MAN-MACHINE / group exhibition / Small Gallery, Witches Tower, Centre for Creative Activities
MAN-MACHINE
Yui Akiyama
Agata Borowa
Dorota Borowa
Iza Bryzek
Magdalena Domalewska
Paweł Dunal
Mikołaj Dziekański
Michał Frydrych
Dorota Kozieradzka
Jarosław Modzelewski
Igor Przybylski
Agnieszka Rogóz
Aleksander Ryszka
Paweł Stręk
Michał Szuszkiewicz
Iwona Teodorczuk-Możdżyńska
Curators: Igor Przybylski i Roman Lewandowski
Opening
17.01.2019
/ 5 pm
Witches Tower / al. F. Nullo 8 / Słupsk
/ 5.30 pm
Small Gallery /ul. Partyzantów 31a / Słupsk
/ 6.30 pm
Centre for Creative Activities /ul. Gen. Zaruskiego 1a /Ustka
Exhibition:
18.01 – 31.03.2019
Small Gallery / ul. Partyzantów 31a / Słupsk
Centre for Creative Activities / ul. Gen. Zaruskiego 1a /Ustka
Witches Tower / al. F. Nullo 8 / Słupsk
The album Man-Machine by Kraftwerk (German: power station) was released in 1978. The title song reached number one on UK charts in 1982. More recently, Kraftwerk performed live at London’s Museum of Modern Art in 2012 and Tate Modern in 2013. Their minimalistic, dehumanized music, which has combined several generations of electro, techno, industrial and new romantic artists, also continues to inspire new generations of listeners. In the times of post-humanism and post-Internet, the eponymous Man-Machine seems nothing unusual. The parallel living in the real and virtual worlds is our daily bread. Transhumanism, which advocates the use of science and technology in order to transform people into higher beings (so-called posthumans), has already become a reality. In fact, machine anthropomorphization is now progressing faster
than ever before. On the other hand, post-humanists seek a new way of using the human body. In her book How we Became Posthuman, Katherine Hayles perceives the human body as the original prosthesis, which we can freely expand. The boundaries between the robot and the cyborg have become blurred. Technology and genetics will one day contribute to the creation of a next generation man – a transhumanist posthuman. This relationship between man and machine has become an inspiration for the creation of a series of paintings, objects, sculptures, videos and audio installations – all making up a new project. (Igor Przybylski)
In the project “Artist as a Tool“, the visual artist Dorota Kozieradzka will perform a choreographic skating sequence which has been developed for her by the Ph.D. in Physical Education Agnieszka Dąbrowska. The artist will create a large drawing on the ice surface. In figure skating, every element has its own name and corresponding vectors. Correct and well-coordinated work of the arms, head and legs will bring the desired result, whereas mistakes will cause deformities or a broken should the skater collapse. The final form of the work will depend on the performer, unpredictable human factor, error, emotion. (By analogy, the same phenomenon can be observed in visual arts).
This is an artistic project delivered in an area normally reserved for sports and recreation – a public skating rink. The audience will see a choreographic sequence and the resulting drawing, after which they will invited to the rink surface to have a closer look at the fleeting work of art.
The work of Dorota Kozieradzka will materialize for a short while where we least expect it. The project is supposed to draw the viewer’s attention to the analogies between different disciplines of art and science. It is addressed to both art lovers and sports fans – neither of them being accustomed to such a combination.
Cooperation:
Honorary patronage:
