Oracle, 2017
metal and plywood construction, electronic components, computer, Arduino, digital camera, LCD monitor, dimensions: 550/350/550 cm

Palm reading machine foretelling  the future of the viewer.

In a perverse manner the installation brings an experience of a myth of oracle, which in an enigmatic way can predict our future. The work recalls subconscious cultural traditions such as chiromancy and ancient Greek oracle, whose foretell is difficult to verify. The whole...

Palm reading machine foretelling  the future of the viewer.

In a perverse manner the installation brings an experience of a myth of oracle, which in an enigmatic way can predict our future. The work recalls subconscious cultural traditions such as chiromancy and ancient Greek oracle, whose foretell is difficult to verify. The whole installation is a programmed machine that randomly reveals its personality – sometimes its prophecies tease the viewer directly (presenting messages like “how about a date tonight” or “you have such a beautiful eyes” from time to time). This is yet another author’s experiment with the emotionality of machines, or rather the emotionality roused in a human due to contact with a machine. The artwork also encourages reflection on trust in technology and our dependence on it, as well as the fear of its domination.

 

Paper Clock, 2017
paper, glue, dimensions 500/300/400 cm

Monumental, fully functional clock hand made entirely out of paper, without using any additional materials.

It’s construction based on a traditional clockwork movement was created experimentally with a huge amount of labour. Gravitationally powered, by paper weights it allows alternative time measuring.The project combines artists...

Monumental, fully functional clock hand made entirely out of paper, without using any additional materials.

It’s construction based on a traditional clockwork movement was created experimentally with a huge amount of labour. Gravitationally powered, by paper weights it allows alternative time measuring.The project combines artists experiments both with paper as a fragile and obsolescent matter and searching for alternative solutions in engineering work with the machine. In this case clock, that is supposed to be a tool for precise measure of reality, is practically useless: it tells the time incorrectly and its dial is impossible to read. Furthermore, contrary to the tradition, it is not a lifelong clock because of the impermanence of paper, so the life expectancy is impossible to determine.

Its sense, conditioned by the denial, is an exemplification of the resistance towards the homogeneous development of technology and fitting men into rationality schemes.The ironic game of “resistance to the system” by knowingly committing an error fosters searching for new solutions.

Photo Robotoid, 2016
custom built robot, digital camera, laptop, printer, LCD monitor, custom steel body, dimensions 120/120/200 cm

A photographic robot with a built in choice making capability taking portraits of the audience.

Controlled by a custom software robotic arm it operates a DSLR camera with mechanical shutter release. All photos taken are immediately printed and dropped on the ground. Kinnect operated body and movement identification allows the user to pre...

A photographic robot with a built in choice making capability taking portraits of the audience.

Controlled by a custom software robotic arm it operates a DSLR camera with mechanical shutter release. All photos taken are immediately printed and dropped on the ground. Kinnect operated body and movement identification allows the user to precisely point the camera and take a perfectly composed portrait. However, because of it’s settings, the Robotoid seldom takes photos we normally consider to be usual. Carefully chosen parameters of the program steering the robot change constantly, making it’s actions different from a normal machine behaviour. However, unlike the human photographer it suddenly switches it’s attention from one object to another, releases the shutter at unexpected moments and concentrates on “less important “ actions and details.

What also makes taken photos very unusual is people's behaviour in front of a camera which is not operated by a person. They are much more natural and less posed. They are naturally driven into a specific game when they act and move in front of the robot, trying to influence it’s actions when taking their photo. 

 

Emotions Control Unit, 2015
wooden cabinet, electronic components, Arduino micro controller, voltmeters, dimensions: 80/70/170 cm

This installation is trying to negotiate nostalgia of the simple machine designed to resemble early radio receivers with typically human emotions. Based on the custom built wooden enclosure, equipped with distance and touch sensors, and the microphone it uses especially created program reacting to behaviour of the viewers in the gallery, and &ld...

This installation is trying to negotiate nostalgia of the simple machine designed to resemble early radio receivers with typically human emotions. Based on the custom built wooden enclosure, equipped with distance and touch sensors, and the microphone it uses especially created program reacting to behaviour of the viewers in the gallery, and “showing its emotions” on set of meters. Viewers can switch on and off sets of sensors responsible for three dimensional seeing, touch and hearing and change the machine's behaviour and fine tune the particular “emotions”. In addition machine's 'emotions' make them react emotionally.  Viewiers anthropomorphize the machine by acknowledging its human feelings. This model holds that words such as ”anger”, ”sadness”, ”fear” etc. describe unique mechanism, which is triggered by discrete mental states, leading to unique, measurable outcomes. In this view exist a limited number of biologically determined basic emotional processes, which considering specific form, function an a cause, are different from mental processes like cognition or perception.

The project is the latest continuation of the Control Units series of works.

Analog immigration, 2013
Copper mesh, steel, oscilloscope, steel cabinets, signage, immigration forms, stamp, immigration personnel, dimensions: variable

Analog Immigration is a specific back-in-time travel to the period when there were no digital devices. Viewers can experience the analog era – a place devoid of constant internet access and cell phones. The copper mesh and steel structure, like a Faraday cage, block and filter electromagnetic signals including wi-fi and mobile networks. Ad...

Analog Immigration is a specific back-in-time travel to the period when there were no digital devices. Viewers can experience the analog era – a place devoid of constant internet access and cell phones. The copper mesh and steel structure, like a Faraday cage, block and filter electromagnetic signals including wi-fi and mobile networks. Additionally, every person entering the show is being asked to leave all digital devices at a checkpoint at the entrance.
This work supports the viewer with a kind of a respite from modern technologies, surrounding nowadays all their senses. It can become a shelter, but also a space of deprivation, where we loose orientation due to decline of stimulus, that very often regulate our everyday experience.

Paper Bridge Over Stone River, 2012
paper, dimensions: 550/130/60 cm

Fully functional bridge made entirely out of paper. The design was created basing on the traditional Japanese bridges built at the entrance to the temple grounds. It is a kind of a test for architectural, physical capacity of material, which is dealing rather with symbolical communication than the material one. In the same time it is worth seein...

Fully functional bridge made entirely out of paper. The design was created basing on the traditional Japanese bridges built at the entrance to the temple grounds. It is a kind of a test for architectural, physical capacity of material, which is dealing rather with symbolical communication than the material one. In the same time it is worth seeing the function of connecting people and objects. While presentation viewers were invited to have a walk and test the strength of the construction.

Object was created during artistic residency at Tokyo Wonder Site in 2012.

Leviathan, 2013
MDF board, subwoofers, audio equipment, self made electronic circuits, movement sensors, dimensions: 780/210/90 cm

The Leviathan project combines the artist’s search in the realm of technology and sound with his fascination with the utopian visions of the world dominated by machines. It is an attempt to create an artificial electronic organism showing the features of a living creature. The object is covered with a sensors reacting to motion an...

The Leviathan project combines the artist’s search in the realm of technology and sound with his fascination with the utopian visions of the world dominated by machines. It is an attempt to create an artificial electronic organism showing the features of a living creature. The object is covered with a sensors reacting to motion and emits various sounds and vibrations as a result of interaction with the audience. Leviathan contradicts the privileged position of a human being as regards technology and the utilitarian use of the machine. It grants the machine its own subjective identity. This unique object takes up a game with the economics of desire too. Unlike devices and gadgets purchased on a mass scale, which are to improve our lives or provide entertainment, Leviathan remains non-assimilated and in its own way – passive. It is an “alien/other”, a thing coming from a different order of reality, unpredictable and self-controllable.

Installation causes air oscillation, changing the way the space is sensed by viewers. Both, the title and the form of installation refer to bible monsters, forecasting the catastrophe.

Global Warming Control Unit, 2010
humidifiers, aluminium, rigid PVC boards, water tank, electric fixtures, dimensions: 300/350/500 cm

Interactive machine producing fine fog in an intention to reduce global warming effect. Clouds are increasing sun rays reflectivity lowering the temperature. This experiment emphasizes the meaning of art for transforming of both everyday life and global experiences. It is also an ironic comment on the role of the Science in the world dominated b...

Interactive machine producing fine fog in an intention to reduce global warming effect. Clouds are increasing sun rays reflectivity lowering the temperature. This experiment emphasizes the meaning of art for transforming of both everyday life and global experiences. It is also an ironic comment on the role of the Science in the world dominated by the logic of technology, in which functionality and rationalization have are of commercial nature. Project was based on the idea of American and British scientists.

Earthquake Control Unit, 2004
steel, masonite, audio equipment, table, dinnerware, dimensions: 100/350/70 cm

Interactive device producing small scale earthquakes using very low frequency recording of the seismic wave. Viewers were encouraged to play with it using wall mounted knob. The project was realized in one of the most seismic active spots on the planet, nearby San Jose in California.

Interactive device producing small scale earthquakes using very low frequency recording of the seismic wave. Viewers were encouraged to play with it using wall mounted knob. The project was realized in one of the most seismic active spots on the planet, nearby San Jose in California.

Earth Rotation Speed Control Unit, 2003
steel, plywood, car winch, battery, digital prints, dimensions: 320/250/250 cm

The machine is able to slow down the Earth's rotation, making the day longer by a very small fraction of a second. The important part of a project is a physical theory explaining influence the object has on the planet and referring to every kind of human activity, including art. The tool designed by the artist can be also understood as an attemp...

The machine is able to slow down the Earth's rotation, making the day longer by a very small fraction of a second. The important part of a project is a physical theory explaining influence the object has on the planet and referring to every kind of human activity, including art. The tool designed by the artist can be also understood as an attempt to influence global course of events and simultaneously is a kind of the gesture of auto denunciation – revealing that art means experimenting in the name of measurement, verification and interpretation of cultural, geographical and physical phenomena.

Contact

mail: przemoj@zero2.pl
Represented by LeGuern Gallery
www.leguern.pl

Bio

Born 18.02.1970 in Poznań

Education:

Sculpture at Academy Of Fine Arts in Poznań 1989-1994
Master degree/diploma 1994 sculpture in prof. Jan Berdyszak studio and drawing in prof. Jarosław Kozłowski studio

Most important scholarships and awards:

1995 – President of Poznań Prize for a young artist
2004 – CEC ArtsLink Fellowship
2013 – Grant from Polish Minister Of Culture and Heritage
2013 – Visiting Polish Scholar, Cleveland State University, Cleveland Ohio

Residencies:

2003 – The Gallery, International Artist in Residency Center, Guernsey, Great Britain
2004 – Lucas Artists Residency in Montalvo, California, USA
2010 – Gyeonggi Creation Center, South Korea
2012 – Tokyo Wonder Site, Tokyo, Japan
2013 – Creative Fusion Residency, Sculpture Center, Cleveland Ohio, USA

Selected solo exhibitions:

1994 – To hear the sound of an angel wings and to measure it (Academy of Fine Arts, Poznań)
1997 – Sounds of my room – installation (Potocka Gallery, Cracow)
1998 – To see the sound of an angel wings (Laboratory Gallery, Warsaw)
1999 – To see the sound of an angel wings – Hollywood version (Potocka Gallery, Cracow)
2003 – Earth Rotation Speed Control Unit (OPTICA Centre for Contemporary Art, Montreal, Canada)
2003 – To see the sound of an angel wings – anatomical version (The Gallery, International Artist in Residency Centre, Guernsey, Great Britain)
2004 – Earthquake Control Unit (Lucas Artists Residency in Montalvo, California, USA)
2006 – Hi-Fi (Oko/Ucho Gallery, Poznań)
2006 – White Noise (AT Gallery, Poznań)
2008 – Ukukula (Munandi Art Center, Lusaka, Zambia)
2009 – Drawings Of Something Completely Else (Le Guern Gallery, Warsaw)
2010 – Global Warming Control Unit (Gyeonggi Creation Center, Seongamdo, South Korea)
2011 – Opportunity (Skolska28 Gallery, Prague, Czech Republic)
2012 – Paper Bridge Over Stone Water (Tokyo Wonder Site, Tokyo, Japan)
2013 – Analog Immigration (CSU Galleries Cleveland Ohio, USA)
2014 – Leviathan (Le Guern Gallery, Warsaw)

Selected group shows:

1992 – Project Istropolitana (Bratislava, Slovakya)
1993 – Ideas without ideology (CSW Ujazdowski Castle, Warsaw)
1996 – Generation 96 (BWA Gallery, Katowice)
1998 – Partie 6 (Drewen, Germany)
2000 – New Media Art from Poland (Oldenburg, Germany)
2004 – Nature of/and art (Bunkier Sztuki, Cracow)
2007 – At last, Something new! Collections of Modern art from Malopolska (National Museum, Cracow)
2008 – 8784h Project (X-RAY Gallery, Luboń)
2011 – Not In Place (CSW Ujazdowski Castle, Warsaw)
2012 – Drawings Of Something Completely Else (BWA Zielona Góra)
2013 – Black Suns (Wschodnia Gallery, Łódź)
2013 – Transnature Is Here (Malta Festival, Poznań)
2013 – homeMade (CSW Łaźnia, Gdańsk)
2014 – Post-Technological Experiences. Art-Science-Technology (Zamek Culture Centre, Poznań)
2014 – Machined Senses (The Sculpture Center, Cleveland Ohio, USA)
2015 – Nonsense Technologies, Przemysław Jasielski & Rainer Prohaska (MONA Inner Spaces, Poznań)
2016 – Apparat. Retrogression through technological process, Przemysław Jasielski & Rainer Prohaska (The Sculpture Center Cleveland Ohio, USA)
2016 „L’arte differente: MOCAK al MAXXI” MAXXI - (Roma, Italy)
2017 – Not To Be Seen, Przemysław Jasielski & Rainer Prohaska (WRO Art Center, Wroclaw)
2017 – Draft Systems (WRO 2017 Biennale, Wroclaw)
2017 – Nonsense Technologies (MOCAK Museum of Contemporary Art in Krakow, Kraków)