• zapytaj o otwarcie przestrzeni wystawowej w biurze Fundacji ARS (wejście nieopodal Galerii ZAK)

• napisz maila (hrart@jedenswiat.org.pl) lub zadzwoń (693413122), żeby umówić się na otwarcie galerii w godzinach dla Ciebie dogodnych.

poniedziałek 2.03.2009:

16:00- wernisaż Babiląd

20:00- wernisaż Klub/Galeria ZAK oraz Kino ARS

wtorek 3.03.2009:

20:00- prezentacja filmu Manu Luksch „Faceless” (Sala Kominkowa, Klub ZAK)

środa 4.03.2009:

18:00-20:00- warsztaty na temat praw człowieka dla każdego

20:00- prezentacja projektu grupy artystycznej FONTANA-FAVE–AELTERS „Grenze” (Sala Kominkowa, Klub ZAK)

czwartek 5.03.2009:

19:00- koncert Bartosza Ogrodowicza (Klub ZAK)

piątek 6.03.2009:

zakończenie STAND-UP

W dniach 3-6.03 STAND-UP będzie odbywać się w:

Galerii ZAK 10:00 – …

Klubie ZAK 10:00-…

Kinie ARS 17:00-20:00

Babimlądzie 14:00-16:00

oraz

podczas warsztatów dla dzieci na temat praw człowieka w Fundacji ARS.

STAND-UP miejsca:

Ośrodek Rozwoju Osobistego Kobiet Babiląd (ul. Bukowska 31/ 6, Poznań)

Klub/Galeria ZAK/Kino ARS (ul. Szyperska 2, Poznań)

MD in Economy at the University of Barcelona, trained as a photographer at the International Center of Photography in Barcelona with Catalonian photographer Manel Esclusa, during his exile in Barcelona in the 80s.

Brodsky is a member of the Buena Memoria Human Rights organization and the Pro-Monument to the Victims of State Terrorism Commission, which supervises and coordinates the construction of the Memory Park close to the Río de la Plata River and of the Monument to the missing and murdered during the military dictatorship.

His mnemonic work seeks to communicate to the new generations the experience of the state terrorism in Argentine in a specific way, based on emotion and sensate experience, such that the transmission of it will generate a real and profound knowledge based on dialogue among the different generations affected by the consequences of the military dictatorship.

His visual correspondences with different artists inquire about the possibility to create a language that is purely visual, which allows interpersonal communication using in a creative way the resources new technologies provide at present.

These dialogues without texts are paradoxically another aspect of the inquiry about the relation between word and image. They invite spectators to take their own conclusions and to interpret the visual exchange based on their experience and visual culture.

Good Memory / Buena Memoria

shows the personal and collective evolution of a class of the Colegio Nacional de Buenos Aires marked by two “missing” students due to the State Terrorism.

Taking into account that my brother, Fernando, disappeared during the military dictatorship in Argentina and that some of my classmates of the Colegio Nacional de Buenos Aires disappeared in those days too, my artwork is closely connected with human rights issues since the beginning. My intention is to communicate to the new generations the experience of the state terrorism in a different way such that the transmission of it will generate consciousness and memory. Photography, with its precise ability to freeze a point in time, was the tool I used for this purpose.

http://www.zonezero.com/exposiciones/fotografos/brodsky/default.html

Polska wersja:

work together since the video-performance GRENZE.

GRENZE

One of the meanings of the German word « Grenze » is the limit as a border separating two areas, which by defi – nition can be crossed.

GRENZE is a series of visual readings based on Capital by Karl Marx (part 1).

Grenze opens up a series of refl ections around capital as Marx analysed it, in an attempt to better understand it in its present form.

GRENZE is a vision of the metamorphoses of the capitalist system. It is a visual translation of «Capital». It progressively unfolds a chain of metamorphic movements. Faced with the construction of an infernal and destructive mechanism, we respond with our look, our waiting, time.

GRENZE consists of sequences called ARTIFICIAL UNITS OF DEVELOPMENT (AUD) that correspond to drawn notes made during readings of Capital.

]]> http://hrart.wordpress.com/2009/02/25/fontana-fave-aelters-fr-%e2%80%9cgrenze%e2%80%9d-video-performance-2006-wwwgrenzeorg/feed/ 0 STAND-UP fontana http://hrart.wordpress.com/2009/02/25/democracia-esp%e2%80%9c-welfare-state-smashing-the-ghetto-%e2%80%9c-video-8%e2%80%99-10%e2%80%9d-2008-wwwdemocraciacomes/ http://hrart.wordpress.com/2009/02/25/democracia-esp%e2%80%9c-welfare-state-smashing-the-ghetto-%e2%80%9c-video-8%e2%80%99-10%e2%80%9d-2008-wwwdemocraciacomes/#comments Wed, 25 Feb 2009 12:31:27 +0000 STAND-UP http://hrart.wordpress.com/?p=189 ]]> Democracia

is a work team formed in Madrid (Spain). The decision to work as a group springs from the intention of engaging in an artistic practice centered on discussion and the clash of ideas and forms of action. The fact of working in a group in itself establishes an interest in intervening in the social sphere, by means of ideas of commitment to the real.

Also Democracia works in publishing (they are directors of Nolens Volens magazine) and curatorial projects (No Futuro, Madrid Abierto 2008, Creador de Dueños). Its members (Pablo España and Iván López) were founders and part of El Perro group (founded in 1989) until it dissolved in May 2006.

The “Welfare State” project

has its origin in El Salobral, one of Europe’s largest shanty towns located on the southern outskirts of Madrid. In March 2007, the Madrid City Council and the Regional Government decided that the slum should be demolished and its inhabitants rehoused.

“Smashing the ghetto” is a single channel video installation displaying the demolition of these slum properties as if it were a sports event. The public watches the process from its seats on the stands and cheers on the bulldozers in a hooliganish style. The project turns the destruction of the neighbourhood into a show for the members of civil society. Unconcerned by considerations like the disappearance of a specific way of life, civil society celebrates the end of the ghetto as if it were a media spectacle.

Born in the Philippines in 1985 to a Persian father and Filipino mother, Shahriar Asdollah-zadeh migrated with his family in 1989 to Auckland, New Zealand, where he now resides. Shahriar’s interest in the fine arts from his childhood no doubt was influenced by the fact that his grandfather and uncle were themselves gifted artists. Learning more about his heritage, particularly regarding the persecution of his relatives in Iran in the 1980′s for their belief in the Bahá’í faith, fanned the flames of Shahriar’s desire to use the arts to raise awareness of social issues.

His most recent artwork www.worldartcollective.org has been broadcast on national TV, and featured in major daily newspapers, and magazines.

Shahriar launched www.worldartcollective.org in march 2008, the website that has become the vehicle for raising awareness of human rights violations, injustices and persecution.

Shahriar has always been interested in the power of technology, particularly the internet, in opening broad avenues of interaction among the world’s diverse populations. He aims to engage those who have been previously unexposed to what contemporary art can achieve socially and expand beyond the confines of a traditional art gallery setting.

“Artists are now able to use global communication as a medium to express the arts. Online social programmes such as Facebook, YouTube and Flickr are rapidly growing like a living organism and millions upon millions are signing up to join these trends of modern age popular culture,” says Shahriar.

World Art Collective; Persecution of Bahai’s in Iran

Artists can create awareness through contemporary art about the turbulent times we live in, the issues and problems that plague the world collectively. In my practice I am interested in creating art that directly addresses ideas of social change and reform within society.

We live in a time when there are constant advances in communication technologies that open broad avenues of interaction among the planet’s diverse populations. Artists are able to use this global communication and diversity of the world’s people as a tool to express the arts. I used the social internet network Facebook to collaborate with participants around the world. I empowered them by giving them the opportunity, to protest and thereby becoming participants of social action. A process took place where the artist and the participant interacted and influenced one another. The internet allows for the free expression of uncensored, unofficial, views, opinions, political, social dialogue and interaction. The internet has proved to be a useful tool for artists seeking an audience outside conventional art-world settings. This is what interests me a medium of art that cannot be controlled but is free and accessible for a large population of the world to view at a click of a mouse. I have always been interested about the power of social communication technology within the internet and watching it evolve. Now on line social programs such as Facebook, YouTube and Flickr are rapidly growing like a living organism and millions upon millions are constantly signing up to join these trends of modern age popular culture. Artists have the chance to exploit and tap into this popular culture phenomenon within their creative practices and reach out to new audiences and like minded people through cyber space.

I created a website http://www.worldartcollective.org. This is my platform where I created awareness about the issue of human rights violations, injustice and persecution. What I am interested in is the Universal Declaration of Human Rights, Article’s 18, 19 and 26 in particular. I directed my artwork to a specific minority group. The group is the Bahá’í community which is being oppressed and persecuted by the fanatical regime governing Iran.

I have used the power of the internet and e-mail to create a global network of the world’s people—a demographically diverse group have thereby come together to participate in this world wide artists’ collective. I left it open for anyone who was on Facebook to join my world wide collective and participate in this project in collaboration with me. To date more than 1750 people have joined the group and I have received photographs and text messages from around the world from people who are concerned about the injustice and human rights violations directed at the Persian Bahá’í community in Iran.

The artwork evolved through the conversations that have been taking place creating awareness about the persecution of Bahai’s in Iran. This was generated from the instructions I posted on www.worldartcollective.org. It is the individuals from around the world making a conscious decision to participate and thereby educating their friends, families, co-workers, associates and strangers about the persecution, injustice and oppression that plague our world. The conversations and interactions between people talking about the persecution is the artwork and the photographs and text messages are a documentation of that event. It was a worldwide collaboration of hundreds and hundreds of people. The artwork thereby becomes a symbol of a time based event that happened over a course of several months around the world.

Over the year my work has dealt with the issues of Human Rights and Persecution through several bodies of artwork. I wanted to explore what could be achieved through the different contemporary mediums of practice and how it could influence aspects of the year long project. These were done through, photography, sculpture, video, installation, sound, internet websites and communication technology (e-mail and text messaging.)

In essence, I have used modern age technologies to communicate an idea of collective unity, justice and human rights through contemporary art.

Sarawut Chutiwongpeti was bor in Thailand. He graduated from the Department of Fine and Applied Arts at Chulalongkorn University in 1996. Since graduation, he has been working as a media artist with Cyber Lab at the Center of Academic Resources, Chulalongkorn University. He works in the realm of contemporary art and is interested in revealing the unexplored facets of experience. In 1998-2009, he secured funding and traveled as a visiting artist/researcher to several countries such as: Canada, the United States of America, Denmark, Finland, Norway, Sweden, Slovenia, Slovakia, Hungary, Croatia, Austria, Italy, Germany, Egypt, Singapore, Malaysia, Korea and Japan.

24 hours

“ALL AROUND US ARE RACIAL AND TRIBAL, WAR, BORDER, PHENOMENON,TRAGEDY, VICTIM, CONFUSE AND CONFLICT. HOW ARE WE TO INTERPRET THESE — SIGNS OF THE TIMES — IN THEIR PROPER CONTEXT?”

The goal of this work is to investigate the expressive possibilities of conceptual visual language and to develop Collaborative New Art as part of both Contemporary Art/Contemporary Global Structure and the Technological Civilization in which we live today. I am especially interested in finding out how contemporary art can enhance the distribution of information and foster a profound universality in the human nature and cross-cultural artistic and critical collaboration. The meaning of the very possibility to enrich contemporary art may also come into question. In my inquiry, I am guided by the following set of questions: Are sensations-reactions to contemporary art still significant today? In what way and how can contemporary art theory and practice address and help solve today’s global problems? And finally, Can contemporary conceptual art disclose the corrupted social values in mega polices and create a bridge between the present and the future generations?.

Sarawut Chutiwongpeti

urodził się w Tajlandii. Ukończył Wydział Sztuk Pięknych i Stosowanych na Uniwersytecie Chulalongkorn w 1996 roku. Od tego czasu pracuje jako artysta medialny w Pracowni Multimedialnej w Akademickim Centrum Zasobów Informacyjnych na Uniwersytecie Chulalongkorn .Jego domeną jest sztuka współczesna. Interesuje go odkrywanie niezbadanych aspektów ludzkiego doświadczenia. W latach 1998-2009 zdobył fundusze, dzięki którym odwiedził jako artysta/naukowiec wizytujący takie kraje jak: Kanada, Stany Zjednoczone, Dania, Finlandia, Norwegia, Szwecja, Słowenia, Słowacja, Węgry, Chorwacja, Austria, Włochy, Niemcy, Egipt, Singapur, Malezja, Korea i Japonia.

24 godziny

RASA I PLEMIĘ WSZĘDZIE WOKÓŁ NAS, WOJNA, GRANICA, ZJAWISKO, TRAGEDIA, OFIARA, DEZORIENTACJA I KONFLIKT. JAK TO NALEŻY INTERPRETOWAĆ-ZNAKI CZASU – W ICH WŁAŚCIWYM KONTEKŚCIE?

Celem tej pracy jest zbadanie możliwości ekspresyjnych konceptualnego języka obrazu i rozwój Nowej Wspólnej Sztuki jako części Sztuki Współczesnej/ Współczesnej Struktury Globalnej i Cywilizacji Technologicznej, w której obecnie żyjemy. Jestem zwłaszcza zainteresowany odkrywaniem tego, jak sztuka współczesna może rozszerzyć zasięg przekazu informacji i promować głęboki uniwersalizm natury ludzkiej oraz międzykulturową artystyczną i krytyczna współpracę. Sama możliwość wzbogacenia współczesnej sztuki również może być kwestionowana. W moich poszukiwaniach staram się odpowiedzieć na następujące pytania. Czy odczucia-reakcje na sztukę współczesną nadal coś znaczą? W jaki sposób teoria i praktyka sztuki współczesnej może rozwiązać aktualne światowe problemy? Jako ostatnie pytanie: czy współczesna sztuka konceptualna może obnażyć zdewaluowane wartości społeczne w megapolis i zbudować most pomiędzy obecnym i przyszłym pokoleniem?

]]> http://hrart.wordpress.com/2009/02/20/sarawut-chutiwongpeti-th-%e2%80%9c24-hours%e2%80%9d-net-art-project-httpwwwchutiwongpetiinfo/feed/ 0 STAND-UP sch http://hrart.wordpress.com/2009/02/20/lucilla-kossowska-pl-%e2%80%9c%e2%80%9emade-in-china%e2%80%9d-video-6%e2%80%9933%e2%80%9d-and-series-of-3-mixed-technique-paintings-in-the-size-100x70-2008-wwwlucillakossowskaartpl/ http://hrart.wordpress.com/2009/02/20/lucilla-kossowska-pl-%e2%80%9c%e2%80%9emade-in-china%e2%80%9d-video-6%e2%80%9933%e2%80%9d-and-series-of-3-mixed-technique-paintings-in-the-size-100x70-2008-wwwlucillakossowskaartpl/#comments Fri, 20 Feb 2009 20:27:50 +0000 STAND-UP http://hrart.wordpress.com/?p=139 ]]> Lucilla Kossowska

działa w przestrzeni społecznej, reżyseruje krótkie formy filmowe, uprawia malarstwo. W 2008 zrealizowała film Made in China wyróżniony Nagrodą Prezydenta Miasta Opola. Uczestniczyła w Festiwalu Sztuki Współczesnej New Life Berlin 2008 w przestrzeni społecznej berlińskiej dzielnicy Neukoln (www.wooloo.org/artemisia) oraz w XVIII Festiwalu Mediów Człowiek w Zagrożeniu Łódz 2008.

Ukończyła ASP we Wrocławiu (podyplomowe malarstwo), Instytut Sztuki w San Francisco i Politechnikę Radomską. Członek ZPAP (Związku Polskich Artystów Plastyków”, INSEA (Międzynarodowe Stowarzyszenie Edukacji przez Sztukę) i NGA (Nyska Grupa Artystyczna).

„Made in China”

Inspiracją do filmu było stłumienie przez komunistyczne Chiny powstania w Tybecie w 2008 roku, film piętnuje hipokryzję współczesnego świata, który ze względu na ekonomiczne współzależności przyzwala na regularne łamanie praw człowieka. Obrazy są kontynuacją tej tematyki w zakresie torturowania więźniów oraz nielegalnego pozyskiwania pośród nich dawców na transplantacje organów.

Projekt ma walory edukacyjne – nie epatuje agresją ani brutalnością choć o takich kwestiach traktuje, jest liryczny i poetycki, skłania do refleksji nad kondycją współczesnego człowieczeństwa.