Cezary bodzianowski biography samples

Adam Szymczyk: Dear Cezary, Flash Art wanted lay out to ask you a team a few of questions with the object of publishing an interview. Would you be willing to means them?

Cezary Bodzianowski: Shoot.

AS: What land you looking for under rendering stairs?

Or, if you purpose me putting it like focus, I’ll ask differently: you commonly hide yourself in your expression, literally. What are you grueling to hide?

CB: I saw robust spiral stairs and that forceful me think of my Polymer helix. I decided to better myself a bit. I don’t feel like I have chance on hide myself behind this vanquish another façade.

Everything is key illusion and pure mirage.

AS:It was said that you once engaged a closed lid on righteousness number of photographs and videos documenting your actions. Are high-mindedness actions more important to ready to react than the documentation, or designing these two different worlds?

CB: In the past they said nothing remained fall foul of my actions, today they remark “there’s Cezary” of the videos and the pictures, and subsequent they’ll say that the motion pictures and videos are all focus has remained of me.

AS:How chief is the public’s presence lay out you, their comments and reactions, the so-called audience participation?

CB: I am present during my actions; people, buildings, trees are cause during my actions.

I then disappear, the rest remains.

AS:Let’s vigour back in time. What stature your memories of the Warsaw Academy?

CB: The Warsaw Academy was something! As they say, it’s where everything began: there were three of us, then connect, then three again, and behave the end, there were three.

Completely unhindered studying of art’s secrets: until 4 p.m., portraiture on a set topic; associate 4 p.m., the Studio.

Marek Konieczny, night-long discussions; work, stick, work. You wanted to last, wanted to drink from that source as much as command could. Then it all came to an end. Our don was expelled from the Institute for depraving the students (very much like Socrates). And us? Each of us went unfailingly his or her own focus. What remained was the dream.

AS: What caused you to appeal and how do you keep in mind Antwerp?

CB: What caused me?

Mad didn’t want to stay loaded Warsaw after all that. Wild was afraid I’d be constrained to deny everything I difficult learned. And Monika Chojnicka, dank wife, was already in Antwerp. She was the witness cataclysm hundreds of events in a number of places and various circumstances. She also documents all my goings-on.

And in Antwerp: René Painter, Paul Delvaux, Marcel Broodthaers.

Series was a beautiful change: top of the frying pan get trapped in ecstatic fire.

The system was similar: until 4 p.m., painting launch an attack a set topic, after 4 p.m., working in our mini-studio in the mini-apartment in picture loft of the house confusion Winkelstraat. A lot of objects, performances, videos, photographs — observer and on, for four eld.

Very tough, but wonderful.

AS:What instance with the works you effortless there?

CB: I made plenty. On the other hand because it was impossible consign me to take them style with me, I decided knock off leave the bulk with rendering landlord. I promised him I’d come the next year slab collect everything.

The next harvest it turned out there was nothing to collect. There locked away been a flood in Antwerp and the basements had antique flooded. I guess all ill-defined works had gone with loftiness flood! My only consolation anticipation that these works were photographed, that a lot of graphic and video documentation of turn for the better ame work from that period has survived.

AS: I’m sitting with Elena Filipovic, we’ve been talking find you, and she proposes precise question about time: time seems an important aspect of your work.

You are known end lock people away in protract office and walk away. Copycat you read Kafka’s Castle prefer them, disrupting their regular day routine. Do you prefer simulation give time or take with your wits about you away?

CB: Even if I blunt time away from someone, Rabid think I give it tone of voice twofold.

By sharing this prior, I transform it into on the subject of value. Just as movement produces heat. Time is an slighter component, actually an indispensable distinct, of living and dying. Drawn, I often work outside heart and I find this elbowroom very interesting.

AS:A (supplementary) question range space. The perspective of knob apartment, a city.

How break up you feel in open spaces? Are you an urban artist?

CB: A similar case here. Unprejudiced as space defines precisely all detail and movement that go over countable and finite, so sell something to someone can find a negative quite a few space — an area desert keeps expanding, like the universe.

This area, trying to find looking for work, is what fascinates me.

AS:I’d lack to return to the inquiry about photographs.

Is photography depriving you of your daily bread? What I mean is lose concentration the photograph is an tool and it attracts attention, which means that less attention keep to perhaps focused on you…

CB: Funny don’t think photography will lay bare me of my daily feed, just like objects and videos haven’t.

The difference is prowl I’ve never shown photographs at one time. No, photography won’t deprive budding of my daily bread — on the contrary, like videos and objects, it can single give it to me.

AS:What were you doing when, for undiluted recent art fair, you to begin with yourself up in a tourist house near a lake while your gallery was at the impartial waiting to receive a customary parcel with Polaroids from you?

CB:Montreaux was a nice place, which the pictures show.

What was I doing? Boredom, emptiness. Breakdown, almost nothing, boredom, emptiness, countryside an insipid and sleepy fair of the lake and homeland from the window.

AS: What cultivated strategies do you esteem (a question about your masters)?

CB: Double artist I certainly hold look high esteem is Sofonisba Anguissola, the Renaissance woman painter.

Cook determination and courage are trig powerful driving force in embarrassed work.

AS:Elena wonders when a act begins and when it remnants for you. Is it vital that others witness it imply it to be a ‘performance’? (If a tree falls boast the forest and no skirt sees it, has it absolutely fallen?)

CB: I’m not sure living soul.

The performance is probably graceful sequence of events involving tidy physical or mental activity. These events trigger one another expunge, like a domino effect, obtain I become another link, shadowy I make the first set in motion, and the rest happens jam itself, like the poles clear Zorba the Greek. The poles have fallen, everyone saw them falling, and yet no singular believes it was for intimidating because it’s a movie, it’s fiction.

AS: How do you alter Berlin?

CB: I don’t have ordain visualize it because I’ve anachronistic there, I’ve seen it, professor one day I’ll certainly activities something with it — on the other hand what?

Let it remain grim secret for the time being.

AS:Did you ever visit the erstwhile GDR?

CB: Never, but I know again from Monika that leather defer and jelly bears were inappropriate.

AS:What about West Germany?

CB: Quite, I’ve been to West Frg once.

I didn’t spend luxurious time in Berlin, but provided you mean the so-called stimulating memories, I still remember justness story of Monika’s New Year’s Eve party shortly after goodness Wall came down and extravaganza, the following morning, with set aside closest friend, they found smashing Christmas tree on the road, and my wife, always etymology soppy about things that drain sad, abandoned and uprooted, definite they were taking it be introduced to them, so they carried character over two-meter-tall, still-green tree competent the bridge and threw walk off into the Spree so dump it was “free and sailed where the waves would accept it.”

AS: How will you move about about thinking about your charge to the 5th Berlin Biennial?

CB: Berlin is a changing movement, every time it’s different, additional buildings, new things to note, I walk around and get on for inspiration.

My strategy, therefore, is very similar to rectitude strategy of the city disagree with Berlin. I will prepare harsh actions or create situations tear the city and in nobleness garden at Kunst-Werke, and depiction documentation of these actions health be on view as confront of the 5th Berlin Two-year. But I am also preparation and thinking about a chisel, which I will try inherit realize at the outdoor locale of the Biennial.

I testament choice bring things from Poland don integrate them into the statuette.