11/10/2017 Trafostacja Sztuki, Szczecin Igor Krenz presents solo show by Grupa Budapeszt Tadzio. The Shadow Equation
Following the exhibition Sanyofikacja. Cud reprezentacji at the Muzeum Sztuki in Łódź, Budapest Group continue exploring the 2½ dimension. They look into the structure, rules of action and aporias of the world, which has existed for centuries in parallel with the three-dimensional world we have known and which has been theorized and practiced by dozens of scientists and artists, from Tycho Brache to Ken Jacobs. The 2½D world is a two-dimensional world that constantly produces illusory 3D objects. And vice versa: it is a world of three dimensions which camouflages 3D objects by flattening them and merging them into the background. The exhibition in Łódź focused on a two-dimensional world leaning towards a 3-dimensional one. In Szczecin, the Group takes up the opposite direction, starting with the familiar 3D world and reducing it by half a dimension to show a number of camouflage strategies. The exhibition features several new works by Grupa Budapeszt, from sculptures and paintings, through films and objects, to light and sound installations. Edwin A. Abbott writes in one of the opening sentences of his book Flatland: A Romance of Many Dimensions: Imagine a vast sheet of paper on which straight Lines, Triangles, Squares, Pentagons, Hexagons, and other figures, instead of remaining fixed in their places, move freely about, on or in the surface, but without the power of rising above or sinking below it, very much like shadows – only hard and with luminous edges (…).
If, according to the above, flatland is a land of shadow that is not cast by a body, the land surrounding Tadzio at the exhibition in TRAFO is the world of bodies that deprive each other of shadows. It may be viewed as a territory of perfect camouflage, a place where all heterogeneous elements fit so perfectly that it is impossible to distinguish them from one another. Others may perceive this area as puzzles – an arrangement of components with one possible configuration in which none of them is redundant. Both interpretations are right since every object in the 2½D reality has a double identity – it is both itself and the camouflage it provides for other object that can conceal itself in such camouflage in a precisely defined relationship with the first object. In other words, each orange half has only one other half to match. It drifts towards the second half, to stopping in it, to stillness and fulfillment. Needless to say, the other half is not the other half of the same orange, but an empty space to which it “clings” and becomes invisible. The words quoted above could be paraphrased in the following manner: Imagine Lines, Triangles, Squares, Pentagons, Hexagons, and other figures unable to move about in space, since they immediately begin to create new shapes and connections with other figures, thereby losing their identity. Imagine a space in which they remain static and so perfectly adjacent that nothing else can fit into it, including a ubiquitous look.
Grupa Budapeszt presents solo show by Igor Krenz Sanyofikacja. The Miracle of Representation
Sanyofikacja (Sanyofication) is a process which draws on the idea of television transmission. It is also an operation that enables transmission of images over long distances, as well as a machine capable of changing the dimensions in which an object is placed and subjected to the process. Between the existence and non-existence extends the whole range of intermediate states, among which the spectrality is only one of the most obvious ones. These intermediate states of existence and non-existence appear and disappear as the transition between dimensions proceeds from the second to the third.
Igor Krenz is an artist whose work often exemplifies his search for paradoxes of the so-called new media. This time, the exhibition at the Muzeum Sztuki in Łódź, presents two works in which a seemingly innocent and accidentally found object of culture becomes a basis for the exploration of complex relationships between the abstract and the figurative, material and immaterial, poetry and prose, object and background, and, even, between art and curatorial activity.
One day Krenz came across a collection of scientific books entitled "Mathematical Morphology in Remote Sensing", which were filled both with texts and illustrations. They were offered at a reduced price so he bought a whole pile of them from which he then "produced" ten videos, one sculpture, two installations, four paintings and a mural. As a result, all the illustrations became artworks and the book became a catalogue for an exhibition. We are dealing here with translation, multiplication, but also with a multi-level game with what contemporary art is about. The artist interweaves the mathematical concepts of with post-conceptual ideas, as a result of which creates witty comments about the world of Art.
Apart from "Mathematical Morphology in Remote Sensing" Igor Krenz got into possession of the scheme of integrated television circuits produced by no longer existing brand of Sanyo company. The scheme proved to be full of existential problems, references to the dark side of reality. It revealed subjects such as depression on one hand and euphoric states on the other. This inverted "ready-made" process is the one in which the found curatorial text generated work. The artist assumed that television is a process. The TV makes us see something that ‘is not’. Krenz used the metaphor of the “perhaps existing” 2½D world. It is s a concept of something that is not fully three dimensional but surely not just flat either. It is a problem considered only on a theoretical level, all attempts to resolve it in reality would border on madness.
Many theosophists and artists of the first avant-garde or founders of abstract painting, have often been interested in the concept of “the fourth dimension”. It is a view of some kind of world that would be related to ours just like our world would relate to two dimensional one. “The fourth dimension” was a theory that allowed to combine what is spiritual with what is scientific. Similarly, Igor Krenz imagines the creation of the final two-dimensional object on the Sanyo TV screen as a process that takes place in “the two and a half-dimensional” world. In the world where objects are shaded, though light is falling on them, their spatiality is, to a degree, doubtful.
Igor Krenz. Sanyofikacja. The Miracle of Representation exhibition is related to a wider project exploring the world, whose existence is determined by two and a half dimensions. The 2½D world is a two dimensional world that constantly produces illusory 3D objects. And vice versa – it is a world of three dimensions which, by flattening and merging into the background, camouflages 3D objects. While at the sister show of the Grupa Budapeszt [Budapest Group] in Trafostacja gallery in Szczecin, the starting point was the well-known three-dimensional world which reduced itself by a half, showing a number of strategies for its camouflage, at the exhibition in Łódź the starting point was a two dimensional world that swung towards the 3D world.
The two-dimensional technical patterns themselves become scores that orchestrate the world they are part of. Hence, it is only a step away from asking about the generative aspect of modern technologies, about their status of specific notations, the collection of executive instructions that may bring technology beyond the level of its usefulness. What happens if every item found becomes a notation to which in order to read it we simply need to find the key? These and other questions about the fundamental issues of artistic production and the hidden meaning of reality will be answered by Igor Krenz himself supported by curatorship of Grupa Budapeszt.
Inconsolable Ghost, Barbara Kinga Majewska, Daniel Muzyczuk and HenrykZastróżny & Łukasz Jastrubczak
Cinema as building and cinema as art. Perhaps also cinema as idea or at least cinema as abstract form of narration expanding beyond moving image with sound. Cinema as space and cinema as part of experimental music festival. Cinema as point in Sokołowsko's centre with characteristic arcade and typo stating „Zdrowie” [en. „Health”]. Surroundings as preposition pointing towards all those traces and oscillating around possible emancipation of some of the artistic practices rooted in the history of the tenth muse. Surroundings also as word referring to local topography, the history of town, referring to „before” and „after” of the period called „History of Cinema”. Finally surroundings as suggestion of seeing beyond the linear directedness of movie projection on the screen.
In other words, „Cinema Surroundings” is a program of three loosely associated events dedicated to all the above mentioned possible semantics of „Cinema” and „Surroundings”. The common ground for the three performances consists of the fact that all of them will take place within the framework of a music festival and in the very same building of the cinema in Sokołowsko. Together they can be a form of hommage to a place as well as hommage to a ramified positioning of sound in cinema. Together they may also stand for a scattered and unsystematic narration of cinema's peripheries – territories of possibly autonomous areas of arts. Chronologically speaking, the first of the territories was established in the end of 19th Century with the rise of tableaux vivants, a form which in Sokołowsko will find its 21st Century incarnation prepared by Barbara Kinga Majewska. Sound cinema or film for the ear or music to non-existant movies are only few among a number of terms to grasp the idea of music taking over the entire audiovisual film experience. Maybe not as old as tableaus vivants, it has a documented history of at least eight decades and some of the features of this history will for sure resound in the performance of artist Łukasz Jastrubczak and foley Henryk Zastróżny. Performance of Inconsolable Ghost can be introduced as an occult version of expanded cinema, a fully audiovisual experience, in which sound is not just meant to accompany the image while the image is not only constrained to the framework of the cinema screen. Members of the ensemble will expolore the building's architecture in an process of channelling.
Michał Libera / Barbara Kinga Majewska – Emphysema
Michał Libera – composition, libretto, recordings
Barbara Kiga Majewska – composition, arrangement of tableau vivant, voice
Gerard Lebik – sound design
Tableau vivant can be literally translated as „living image”. In times of early cinema it also meant a specific art form which was all about staging genre scenes by actors whose task (certainly impossible to fulfill) was to remain still throughout the performance. Some historians see tableau vivant to be a prefiguration of cinema not only because early films were actually shots of similar genre scenes but also because in both cases it was all about living characters constructing scenes of illusory character. „Emphysema” refers to these traces only indirectly. It will be a sonic take on tableau vivant based on the last finished novel by Franz Kafka called „Josephine, the Singer, or the Mouse Folk”. The writer conceived it while being in sanatorium in a state of terminal throat tuberculosis and emphysema, when pain was so overwhelming that he stopped speaking and which finally lead to his death of starvation. The novel will serve as dramaturgical axis of tableau vivant built on two photographs from sanatoriums specialized in healing tuberculosis. First one depicts patients taking „Luftkur” – air treatment – everyday ritual lasting for hours and being nothing less and nothing more than simply breathing fresh, mountain air, supposedly a cure for the disease. The other photograph shows a woman under heliotherapy – a treatment of directing sunbeams into a wounded throat by means of an assembly of mirrors.
Łukasz Jastrubczak / Henryk Zastróżny – Music to a Non-Existant Movie
Łukasz Jastrubczak – Hammond organ
Henryk Zastróżny – foley
Film made of sound only. Performance of Łukasz Jastrubczak and Henryk Zastróżny is one more excursion into early cinema. For number of reasons. Despite early cinema is considered to be silent (controversial thesis), it is a film strip which enabled artists from Dziga Vertov to Daphne Oram to work on sound's early forms of reproduction as well as first attempts at its synthesis. Sometime in between these experiments, a cult-status film of Walter Ruttmann called „Wochenende” (1930) was produced – the first known film without image. It can be argued that it was already then, roughly twenty years before the offical term „music concrete” was established, when foleys were using some sort of acousmatic listening in which acoustic source had nothing to do with an audible effect. Contrary to this well established and still raving music genre, Henryk Zastróżny and Łukasz Jastrubczak will try to use sound and sound only to build cinematic narration, checking semantics and visual features of sonic reality. Henryk Zastróżny will deliver a soundtrack using his foley experience while Łukasz Jastrubczak will improvise to the soundtrack. A project had been conceived for CCA „Zamek Ujazdowski” (curator: Agnieszka Sosnowska), yet by an intervention of force majeure has never been realized.
Inconsolable Ghost – Sokołowsko Channelling
Hilary Jeffery – tromboe, voice, electronics
Zsolt Sőrés Ahad – viola, voice, electronics
Gideon Kiers – computer, electronics
In his 1970 book called „Expanded Cinema” Gene Youngblood defined one of the features of the genre by referring to artistic practices leaving behind the „objecthood” of art and drifting towards environments in which certain, not always controlled and intended events and actions occur. In this sense, expansion of cinema means that the focus of attention cannot be limited to cinema screen and can include various ways of projecting sound, choreography, scenography, audience behaviors and others. In case of Inconsolable Ghost it also means turning a cinema into a space of spiritual seance of audiovisual channelling. The history of tension between cinema and ghosts is again quite old and definitely older than the history of expanded cinema. Not unlike tableau vivant, the earliest history of cinema is full of paranormal activities, the most obvious of which were characters on screen gaining its second life, either after death life or life parallel to their everyday existence. Cinema from its beginnings had something of an occult machine to it and until today there is a strong trend in experimental cinema to relate to that – from the famous „Flicker” by Tony Conrad (1965) to „Capitalism: Slavery” by Ken Jacobs (2006) which are just a couple of exemples of films reaching out to unknown realities.
1. Grupa Budapeszt in Seoul. A piece called "Moro" will find its way there for the exhibition called "Silence" curated by Giuseppe Ruffo. Nothing more can be said about this piece except maybe that the word "moro" comes from polish abbreviation of „materiał odzieżowy roboczo-ochronny” (en. clothing textile for work and protection). It stands for textile covered with camouflage colored pattern and is used by infantry, navy, militiamen, firebrigades, skauts and many others.
2. The other contribution goes credited as "I Timpani You" and is a personal sonic postcard prepared for "Tweet Your Postcard" project by the very same Giuseppe Ruffo. A bit like the dead man Gherasim Luca sitting in the window of my kitchen with his legs hanging down and writing a poem for the dead man Luciano Cilio standing straight some twenty meters below him and imagining his never written opera.
Save the date now more details to follow 13/08: Cafe Oto, London George Brecht, "Symphony No. 5" w./ Apartment House 19/08: Sanatorium of Sound, Sokołowsko Cinema Surroundings w./ Inconsolable Ghost, Henryk Zastróżny, Łukasz Jastrubczak and Barbara Kinga Majewska 02/09: Cinema Le Casino, Vence Witold Gombrowicz, "Cosmos" w./ Tomasz Nosinski, Le Quan Ninh, Ingar Zach, Jacqueline Sobiszewski 28/09: Muzeum Sztuki, Łódź Two and Half D. The Miracle of Representation (working title) w./ Grupa Budapeszt (Igor Krenz, Michał Libera, Daniel Muzyczuk) 29/09: Sacrum Profanum, Kraków George Brecht, "Symphony No. 5" w./ Apartment House 11/10: Trafo, Szczecin Two and Half D. The Equation of Shade (working title) w./ Grupa Budapeszt (Igor Krenz, Michał Libera, Daniel Muzyczuk) 21/10: Donaueschinger Musiktage, Donaueschingen Minor Music w./ Eugene Chadbourne, Barbara Kinga Majewska and Alex Waterman 18-25/11: Huddersfield Contemporary Music Festival (details TBC) PRES 70th Anniversary related series of concerts, exhibition and lectures w./ Thomas Lehn, Małe Instrumenty, Michał Mendyk, Daniel Muzyczuk, Jacek Sienkiewicz and Valerio Tricoli