27.09

Relation from the festival: Marta Ryczkowska

The last interaction of the 21st performance festival was the perfect culmination of a four-day festival
festival. She pointed to the dominant moods of our time: uncertainty, anxiety, fear of
interpersonal contact. An important motif was the word – its weight, meaning, viscosity and
susceptibility to transformation.
The evening was opened by young performance adepts. Kamil Bednorz showed how words break away
from their meanings. He showed it on the example of inflated balloons from which we either suck
sense – then the empty words-crust remain, or we destroy them and the sense is poured into space. IN
the remainder of the monologue, Bednorz played with words, turning them into illegible gibberish. Julia Gałas
she announced: “I would like to tell you something.” Her hand was reflected on the unbuttoned fabric
immersed in black paint. Planet earth formed the tracks. Noise cut out a rectangle in the picture,
she invited individual people with a nod to come closer. The viewers’ eyes appeared
narrow misted mirror. The young performer whispered: “We have a problem.” At some point
she said it loudly. The ecological pronunciation of the work was very clear.
Tomasz Sikorski prepared a small mound of salt. He lit it with a spotlight.
He came up to him and with one smooth movement performed sirshasana, which in yoga means standing on
head. The slim, motionless silhouette and its clear shadow formed a strong sign in space. Face
of the artist blushed, blood flowed from the whole body to the head. Ania Rutkowska approached him and
she gently blew in his face cooling him. At one point, the artist spat out yellow balls.
He did this several times, rolling over the floor towards the viewers leaving shadows. He got up slowly
he leaned over the salt and began scooping it up with his hands. White gradually turned yellow and w
the air smelled of turmeric. From scattered small balls he composed the word: “JAD”. He rubbed
a mixture of salt and turmeric in such a way that it resembled a volcanic crater. When viewers
they came closer and saw that the shape of Poland emerged from it. Subtle, sensual action
Sikorski directed the reflection towards the contemporary situation in our country. Using simple ones
means expressed a strong, balanced signal of dissatisfaction. Venom and bile poison the body. Salt and
turmeric has cleansing and bactericidal properties. These substances lie on two opposite
poles. We live in a time of contempt, venom is filtered through various channels in society, it is expressed
in dislike of the Other, disregarding human rights on many levels. Sikorski postulates mental
cleansing, getting rid of remaining bile.
Jacek Lilpop’s performance also touched on the situation of contemporary Polishness, but it was much more so
journalistic character. The artist talked about his activities and unpacked the painting, entitled
“The newspaper is burning, in shame for Poland,” which had its public premiere. In terms of
the forms resembled a poster. The artist distributed matches with a thumbnail image and the text: “Oh, like me
I am ashamed “, he also said that he was not for arson. The picture had ambiguous
message and was provocative. Jacek Lilpop says about himself that he is a religious conservative who
is fighting for a place for contemporary art in the current discourse.
Timo Vialainen hung two brass bells from the ceiling. He rocked them at some point
he activated the electromagnets in them and the bells began to emit a sharp, penetrating sound.
The artist built a wall of sound. At one point, the sound of a water pump joined it.
Vialainen ran with the machine among spectators, entered the rooms of the hall and closed the door from the inside,
and then you could see the water pouring out from under them. Everything was going crazy
pace. The piercing noise heightened the mood of danger and the coming disaster. Imagination
it triggered fears related to flooding, flooding and flooding by a great wave.
The performance ended with a very subtle action with bells.
The artist stood between them again, put ear plugs on and slowly lowered brass objects until they vibrated on the floor, which muffled their sound. He turned them off. The artist skillfully controlled the mood, pointed out what strength
the auditory sphere has an impact and how easily it can activate primary human anxieties, fears and
phobias.
Paweł Korbus and Emrah Gökdemir entered the room with horse masks on their heads. Adventure with it
The type of costume began with the movie “Best Friends”, prepared by artists
according to the scenario of 10-year-old Natalia for the exhibition “Journey into the interior of the image” (Centrum Kultury w
Lublin, 2018). Since then, performers have occasionally appeared in horse costumes,
recently during “Distant limbs of the tongue. Performances “(Piraeus, Poznań, 2019). Two characters
hybrids walked around the gallery, holding hands. One of them was holding a basket of mushrooms,
gathered in a nearby forest. They offered them to viewers, saying: Meow, meow.
The introduction of this identity swirl had its other bottom. Masks were the way to go
hiding, deflating from big topics (who am I?), which made it easier to shorten the distance.
A man-horse with an invisible face can afford more because he is a half-figure
fantastic. More can be forgiven. The seemingly innocent situation began to grow over time
more invasive. Artists approached people and took them off their chairs. They arranged the viewers one by one
second, creating a monumental constellation. Baroque tangle of human bodies like the Laokon group
she froze in stillness, discomfort and anticipation. The action was similar, people felt their weight,
smell. The spectrum of experience has been expanded. Behavior of artists towards viewers
it was oppressive: they jumped on people’s backs and encouraged them to wear them. Horses riding on
people are another inversion of perspective and a manifestation of fun with identity. However, the audience does not
she opposed, let herself be inscribed in the convention, suspensefully waiting for further instructions.
The Rudger collective organized a concert in a small hall. It consisted of three elements: Zofia’s melorecitation
Kuligowska, music of Wojtek Bernatowicz and visualization. The event was based on a mesmerizing one
synchrony: image, effective play with words and their meanings, strong artist’s voice and
instruments. All parts interacted and interacted. Music video formula
it seemed a reflection of the disturbing times in which everything accelerates, connecting with
interpersonal relationships. The images pulsate like a kaleidoscope and the words swell with meanings, artists
are able to move efficiently in this thicket, selecting the most juicy specimens and
fishing out in the author’s collage. The visual and sound situation they created was not
she left no one indifferent, under a seemingly chaotic layer there was a deep question about the way
functioning in the world and sources of meaning.
The Restaration Europe Group has performed an intimate, simultaneous operation based on symmetry and
minimalist means of expression. Two elegantly dressed men stood perpendicular
to each other walls, by each of them stood a spotlit table covered with a white tablecloth, under
which was hiding. Artists made gestures that were not directed at the audience – Gordian
The stove was at the table, took off the tablecloth, took small packages out of his pocket, extracted balls from them
(expanded clay?), which he then poured into a glass platter. To see it, one had to stand close
wall. Otherwise, the movements were difficult to read. Piotr Gajda stood at his table facing in
audience page. Both positions were connected by white lines marked with chalk on the floor. It’s them
suggested that we were dealing with a symmetrical situation, although the artists’ behavior was not
parallel. Enigmatic action opened various fields of interpretation and referred to tradition
group performances – artists often appeared in suits and referred to the history of the place, in
which all started – the legendary Europa Restaurant. The group’s final performance had a nostalgic dimension, recalling old stories, charms and the elegant style of a bygone era that are already
song of the past.