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| [[File:oh rose dore.jpg]]<br>
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| TENTATIVE TITLE
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| READING IS A RAPID GUESSING.
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| GENERAL INTRODUCTION
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| I Would like to divide my thesis in two parts.
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| The first part will consist of probably 5 essays concerning following subjects:
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| the linguistic/conversation,
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| the objective/specific,
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| the metaphysical/the daily,
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| the object/material,
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| the ephemeral/disappearing/memory
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| Those are the subjects that I see circulating around my practice. Each of these subjects I would like to look close.
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| Each of those catchwords represent the way I am thinking while producing works.
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| Thinking through and writing about those subjects is helpful for me to understand the thinking process I am going through while working.
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| Within the thesis each of these subjects can be the pretext for a conversation with people who I find relevant to the topics.
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| The transcription of the conversation is a motif that I have been working with for a few years.
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| I like the way it is possible through the transcription to find the pace of the conversation, the nuances that are happening between people talking, the unexpectedness of the path of thoughts.
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| The immateriality of thoughts that become material by writing them down.
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| Second part of my thesis will be dedicated to recent progress in the developing project.
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| In Haarlem, in the Groote Keerk, there is a very old organ, it was used by Mozart in 1766 when he was passing by Netherlands, age 10, together with his father.
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| <br>He was passing by accidentally and got sick, therefore, had to stop a little bit longer. Already, a brilliant child, was celebrated, and his fame was rising.
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| Unexpectedly expanded visit was a chance for a fruitful performance, exactly in the Groote Kerek.
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| The Organ, still remains, where it was in 1766.
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| I am wondering how the meaning of the instrument changes with this kind of historical fact.
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| [[File:067a.gif]]
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| RELATION TO PREVIOUS PRACTICE
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| In my few past projects I was busy with “framing the absence”.
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| There was nothing to see, the materiality of idea seemed to be disappointing, so my practice was circulating around ephemeral, silent and invisible.
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| My medium was language, naming, identifying, comparing. The language with its ability to classify and identify was a key to most of my projects.
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| They were mostly site-specific events, tiny interventions that would play with observed reality.
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| Important was the relation between the work and the title, that would often build the tension and be the key point, “make” the work.
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| In my recent work, “Moving Places” I was thinking about the ability of medium to transmit its history by minimal intervention.
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| Thinking through the medium (marble stone) about what it stands for, thinking about the “memory of the object”, what makes “the thing” to be what it is?
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| Some of my earlier projects were also circulating around the subject of ephemerality and the problem of the documentation, so, what is the difference between the actual and the remembered?
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| What is that relation and which of those two is more important?
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| [[File:ratio.jpg]]
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| PRACTICAL STEPS
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| I imagine 5 essays created around mentioned subjects, that in the end can be reflected in the graduation piece.
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| The graduation piece can as well be seen as a final product of the gathered thoughts and the thesis as feeding the work.
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| The previous and newly created work can as well be the subject mentioned in each of the essays.
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| The way my work usually unfolds is connected to reading, watching, memorizing, asking questions, thinking through and with things I am surrounded by.
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| The influence is not always seen directly, it is not that work is “about” mentioned subjects, its more that I am hoping to bring those ideas within my work, and thats why I would like to examine those.
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| At this stage of research, I can say, I would like to gather those thoughts around myself as some sort of container with tools that can be used for further projects.
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| Also, I am expecting, that some of 5 mentioned essays might become a part of the other, so that the clear line between these subjects gets visible.
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| REFFERANCES
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| Lucretius, On the Nature of Things
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| Susan Sontag, The esthetics of Silence
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| Richard Sennett, The Craftsman
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| Lorraine Daston, Peter Galison, Objectivity,
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| Ludwig Wittgenstein, Philosophical Grammar
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| Matter and Memory, Bergson
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| '''Key words:
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| tautology,onomatopoeia,nothing,something,somewhere,nowhere,silence,repetition, ephemeral.
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| '''
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| Two opposites:
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| things that are changing constantly (many) and things that always stay the same (few)
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| along those lines.
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| [[File:screen shot.png]]
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| Looking for a square
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| is a video loop, person, filmed from the back is walking through the city. After a while it is possible to notice that the square is found in the walking. It is not there, but its there at the same time, and we could find any other figure if we wanted to. We could find any figure or any other thing anywhere. I was thinking of mathematics, which is both discovered and invented, and how we are ruling it and how it is ruling us. It is there in every thing, and we define its being. I decide to walk in this square, the square is there if I want to
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| The or=or installation consisted of:
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| video loop of a man repetitively kicking tiny stone while walking on the pavement. Camera is hold by the one who performs this action, filmed free hand. Three framed A4 prints of a black circle on white background, the circle is loosing its sharpness gradually on each of the prints. The matte board of each print is cut slightly off the middle, slightly faulty. Video loop of a man repetitively kicking brick while walking on the pavement.The camera is held by the one who performs this action, filmed again, free hand. The brick leaves marks on the pavement, while being kicked. Wooden, white, cubical forms, painted white, with each, a text on them. Texts as such:
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| kick it(stone), kick it(brick), simplified three-dimensional map, showing clearly how to get somewhere, simplified three-dimensional map, showing clearly how to get somewhere else, three points of destination, or=or, 1956.
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| 2 black vertical and horizontal forms, about 150 cm each. Black and white photograph of a child 10x7cm. A close up of a child's face, painted on canvas 15x15 cm with black oil paint. This installation was testing the ability to “read things”, the objects gathered in the space, with and without the guidance of the language, seen as the system in which we are placed, as well as testing language itself and its ability to describe.
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| Thinking about words and their relation to writing and “making world”, made me think of the system under which words themselves are ruled.
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| All the songs ever written, rearranged, was a sound installation of an opera singer singing all letters in alphabetical order. The sound was installed in the cellar of the gallery, with the speakers directed towards the vents, to get the sound operate outside, while inside, the visitor triggers the movement detector by entering the space. This work consisted also of two lists of onomatopoeic words, one of them organized as in the encyclopedia, another, forming sort of haiku. The prints were about 15x10cm.These parts were separated, but, were to be considered one work.
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| Another sound installation I have made last year was the one for the gallery in Rotterdam, called Upominki (polish for “gifts”) I have installed the doorbell with the record of 7 grammatical cases of word “upominki” read slowly with voice expressing tiredness, irritation and disbelief that this activity can bring a successful effect, in other words, there is no hope to teach foreign to this language (most of) its visitors to pronounce the name of the gallery correctly. The doorbell is now a permanent element of that space. I have decided not to write any explanation of the work, the non native speaker probably wont know what it is, unless they ask. If the visitor asks, explanation will be delivered by the person who runes the gallery. Her understanding of this piece, is how it will be delivered for a non polish visitor.
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| My most recent project “Moving places” was different from ones mentioned above. It explores the materiality of the stone, the medium of sculpting, the craft, physicality and the labour. It was created for and integrated with the space where it was installed. The work was composed of few marble stones, arranged in the garden of stone carving workshop in Bavaria. Marble stones were placed on sheets of glass found around the wooden shelter where the work was installed. There were three main focus points of the installation: the marble stone polished as much as the tools allowed the placed on the glass plate on the ground, with a photograph of the tombstone of Lodovica by Bernini under the glass plate, the “raw”, unpolished stone, placed on another glass plate and the marble dust, produced by polishing the stone, exposed on the third glass plate supported by marble stone from one side.
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| [[some things to read/some things to see]]
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