1. Michał Brzeziński: „Pamięć wirtualna”
    (18.02-2.04.2010)
    http://www.mok.olsztyn.pl/public_html/czytaj/322

    Video "Virtual Memory" confronts the experience of family and historical memory with the world of modern media, which become not only a metaphor, but an extension of the nervous system. It's kind of
    psychoanalyst's couch, which is shrouded in mists disintegrating story.
    Narratives, which are woven foundations of our identity, a kind of software are imposed on us in an arbitrary manner by the social context and its historical legitimacy. Software implanted in us by family history, sets the boundaries of the world, with whom we have to face. Background art involves the recovery of freedom / ... /
    Narrative nature of this work is somewhat related to the aesthetics of the film document, and archive home movies, but the same picture resembles a corrupted interface 8-bit games. The operator is freed from the inheritance. The system is anarchy - a dangerous utopian dream for society and for artists.
    - Michał Brzeziński

    # vimeo.com/13396022 Uploaded 321 Plays 4 Comments
  2. http://www.galeriaff.infocentrum.com/rob2.html
    FILM REFERRED TO THE CICLE OF WORKS OF JOZEF ROBAKOWSKI.

    # vimeo.com/9206076 Uploaded 420 Plays 6 Comments
  3. I think in art the most interesting subject was allways question to try express something what can't be present in matter of expression. Emotions in writings, movement in sculpture, 3d in painting etc. If we can find many relations between photography or cinema and expression of movement (time) there is almost not present at all dealing with the 3d space. Art history can miss something then because we are going very fast into the 3d tv era, so then these questions can be too banal! So it is the last moment to find artworks that could be continuation of the basic ideas of cubism in the video art. To deal with 3d space i have used the interlace - technical arifacts that are connected with the old tv screens, and PAL standard, based on cathode in the age of lcd and plasma screens! Interlace together with the distortion of the image creates illusion of 3d in the old style TV. If we look back on the art context the screen in art installations was allways part of the space but the content of the image was allways flat. Even if any video was based on 3d also then the final effect was point of view for the 2d camera! So i was trying to express emotional, 3d landscape of the shipyard seen through the fluids of memory, and portrait of the noise of these fluids in the brain and blood in the veins. We are the moist media!

    # vimeo.com/11373556 Uploaded 972 Plays 10 Comments

Michal Brzezinski - "building philosophy through the images"

michal brzezinski

Michał Brzeziński (born in 1975) is an artist whose education in the field of culture studies
influences his understanding of video art and marks it with the elements of theoretical discourse. For
that reason, his video, following the works of Mirosław…


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Michał Brzeziński (born in 1975) is an artist whose education in the field of culture studies
influences his understanding of video art and marks it with the elements of theoretical discourse. For
that reason, his video, following the works of Mirosław Rogala or Wim Wenders, can be seen as a
kind of theorizing about the role of the media in contemporary culture.
The aesthetics of Brzeziński's works is based on three strategies of constructing images.
Namely, direct cinema, found footage and closed-eye vision, which all relate to the styles of filming
and creating the particular mise-en-scene. Direct cinema has roots in documentaries and is
concerned with "capturing reality". Found footage, makes use of the readymade materials and
closed-eye vision, the concept coined by Stan Brakhage, is a kind of inner, mental and spiritual
vision.
Therefore, Brzeziński's AV 60' turns into a journey leading across the above dimensions of
motion pictures. Starting from the abstract "inner visions", the spectator travels through the images
existing in the various types of the audiovisual media, up to the heart of reality recorded with a
digital camera. Formally and ideologically, the road marked out by Brzeziński always runs outwards
– from the inner world to the outside reality, from the source to the infinity.
n this way, Brzeziński's concept of "video identity" is born. It is here understood as a set of
information processed in the mind of the artist – the observer of reality, and received by the viewer
– the addressee of the artist's message. Hence, "video identities" are to some extent a form of selfnarration
generated by Brzeziński in his process of filmmaking, observing the world through the lens
of digital camera, falling under the influence of the audiovisual media and personal "inner visions".
Such process of formal development to be noticed in Brzeziński's works can be summarized in the
following way. Brzeziński's projects focus on the subjects of contemporary, postmodern culture who
are in the constant search of information, meanings or pleasure provided by the visual and
audiovisual media, such as photography, film, video, TV and the Internet. Brzeziński's art is situated
in this vast area and, therefore, touches upon the problems of a man struggling with reality as
presented by the media.

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