On that day, three presentations were proposed:

The first of them was presented by Kana Fukushima? Japanese performer, who also deals with installation, taking up topics related to nature (including the situation of women) in her art. From the beginning to the end, the action was conducted in an atmosphere of concentration, tension and silence. The action became a kind of a mystery in which the audience froze in the process participated. The performance, full of moving, suggestive gestures and symbols, has become a moving image of the progressive degradation of nature, and thus of man. Fukushima entered the place of operation without haste, which was previously piled up with earth and a branch of a flowering tree. She took off her shoes, and when she approached the ground, she began to experience her with her hands and hair in a gesture of bow. Then, leaning on a branch, she bit off its leaves and flowers, and then lying on her back, she tried to keep the branch in balance, placed in her mouth up to her throat. Unable to do it to the end, spasmodically twined around the branches, it made a circle in the ground? mandala. The situation became the source of the artist's suffering, her personal victim on behalf of ourselves, and at the same time a beautiful, metaphorical image. From the statement sent by Fukushima: "The Earth is angry for the aggression and destruction caused by the state in which man is the lord of all things, development and evolution, and hears the cry of the sun."

Fausto Grossi is an energetic artist originally from Italy and currently living in Spain. His work is based on artistic interventions and actions in public space. The artist's presentation in Piotrków was based on the artist's film and photo documentation of the performed activity. The author's commentary was arranged in a situation similar to the "cook on the screen" programs. In 2001, Grossi produced pasta with the visual identity of the Bilbao Museum of Contemporary Art, which he then sold in a nearby souvenir shop in packets marked? Cuestion de pasta? (? Pasta question?). The action was met with immediate legal steps taken by the lawyers of the respectable institution. The artist revealed to us the corporate nature of the contemporary world of culture. Using the example of an institution that is primarily to promote art, he showed its commercial, fair? character, dealing in gadgets and souvenirs, fiercely defending its corporate identity. Grossi drew attention to the double meaning of the word? Pasta? in Spanish -? pasta? and? cash, money ?. In this case, money has become more important to the contemporary art institution than the artist's sober diagnosis and action. ? Fried? Grossi's questions to us: where does art begin and end? How to define what we call artistic freedom?

A speech by Jakub Palacz? a graduate of the Academy of Dramatic Arts in Krakow, theater actor and playwright, it was a kind of improvisation. ? Free Style Performance? became a kind of artistic intervention taking place in front of the audience in an American film? a typical, banal story from the sensation genre, a bit of fantasy, "killing". The peculiar game played by Jakub Palacz started at the very beginning, with the display of a computer game interface provoking participation? inviting viewers to action. With the film's soundtrack muted, without changing the course of individual scenes, the artist created his own dialogue background, playing the role of a voiceover? DJ serving us a performance with Jean Cloud Van? Dammem in the lead role. The meaning of the film has been completely changed. By sticking to the image of a computer virus, the Smoker exposed the paradoxes of contemporary pop culture, the shallowness of the cultural industry, its grotesque, absurdity and ridiculousness. The hybrid, created in front of the audience, turned out to be nothing real, just a performance, despite the blood flowing on the screen.

texts: Student Research Group of the Faculty of Visual Education (Katarzyna Gwoździk, Karina Madej, Alicja Pertkiewicz, Urszula Skrok? Wolska, tutor - Maciej H. Zdanowicz, MA)

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