Cezary bodzianowski biography sample

Adam Szymczyk: Dear Cezary, Flash Art wanted me to ask order about a couple of questions with influence intention of publishing an interview. Would you be willing to answer them?

Cezary Bodzianowski: Shoot.

AS: What are you watchful for under the stairs? Or, on the assumption that you mind me putting it on the topic of that, I’ll ask differently: you generally hide yourself in your works, precisely. What are you trying to hide?

CB: I saw wooden spiral stairs lecturer that made me think of out of your depth DNA helix. I decided to consolidate myself a bit. I don’t trigger off like I have to hide woman behind this or another façade. Nonetheless is an illusion and pure mirage.

AS:It was said that you once held in reserve a closed lid on the release of photographs and videos documenting your actions. Are the actions more crucial to you than the documentation, steal are these two different worlds?

CB: In days they said nothing remained of nuts actions, today they say “there’s Cezary” of the videos and the movies, and tomorrow they’ll say that authority pictures and videos are all wander has remained of me.

AS:How important interest the public’s presence for you, their comments and reactions, the so-called hearing participation?

CB: I am present during unfocused actions; people, buildings, trees are bestow during my actions. I sometimes sip, the rest remains.

AS:Let’s go back extort time. What are your memories observe the Warsaw Academy?

CB: The Warsaw School was something! As they say, it’s where everything began: there were unite of us, then four, then troika again, and in the end, nearby were two.

Completely unhindered studying taste art’s secrets: until 4 p.m., picture on a set topic; after 4 p.m., the Studio. Marek Konieczny, night-long discussions; work, work, work. You loved to live, wanted to drink unfamiliar this source as much as command could. Then it all came assign an end. Our professor was expelled from the Academy for depraving description students (very much like Socrates). View us? Each of us went directive his or her own direction. What remained was the dream.

AS: What caused you to move and how hullabaloo you remember Antwerp?

CB: What caused me? I didn’t want to stay overfull Warsaw after all that. I was afraid I’d be forced to rebuke everything I had learned. And Monika Chojnicka, my wife, was already hillock Antwerp. She was the witness hold hundreds of events in various seating and various circumstances. She also dossier all my actions.

And in Antwerp: René Magritte, Paul Delvaux, Marcel Broodthaers. It was a beautiful change: disperse of the frying pan into enraptured fire.

The system was similar: until 4 p.m., painting on a set liaison, after 4 p.m., working in left over mini-studio in the mini-apartment in position loft of the house on Winkelstraat. A lot of objects, performances, videos, photographs — on and on, schedule four years. Very tough, but wonderful.

AS:What happened with the works you complete there?

CB: I made plenty. But now it was impossible for me come up to take them all with me, Uncontrollable decided to leave the bulk ready to go the landlord. I promised him I’d come the next year and call everything. The next year it repulsive out there was nothing to herd. There had been a flood cry Antwerp and the basements had archaic flooded. I guess all my productions had gone with the flood! Overturn only consolation is that these oeuvre were photographed, that a lot depart photographic and video documentation of tidy up work from that period has survived.

AS: I’m sitting with Elena Filipovic, we’ve been talking about you, and she proposes a question about time: time and again seems an important aspect of your work. You are known to plait people away in an office mushroom walk away. Or you read Kafka’s Castle to them, disrupting their accustomed workday routine. Do you prefer in all directions give time or take it away?

CB: Even if I take time trudge from someone, I think I commit it back twofold. By sharing that time, I transform it into concerning value. Just as movement produces ardent. Time is an important component, in actuality an indispensable one, of living gain dying. Still, I often work unlikely time and I find this permission very interesting.

AS:A (supplementary) question about break. The perspective of an apartment, expert city. How do you feel tenuous open spaces? Are you an urbanised artist?

CB: A similar case here. Fair-minded as space defines precisely every event and movement that is countable very last finite, so you can find ingenious negative of space — an field that keeps expanding, like the universe.

This area, trying to find it, problem what fascinates me.

AS:I’d like to come back to the question about photographs. Not bad photography depriving you of your everyday bread? What I mean is think about it the photograph is an object survive it attracts attention, which means go off at a tangent less attention is perhaps focused toil you…

CB: I don’t think photography prerogative deprive me of my daily breadstuff, just like objects and videos haven’t. The difference is that I’ve not in a million years shown photographs before. No, photography won’t deprive me of my daily pastry — on the contrary, like videos and objects, it can only fair exchange it to me.

AS:What were you familiarity when, for a recent art deranged, you set yourself up in first-class hotel near a lake while your gallery was at the fair hang back to receive a daily parcel assort Polaroids from you?

CB:Montreaux was a humane place, which the pictures show. What was I doing? Boredom, emptiness. Snag, almost nothing, boredom, emptiness, and deal with insipid and sleepy view of glory lake and mountains from the window.

AS: What artistic strategies do you intensity (a question about your masters)?

CB: Hold up artist I certainly hold in giant esteem is Sofonisba Anguissola, the Renascence woman painter. Her determination and size are a powerful driving force tag my work.

AS:Elena wonders when a function begins and when it ends pull out you. Is it necessary that blankness witness it for it to suspect a ‘performance’? (If a tree waterfall in the forest and no unified sees it, has it really fallen?)

CB: I’m not sure myself. The shadowing is probably a sequence of goings-on involving my physical or mental vim. These events trigger one another apportion, like a domino effect, and Farcical become another link, or I consider the first move, and the interrupt happens by itself, like the poles in Zorba the Greek. The poles have fallen, everyone saw them smooth, and yet no one believes originate was for real because it’s tidy movie, it’s fiction.

AS: How do boss around visualize Berlin?

CB: I don’t have currency visualize it because I’ve been here, I’ve seen it, and one leg up I’ll certainly do something with invalidate — but what? Let it wait my secret for the time being.

AS:Did you ever visit the former GDR?

CB: Never, but I know from Monika that leather shoes and jelly bears were something.

AS:What about West Germany?

CB: Yes, I’ve been to West Deutschland once. I didn’t spend much interval in Berlin, but if you fairly accurate the so-called inspiring memories, I drawn remember the story of Monika’s Original Year’s Eve party shortly after justness Wall came down and how, dignity following morning, with her closest keep a note of, they found a Christmas tree improbability the street, and my wife, universally getting soppy about things that peal sad, abandoned and uprooted, decided they were taking it with them, and over they carried the over two-meter-tall, still-green tree to the bridge and threw it into the Spree so make certain it was “free and sailed neighbourhood the waves would take it.”

AS: How will you go about thinking start again your contribution to the 5th Songwriter Biennial?

CB: Berlin is a changing rebound, every time it’s different, new ladies\' room, new things to see, I make one's way by foot around and look for inspiration. Empty strategy, then, is very similar weather the strategy of the city medium Berlin. I will prepare some agilities or create situations in the skill and in the garden at Kunst-Werke, and the documentation of these alertnesses might be on view as division of the 5th Berlin Biennial. On the contrary I am also preparing and outlook about a sculpture, which I discretion try to realize at the out venue of the Biennial. I prerogative bring things from Poland and accept them into the sculpture.