applied arts of gonzo (manifesto)

(by Jakub Woynarowski and Aneta Rostkowska)


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artist, curator, critic and collector ground a sect
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artist or non-artist secretly puts her/his own work into the exhibition
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artists appropriate some specific objects within the art institution recognizing them as their own work
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through the act of mediation by a number of artists the authorship of a particular work of art is deliberately blurred
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artist distributes alternative versions of her/his own (or someone else's) biography
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artist invites guests to the opening of his/her exhibition in a randomly selected art institution. the institution knows nothing about the exhibition. at the announced time the exhibition is not there and the artist is absent.
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a photographer prepares a documentation of works of some artists, presenting them in an environment the artists would not wish them to be presented
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a director of a museum organizes a large expensive exhibition that only he can see
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as a result of a secret agreement all art institutions in the same city (or country) at the same time present exhibitions of the same artist
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the same exhibition is transferred from one art institution to another within the same city
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an art institution disseminates false information concerning a single art project it organizes (many conflicting descriptions of this project)
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an art institution organizes an exhibition of random objects of different origins that it accumulated over the years (not neccessesarily art objects)
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a non-existent artist, event or art institution is being promoted in the media. the primary source of all the information is difficult to identify
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in the media art works produced by several artists are treated as created by one artist and the objects  made by one single artist are attributed to several different artists
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an (anti-)curator (falsely) claims to be a curator of a particular exhibition pursuing its own media campaign around this exhibition
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an (anti-)curator distributes alternative curatorial text or audioguide/videoguide changing the meaning of (someone else's) exhibitions
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a curatorial talk about the exhibition is being taken over by self-claimed anticurator
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the same curatorial text is being used in many exhibitions
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curatorial texts belonging to two different exhibitions (eg. taking place at the same time) are being exchanged
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something that is not an exhibition is received by the public as an exhibition. a non-curatorial text is being read as a curatorial text
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all items in the gallery space are treated by the public as works of art
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a visitor sees the exhibition from a predefined point of view - for example, an art project is going to be seen as surreal, socially engaged or abstract
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a visitor perceives a collective exhibition as an individual one, and an individual one as collective
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someone treats several independent exhibitions as a one single exhibition and several unrelated exhibitions as one single project
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art critic watches an exhibition under the influence of strong drugs and then describes her/his experience in a reviewan art critic reviews only:
1.
the exhibitions he/she did not see or
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exhibitions that did not exist or
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non-exhibitions or
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the reviews of exhibitions written by other art critics
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an art critic reviews the exhibition according to a predefined key - for example, along the formula "positive - negative - positive - negative"
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an art critic writes only non- reviews:
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creates texts consisting only of quotations
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gives his column to someone else (eg, non- critic)
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uses only visual material
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writes a texts but not related to the established theme
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an art critic is preparing her/his review in form of a cabaret, musical radio piece or videoperformance
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an art critic prepares a review of multiple use
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an art critic writes a positive review as negative (negative assesment, positive conclusion) or a negative review as positive (positive assesment, negative conclusion)
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an art critic publishes at the same time a positive and a negative review of the same exhibition
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an art critic describes exhibitions only in the way that she/he would like them to be - as a result her/his reviews are always positive
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an art dealer sells all objects in the gallery, regardless of their origin
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an art dealer provides customers with a visit to the studios of artists - in fact these are situations played by actors in a suitably arranged artificial spaces
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an art collector collects only the fetishes of the artists
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an art historian shows a marginal phenomenon as a canon and a canon of art as something marginal
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an art historian describes an alternative version of events, mixing facts and fiction
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an art historian gives lectures in the form of musical radio piece or cabaret or videoperformance



*we loyally warn that some of the ideas described above have been implemented

Corpus Delicti (sound object)


I like it here.
There is more air - and fewer flies.
I'd like to live here.
The best solution is not to alter well-proven things.
Will it really be better over' there?
What does it mean?!


A sound object inspired by Walerian Borowczyk's 'Goto – Island of Love' - part of 'Midnight Show' project during New Horizons International Film Festival.

Artists: Jakub Woynarowski, Jakub Mikurda
Curators: Katarzyna Roj, Stach Szabłowski
Voice: Ligia Branice

Corpus Delicti




























The 'Corpus Delicti' is a catalogue of surreal objects, a presentation of material evidence of artistic transgression by Walerian Borowczyk. This is a visual essay, drawing on the output of psychoanalysis and theoretical writings by André Breton, as well as a book-object referring to the elaborate 19th-century prayer books and 18th-century illustrated libertine novels.
In his article 'Crisis of the Object' (1936), Breton argued the need to create surreal objects that could become the antidote for thoughtless, automatic perception of everyday objects. He claimed that the 'mutation of function' of objects, their use to create puzzles of perception and interpretation, enables them to regain the gravitas they deserve. The 'object revolution' Breton postulated is accomplished is Borowczyk’s films – in films by the creators of 'Goto – Island of Love', objects cast off their ordinary functions, emancipate the plot and take control of the onscreen world. The book was published in Polish, French and English.

Authors: Jakub Mikurda, Jakub Woynarowski
Collaboration: Jakub Majmurek
Publisher: New Horizons Association (in partnership with: Korporacja Ha!art)

Civitas Munita



'Civitas Munita' was a site-specific artistic project executed in Cracow’s district of Podgórze by the Quadratum Nigrum collective. It was carried out within the 'Sól' project which focuses on the prevention of gentrification processes which is visible in Cracow. 'Sól' – by supporting small shop owners – also refers to the traditional guild structure which was once one of the constituents of urban identity.
The Latin term civitas munita means a fortified town and alludes to the history Cracow’s district of Podgórze which, in fact, never had its own defensive walls. The project’s aim was to symbolically consolidate Podgórze through an attempt at reconstructing the walls which existed only in heraldic images known from Podgórze’s first coat of arms. The element that was supposed to bring the district’s independence back was not an architectural barrier, but a visual identification designed especially for this purpose, which refered to traditional emblems. 
Each quarter neighbouring with Rynek Podgórski was marked with colourful flags. Emblems on these flags reflect, on the one hand, abstract forms visible in decorative floors (which constitute firm ground for us and yet stay invisible) of historic houses, on the other hand, to symbols connected with guilds.
Copies of all flags was displayed in the Podgórze town hall in a form of patchwork in which individual fragments were combined into an emblematic chessboard and, at the same time, into a symbolic map of a hypothetical urban organism.


Artists: Mateusz Okoński, Jakub Skoczek, Jakub Woynarowski 
Coordination: Monika Grula
Flags made by: Poczwarka (Irena Kalicka, Marta Sala)

Outopos












Interactive diagram 'Outopos' (a part of the Bunkier Sztuki collection) has been made as a hypertext structure that combines graphics, text and animation. In its structure it represents a concept grid into which the issue of utopia has been entered as a paradoxical ‘non-place’ (outopos). Virtual space seems to be the natural habitat of modern reflection on utopia, in a sense entering the framework of a multidimensional construct with characteristics of a new (better?) world. Constant transformation is one of the features of the diagram – through penetrating the multilayered tissue of the diagram and analysis of numerous references and conceptual relationships, the users themselves can affect the shape of the work, in more than merely its graphic dimension. This diagram, with infinite possibilities for interpreting it, easily draws the viewers in to create their own associations and (utopian) projects.

To see the whole project please visit: bunkier.art.pl/outopos

Project Curator: Karolina Vyšata
Collection Curator: Anna Lebensztejn