Small Apocalypse, 2023

meteorite, prepared MacBook, optical lenses, laboratory table, loudspeakers dimensions: 120/60/80 cm

The heavily destroyed, but surprisingly sill functional laptop plays looped movie about the meteorite fall. The movie was shot using a scanning electron microscope and shows micro scale images of the small chunk of the real iron meteorite. The very same meteorite is presented on the table. The viewers can observe it through the custom set of optical lenses.
Since the dawn of time, human gazing at the night sky has been accompanied by cognitive insufficiency. Before we realized the infinity and unfathomability of cosmic phenomena, we tried to create ordo ex chaos: the calculations of the ancient Egyptians allowed us to predict solar eclipses, Pythagoras listened to the harmonia mundi, and the Copernican revolution proved that the logic of the movement of celestial bodies can really affect the social and ideological order. However, the narcissistic nature of the space studying mind was occasionally disturbed by irregularities in the form of asteroids or meteorites. The nomadic trajectories of these objects fascinated with their anarchy and unpredictability. "Shooting stars" became the source of more phantasms and myths. However, did the development of (terrestrial) civilization and the advancement of knowledge in the first half of the 21st century significantly change our approach to these objects? Both contemporary science and Hollywood pop culture seem to still base their aspirations on the Kantian category of the sublime - a mixture of rationality and emotions, experiencing fascination and horror. This moves us into the area of ​​aesthetics, reflection on the phenomena of sensual perception. The actual meteorite fragment used in this project was placed in a vacuum [from which it actually came] to be examined by SEM [scanning electron microscope]. The resulting images were used in a very unusual way to create a short film. The standard SEM research procedure has been dramatized here ad hoc, successive stages of enlargement, instead of cognitive satisfaction, paradoxically intensify anxiety, and knowledge becomes an irrational source of danger. The way the film is presented is also quite unusual. It is displayed on a completely destroyed but still working laptop. A large burned crater in the computer’s case suggests a catastrophe caused by a meteorite debris impact. The laboratory setting and mechanical repetition of the film further enhances the post-apocalyptic perception of the work.

Robotic Curator, 2022

laptop, electronic components, microcontrollers, DC motors, servos, batteries, digital camera, aluminium construction, dimensions: 50/40/130 cm

Robotic machine built to replace human curators.

Who is the contemporary curator? Researcher or creator, producer or rather negotiator? Is it possible to assign his powers to a machine?In theory, we can use practically limitless robotic computational power and memory to precisely program aesthetic choices. Or even more – we could use it to analyze and predict artistic trends. All that without subjectivity, politics, institutional entanglement, and celebrity.
Robotic Curator was created with one main purpose - to visit galleries and museums and evaluate exhibited artworks. It does that using a specially designed artificial sense of aesthetics. It is based on a unique perception matrix, custom built by the artist. The matrix simplifies images from the onboard camera and converts them to a pattern, which further is compared with the built-in artwork database. The evaluation process is the result of these associations combined with data from the matrix. The calculated artistic value is displayed on the big meter mounted on the robot's body. The robot also expresses his judgment by displaying text messages, speaking, and in extreme situations vibrating. The level of his judgmental attitude can be easily changed by turning the big knob.
Observing the Robotic Curator in action forces us to rethink our own mechanisms of processing images into internal discourse with all the complex contexts, subjective perspectives, and visual literacy. Its seemingly simple alien mind and awkward body carries a huge load of irony aimed both at artworld and technology.

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 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 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 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 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 its 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 its actions when taking their photo.

Self Enlargement, 2019

used cardboard cutting boards, robot with microscope, steering panel, laptop, LCD screen, dimensions: 200/150/200 cm

The installation allows viewers to navigate the robot with the microscope on the surface of the cardboard cutting mats, which in the past were used to execute artistic works.
By changing the scale to micro, looking at the notes and traces of activity becomes an exploration of a landscape reminiscent of another, alien reality.

The artist not only gives a glance at his creative process, which resists the Western tradition of displaying the final form of a work of art. Though, his experiment-based art is largely due to inspiration with scientific methods based on tests, errors, analyzes and multiple thought processes. For Jasielski, however, playing with optics ironically brings the aspect of contemplating the power of artistic gesture.

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 “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 anthropomorphizethe 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. 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 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.

Lewiatan, 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 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 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 profiles, masonite, loudspeakers, table, dinnerware, audio equipment, dimensions: 100/350/70 cm

An interactive device generating low earthquakes, controlled by a knob manipulating the force of shakes.

Earthquake Control Unit allows anyone to produce, experience and even play with an earthquake. This object reproduces very low frequency sound waves recorded during an actual quake in California.

The work was created during an artistic residency at the Montalvo Arts Center. It is located on the outskirts of the Silicon Valley, in one of the most seismically active regions of the world. Since quakes of varying strenght are almost everyday there, this element is a real threat that evokes very emotional reactions.

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 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.

Technical Drawings, 2017

paper, glue, graphite grease, dimensions: 20/500/150 cm

Paper chain seized with graphite grease

The object belongs to a series of works madein situ, which form is inspired by machine elements. This is a pawky kind of technical drawing, rising to a three-dimensional form, using graphite grease on paper. A technological element is used in an absurd way, denying its original function: grease, as opposed to its typical appliance, acts as a binder in this case. Technical Drawings demonstrate a remark of the relationship of art and engineering, in the form of an object taken from the field of technology subjected to artistic analysis.

Drawings and sketches, 2019

paper, pencil, ink, watercolor, various dimensions

An inseparable part of creating art by Jasielski is the visualization of the idea with drawing. Traditional technique is not, however, the closing of the process of imagining the final version of the work, but an additional level of variation on the subject of technological design.The stage of preliminary preparation of creative work, therefore, broadens the real technical and engineering possibilities for the artist. Sometimes it also becomes an absurd, impossible to implement, vision.



Bio - download Bio

Born 18.02.1970 in Poznań


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


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


2014 – Post-technological experiences. Art-Science-Culture, Poznan, Poland
2016 – Technarte, Bilbao, Spain
2018 – Artobots, CODAME, San Francisco, USA
2018 – Technarte, Los Angeles, USA
2019 – Art&Science: The Future is Here, Le Guern Gallery, Warsaw
2019 – Artist Talk. Living with Machines (AI), ISEA, Gwangju, South Korea
2019 – Artist Talk: Sztuczne natury jako archiwa Antropocenu. Akademia Miasta, Malta Foundation, Poznań
2022 – Artist Talk: Hypnotic AI, ISEA, Barcelona, Spain


2018 – MOCAK, Kraków, Poland
2019 – Armenia Art Fair, Yerevan, Armenia
2019 – Rigid Paper Construction (workshops + exhibition), SIAF, Sapporo, Japan
2019 – Sztuczne natury jako archiwa Antropocenu. Akademia Miasta, Malta Foundation, Poznań

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)
2019 – Photo Robotoid (Le Guern Gallery, Warsaw)
2020 – Oracle (AT Gallery, Poznań)

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 Progress, 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)
2018 – do it (Superkurator, WI-MA, Łódź)
2019 – Lux Aeterna. Special Exhibition (ISEA, Gwangju, Korea)
2019 – Posthuman_Data (HAT Research Center/PCSS, Poznań)
2020 – Anthropocenes. Reworking the Wound (SLSA, online conference)
2020 – Of Roots and Clouds – online presentation (SIAF, Sapporo, Japan – exhibition cancelled)
2021 – The Artist Is Present (MOCAK, Kraków)