Piotr Bosacki
Am 21. März 2017 präsentiert der Kunstverein München ein besonderes Abendscreeing und Künstlergespräch mit Piotr Bosacki, als Teil der laufenden Gruppenausstellung Theatre of Measurement.
Piotr Bosacki
With the Artist's Kind Permission (2016)
Video, Farbe, Ton, 10:10 Minuten
Courtesy of the artist and Galeria Stereo, Warsaw
With the Artist’s Kind Permission
translated by Dorota Czerner
The way memory works depends on the medium, as we can see through appearances.
The following matters gather before the human eye like the successive states of a flowing river. The eye draws images of these matters inside the body and there they will remain, almost like pearls strung on the threads of memory.
Further, it is known that the work of so-called consciousness consists of observing your own gazing. That is why under this first string of memory there lies another inner eye which draws the images of the pearls on to the next, deeper string. There can be a countless number of these strings, and these eyes, since it is arguably a never-ending reflection about our own thinking.
If the strings were completely straight, as we can see here, humans would be like a copper music box that transcribes the same melody from one cylinder to another. Thankfully, the strings are wrinkled. Because of that, with one of my inner eyes, I can sift through the pearls which were initially far apart, and transcribe them next to each other on a new strand. This is how the sequences of images, and the sequences of words, seemingly outside of time, put themselves together in our thoughts, and everything depends on the coiling geometry of the strands.
There are some strands with only a small or normal flexibility. The sequences of words which arise from these are usually not very sophisticated.
There are also strands which are much too flexible. The inner eye slips over them, creating some very chaotic sequences, often close to gibberish.
Finally, there are strands which are ‘just right’. Because of this, their scrolls attain a beautiful geometry. The connections in between the scrolls lie just where they should, and wonderful sequences of words unfurl in front of our inner eye.
But all our geometric charts are useless as chaff. There are no strings in waiting, no pearls already prepared which are later going to be strung on those threads. The pearls themselves are spinning out their own thread, and the threads are cultivating the pearls in order to have sufficient justification for their own length.
Everything happened because of this fellow Newton, who was a genius, for sure, but in comparison to Leibniz, he had a simple peasant soul. Because of basic human laziness, Newton accepted the fact that space is like an empty aquarium with rulers along its edges, standing like a lonely cow in a field, while the objects inside it are moving through the inspiration of the Holy Spirit. And from that, comes the belief that coordinate systems must be motionless and still. Yet it is known that every object, every coordinate system, is spinning in wavelike motion. This is why schoolchildren should draw coordinate systems on moving pages. Sure, but our educational system could not handle it. Especially nowadays.
In which case, the paper should be glossy, so that the water can sit on it without soaking in. Now, you can draw that spiral, using a brush that is not too broad. Using only water. If the adjacent arms of the spiral are close enough, they will create fistulae where the water will be able to flow through as a shortcut.
Next, take a thinner brush and release one drop of black ink right in the centre of the spiral. That should do the trick, because the electric charge in the water’s molecules is unevenly distributed. The economy of elements.
The watercolour.
My grandmother always said that it is better to do this kind of thing, rather than lurking in a doorway swilling beer.
My friends, a work of art has a cognitive aspect. We think: “Oh, I didn’t know that matter could be organized like that!” There’s something to scratch your brain about.
A work of art also has an aesthetic aspect. Let’s not kid ourselves; just because I consider something beautiful, using my common sense, doesn’t have any significance. Thus, by being moved by a certain beauty, I experience this phenomenon: that something can be created from nothing.
Lastly, a work of art has an ethical aspect.
Our sinful deeds, which in the darkness of everyday reality seem necessary and right, in the light of abstraction, seem to be without foundation and mean-spirited.
For human beings, good abstraction is like taking off into the Cosmos.
Apparently, those astronauts who see the globe smaller than their hands, see that every single human being’s misery is smaller than one single pixel. For example, that old woman, who cheated me on the wholesale price. A market stallholder. Or some representative of the tyranny of evil who has a wider influence.
Launches into Space. Extravagance. Surely, spacesuits are the most expensive clothes in the whole world.
Existence determines consciousness, as Marx claimed. Well, a hungry man dreams of a loaf of bread, and a full man dreams of a toothpick.
I could write a technical diary. Every day, before sleep, I would write what had happened during the whole day. Every morning I would re-read the entire diary from beginning to end, to prevent it fading from memory.
With the passage of time, the diary would get longer and longer, each day I would need more and more time to read it. Whereas, I would have less time to perform any daily activities which I might describe in this diary.
Inevitably, there must come the day which I spend only reading the diary. On this day I would write only one sentence: “Today I was reading the dairy.” And that would be the end of everything.
The problem with literature is that the verses cannot be too easy, because they might offend the reader’s intelligence. Nor can they be too clever, because that might also offend the reader’s intelligence.
So… the Grace of the Lord is as fickle as the wind, and in its passport is written:
Distinguishing marks: Blue.
Eyes: None.
Piotr Bosacki
Lebt und arbeitet in Posen, Polen.
Absolvent der Akademie der Bildenden Künste in Posen.
Arbeiten in der Intermedia-Abteilung an der Universität der Künste in Posen seit 2004.
Mitglied der künstlerischen Gruppe Penerstwo.
In seiner kreativen Arbeit verwendet er eine Vielzahl von Medien und Formen, darunter Zeichnung, Animationsfilm, Installation, musikalische Komposition und Literatur.
Seine Doktorarbeit The Economy of Elements (2011) ist eine scharfsinnige Abhandlung über ein Kunstwerk und eine Sprache.
Im Jahr 2009 erfand er eine neue Filmtechnik (Film ohne Rahmen).
