call this situation “the untapped potential”. While this unique collection could be easily turned into both tourist and artistic attraction. And the effort is nominal: to prepare a comprehensive catalogue (each year, about a hundred young people graduate in Art History in Poland), print leaflets and town maps including itinerary, and conserve the sculptures. One could organize a special art project and invite contemporary artists to dust the beautiful, modernist Elblag utopia.

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The Foreign Correspondents project is probably going to be a melange of points of view. Let me present two of them: one by the ancient historian Polybius and another one by Gay Talese, an American journalist.

NOW IN EARLIER times the world‚??s history had consisted, so to speak, of a series of unrelated episodes, the origins and results of each being as widely separated as their localities, but from this point onwards history becomes an organic whole: the affairs of Italy and Africa are connected with those of Asia and of Greece, and all events bear a relationship and contribute to a single end.
Polybius (died 118 BC), on the rise of Rome (translated by Ian Scott-Kilvert)

D. Shankbone: What do you think is the reason there is this collective idea to give Americans a certain view of a place or a people that is not necessarily accurate? I think Iran is another good example, where we are consistently fed images and notions about a people and a culture that aren‚??t really accurate.
G. Talese: Or fair minded.
DS: Or fair minded. But the reality is far more interesting than the same stories we
are consistently fed.
GT: Well it involves more work. I think most journalists are pretty lazy, number one. A little lazy and also they‚??re spoon-fed information, such as the weapons of mass destruction back in 2003. It‚??s easy. There are all these lobbyist groups, these special interest groups. Each of them has a position with regard to Taiwan, for example. The anti-China lobby is very strong. Whether it‚??s the gun lobby or the Israeli lobby or the Taiwan lobby, whatever the hell it is, you have these people who create a package of news, develop it as a story line, a scenario, and they fi nd, as Mailer once said about the press, that they‚??re like a donkey. You have to feed the donkey. The donkey every day has to eat. So these people throw information at this damn animal that eats everything. Tin cans, garbage.
Gay Talese on the state of journalism, Iraq and his life. David Shankbone‚??s interview with Gay Talese. October 27, 2007

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Top row: Public sculptures in Elblag, Poland.
Middle row Wladyslaw Hasior’s monuments, all in Poland: “To those who die setting up a people’s democracy in the Podhale region”, Czorsztyn, 1966 | “To those who fought for the Polish character and freedom of the Pomerania region”, Koszalin, 1980 | “To those who fought during WWII for freedom of the Podhale region”, Zakopane
Bottom row: Henryk Morel, sculpture in Elblag, 1967 | Wladyslaw Hasior, Unveiling of the Firebirds sculpture, Szczecin, 1975 | The Firebirds sculpture in 2008, Szczecin

f13

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f13 foreign correspondents

Foreign Correspondents

wanted

F13 is starting a new project called Foreign Correspondents

Right now I am looking for artworks (or just works) which can be in a form of correspondence. If you are outside of UK and would like to send me a mail or an e-mail related to specific topic or issue please do so. There is no deadline, the topic could be anything you want to share your knowledge about.

The corridor will be transform into an editorial space and all materials will be published here, on this blog and maybe in future as a printed material, who knows…

Yours, Waldemar

E-mail contact: czas [at] free.art.pl | Mail address may be obtained by e-mail.

Please note:
– This project is not a ‚??mail art‚?? type. By sending your materials you allow for possibilities of some editorial work. There will be no deleting in your material but it the can be retype, scan, scale or put in a certain frame of design.

Who is a correspondent?

A correspondent or on-the-scene reporter is a journalist or commentator who contributes reports to a newspaper, or radio or television news, from a remote, often distant, location. A foreign correspondent is stationed in a foreign country. The term correspondent refers to the original practice of filing news reports via postal letter.

Reporter vs. correspondent

A correspondent generally includes some of his/her own perspective on the news. For example, a correspondent is expected to provide considerable context to the events being chronicled. A reporter, on the other hand, offers largely fact-based reporting.

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art artist's book Pranckiewicz

Prismatic Syntax in the New Museum’s Live Archive

The New Museum in New York hosts an exhibition called “Younger than Jesus” (April – July 2009). The show presents 50 artists from 25 countries. All of them were born after 1976. In conjunction with the show the museum’s resource centre has created the Live Archive- the presentation of selected independent publications, books related to the to the exhibition and the timeline that lists historical and cultural events from 1976 to 2009.
One of the books presented in the Live Archive is Prismatic Syntax by Waldemar Pranckiewicz. This small publication interlaces surreal images with photographs related to astronomy. There are a few plots in the book: violence, unclarity of meaning, ambiguity and interaction between elements of different images. In the broad sense this book is about subtle connections and configurations of a visual syntax.
Prismatic Syntax is available form the Miligram website and from the following places: Donlon Books, London | Raster Gallery, Warsaw | Motto, Berlin.

Bellow the Live Archive presentation. Photographs: Carolyn Wachnicki

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f13 pakolska

Pakolska – Miasto Taa’Meer Karna

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The fourth project at F13 presents stencils by Pakolska, the group interested in art, design and graffiti. The members of the group are Sabahat Nawaz, Fatima Hussain and Waldemar Pranckiewicz.

Pakolska – Miasto Taa’Meer Karna
16 November  Р14 December 2008
Concept: Waldemar Pranckiewicz

Miasto Taa’Meer Karna : City Konstrukt : Shehar the Construct

Winter is here and it‚??s too cold to go outside. This is the reason why the paper forms of stencils went on the walls the F13. They are just simple statements. And probably this presentation doesn‚??t talk too much about the city, and how it is under construction. Not because we don‚??t try, it‚??s just that those works- stencils, drawings or photographs ‘about us here’ are still in a process of emergence. In this sense all this presentation is just a form of test. To see how they look together and where they can be taken next. Maybe the better title for this show would be Stencil the Construct. This presentation is about the stencils as objects. They are three dimensional forms, full of marks and layers. And I think we can approach the city in a very similar way- city as a stencil. Inhabitants can be seen as the particles of colours. We saturate urban shapes, we transform them, and we mark the space.

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f13

Fathers

Fathers
The second project at F13
20 August 2008 ‚?? 20 September 2008

I was watching a telly with a programme for kids about Picasso. The presenter said: ‚??Father of Picasso, an art teacher, saw once his son drawing a pigeon and was so impressed that he quite art. That‚??s how he was proud.‚??

I can imagine the game of characters where you have to fill the gap and it goes like ‚??I’m most likely to be a ….. father‚?Ě.
I could say for example: ‚??I‚??m most likely to be a proud father‚?Ě.
But I can think about a few more qualities. I can be a crazy father, I can be a paranoid father, and I can be a relaxed father. I can be a father with 1001 faces.

The Fathers project in F13 will be in progress. The concept of being a father and relations towards him are in a constant change.

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Waldemar Pranckiewicz Keyword, A4, digital print, 2008.

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Jeremy Akerman, Dad, graphite and print on paper.

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Fathers, F13.

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Waldemar Pranckiewicz Double Dad, paint on the newspaper advert, 2008.

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Pilar de la Fuente Burying and unburying my father, two C-prints.

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Jeremy Akerman, Dad, graphite and print on paper.


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Fathers, F13, Bromley-by-Bow, London, 2008.

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f13

4 Rooms | 4 pictures

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