We are very sad that this year it is impossible to meet you at the LAZNIA CCA. But don't be heartfelt: watching the final films of the 14 IN OUT Festival together is still possible.
We have invited all the artists who qualified for the competition to meetings during which they will present their work and themselves. The meetings will be held at zoom and will also be available to the public.
Links to meetings and film blocks presented at the Festival will appear on the event website: FACEBOOK/INOUT
14 IN OUT FESTIVALU 2020 / TIMETABLE
12.12.2020 SATURDAY
12.00-21.00
BLOCK 1 / Review of competition films / Youtube
Architecture is here, where are the people?
Karolina, Balcer, Iwona Ogrodzka , The place which could become
Pamela Breda, The Unforeseen
Aurèle Ferrier, Transitions
Jakub Słabek, Sceny Architekturalne
Daniel Zagórski, Deszczowe divertimento
12.00-21.00
BLOCK 2 / Review of competition films / Youtube
Architecture as a medium?
Om Bori, Berlin Zoo Station Simulacrum
Karolina Zaborska, Obliczenia rytmu czasoprzestrzennego. Miasto
Laure Catugier, Blank
Piotr Wyrzykowski, Manhunt 2.0
Daniel Burkhardt, Semiotics of the City
13.00
Opening of Festival / Pecha Kucha / online
15.00
When I look at my life from a bird's perspective – Joanna Rajkowska on a talk with Emilia Orzechowska / online
"It's me. When I look at my life from a bird's perspective I feel a bit sorry, but I feel sorry reading almost every biography. " (Joanna Rajkowska, June 8, 2000)
An interview with Joanna Rajkowska, one of the jurors of this year's 14 ‘IN OUT FESTIVAL’, during which we will touch upon several themes related to art in public space, based on the artist's recent works. We will talk about how her projects resonate with the moods of the "street" and redefine reality, but also how art can help or hinder social dialogue. We will look at various perspectives and contexts, we will talk about what is visible "from above" and what is not visible because it is "underground". We will talk about intuition, but also about impossibility and limits, including the physical ones. At last, we will ask about hope and agency.
Joanna Rajkowska, a visual artist, born in 1968 in Bydgoszcz, lives and works in Warsaw and London. Rajkowska is a versatile artist, but her most famous works are public projects. To build them, the artist uses authentic places, energies, organisms and materials. These are places as well as passages, installations and ephemeral situations. She uses elements as diverse as plants, buildings, found objects, water and smoke. Unfamiliarizing, de-humanizing and building relationships are the methods the artist uses most often. It aims to limit human activity, multiply causative agents and human as well as non-human relations. The results of her work are both urban axes and architectural designs, geological fantasies, archaeological sites, as well as underwater sculptures. As part of public projects and beyond, Rajkowska produces films, photographs and models. Her public projects include cooperation with such institutions such as CCA Ujazdowski Castle, Museum of Modern Art in Warsaw, VII Berlin Biennale, Institute for Contemporary Ideas and Art and Frieze Sculpture. Her most famous project is Greetings from Aleje Jerozolimskie, 2002, a project that has become one of the symbols of Warsaw.
Emilia Orzechowska is a curator, producer and culture animator. She graduated from film studies at the Institute of Audiovisual Arts at the Jagiellonian University in Krakow, the Study of Culture Animators in Gdańsk with a film specialization, and art criticism at the Academy of Fine Arts in Gdańsk. Currently, she works at the Miniatura Theater in Gdańsk as a theatre producer and cooperates with 'TRAFO - Trafostacja Sztuki in Szczecin' as a curator, organizing exhibitions and her series PERFOstacja, in which logo performance and dance performances. Together with Ela Jabłońska and Wojtek Kotwicki, she co-creates the W788 Foundation, which runs residential programs in Kozielec, at kilometre 788 of the Vistula River. In her independent curatorial practice, she often refers to the history of places or people. She likes non-obvious locations and site-specific projects. In a narrative, she often refers to space creating experiences rather than presentations.
17.00
Discussion with the artists of BLOCK 1 / „Architecture is here, where are the people?”/ hosts: Piotr Czyż i Iga Perzyna / online
The films we have chosen differ in composition and the narration used by the creators. In our opinion, however, they touch upon the issue of human relations with architecture or, more surprisingly, their absence. The images express pessimism and disappointment with the modernist idea of the city, which has failed our generations. None of the film-makers have attempted to present a ‘living’ city in their work, instead they use alternative realities, archival materials or worryingly empty images of districts in anonymous cities to tell stories about the condition of reality.
These films seem to be indicative of a deep crisis in contemporary architecture, which can no longer be described in the context of a healthy relationship between humans and their environment. The architecture which for many years has created the framework of life is not presented in these films as a panacea for all the problems of the world. Perhaps with the exception of the film Sceny Architekturalne, where the narrator personally faces architecture and his role as an architect. However, this does not change the fact that the film-maker also decides to end the film with a powerful commentary referring to the illusory dogmas of modernism.
If we take modernist optimism and hope as a reference for the moods in the selected films, they are on the other side of the spectrum. Neither architecture nor man seems to be the answer to these dystopian representations. In a way, all the positions refer to the title of the film The place which could become, not exactly describing the world around us as it is, but presenting it as it could be.
We would like this film to be a starting point and a reference in the discussion of the films we have chosen. It presents architecture in a metaphorical way. Its utopian vision, step by step, turns into a space that is impossible to live in, a space that does not allow for spontaneity, a space where one can go crazy despite its advantages. This thought is duplicated by a non-literal representation of architecture, instead of buildings and streets, the film shows abstract forms referring to architectural compositions. It is as if the film-maker tried to show us that the architecture, described by the narrator, cannot be real. This combination is extremely suggestive.
The cause of the problematic relationship between humans and architecture, which is dealt with in the films we have chosen, could be seen in the obsession with cleanliness that prevails in the architectural culture. The architectural form has become so pure that its users have been excluded from the reality. It is a kind of para-Husserl reduction, which led to the reduction of architecture in the artistic thought of modernists to a geometric form. This is also evidenced by the tendency, which has been dominant for many years in the architectural discourse, to present architecture/building without the user. The selected artists in their films radicalised this attitude by presenting blatantly empty and inhuman spaces where even nature looks alienated. The question thus remains whether architecture is the culprit or perhaps the victim?
18.30
Discussion with the artists of BLOCK 2 /„Architecture as a medium?" / host: Barbara Szczepańska / online
When talking about architecture as a medium, we can ask ourselves what information we want to obtain from this medium and what information it wants or can convey to us. However, not only architecture is the medium in this context. It is also the creator himself, the equipment used by him or finally the screen on which we watch the film as a finished product. Do we assume that each of these media filters the original data, leaving its mark on it each time?
The question about the medium can also be a question about the experience/experience of architecture - as space and as a material object - and about how it is experienced by creators, researchers, residents, and finally onlookers. The decisions made by artists have a major impact on how the spectators perceive the space. The way in which we present architecture - regardless of employed means - is never "pure" and devoid of our individual interference. So the most important question is about our motivations, the goal we want to achieve and how we want to present architecture and what is omitted in the process of presentation. What is the role of the creator himself in this process? Do artists perceive themselves as observers registering reality or as active participants in it, consciously transforming what is found with the use of selected means of artistic expression?
The films presented in the second block of "Architecture as a medium" raise issues related to the fragmentation of the presented world, symbolized by architecture and the city, and its deconstruction - either spontaneous or taking place in front of our eyes at the initiative of the authors themselves. It includes both the medium used (as well as the techniques of computerized reality creation) and the very way of presenting architecture and space (short and/or fragmentary shots). Ways of presenting architecture in a variety of ways encourage us to reflect on what we are looking for in architecture? Rhythm and rules, universalism or particularity, aesthetic values, life and vitality, changes or static?
20.00
ONLINE PERFORMANCE OF PIOTR URBANIEC, ARCHITECTURAL UNCANNY / online
The title "Architectural Uncanny" alludes to a collection of essays by Anthony Vidler. The author examines aspects of architecture in the context of "awesomeness". Disturbing features of today's buildings: its fragmentary, neo-constructivist forms resembling dismembered bodies, its "seeing walls" replicating the passive gaze of domestic cyborgs, its historicity, indistinguishable from shiny reproductions are juxtaposed with the idea of alienation, estrangement- very current in the context of subsequent ones " lockdowns ". In the video work, Piotr Urbaniec, a homebody practitioner, tries to interpret fragments of Vidler's texts in the spaces familiar to him, in his surroundings, through a series of exercises and experiments, looking for the relationship between the body, memory and architecture, which he also perceives as "the body".
Piotr Urbaniec (1992, PL). An Artist practitioner, he makes art almost from nothing, experimenting with different ephemeral mediums and materials, considering himself as a lost relative of Richard Long. Currently lives and works between Warsaw and Amsterdam. In September 2020 Piotr finished two-year residency at De Ateliers (Amsterdam). Graduated from the Miroslaw Balka's Studio of Spatial Activities in Warsaw (PL), in 2018 a participant of Skowhegan School of Painting and Sculpture (USA). A resident at Residency Unlimited in New York (2016) and at Akrai Residency in Sicily (2018). Winner of Hestia Artistic Journey competition (2016), Grand Prix of Young Wolfs (Młode Wilki) competition (2014), 1 prize of In Out Video Art Festival (2016). In 2016 he made his first solo exhibition at the Ujazdowski Castle Warsaw, group shows in Poland including MoMA Warsaw, Krolikarnia National Gallery of Art in Warsaw, Center of Contemporary Art Laznia in Gdansk, BWA Katowice, BWA Tarnow, WRO Art Center, Dawid Radziszewski Gallery. His works were part of Moscow International Biennale for Young Art 2018, Yixian International Photography Festival 2017 (China), Rencontres Internationales in Paris and Berlin. Currently Piotr is working with Komuna Warszawa making project on a spectrum of performance and theatre.
13.12.2020 SUNDAY
12.00-21.00
BLOCK 3 / Review of competition films / Youtube
Architecture as a memory carrier?
Elizaveta Ostapenko, AU! AU! SHARK SOMETHING IS VERY HEAVY
Katja Verheul, Maiden
Ewelina Węgiel, Willa Rożnowskich
Laura Grudniewska, Tears On My Pillow
Jesus Maria Palacios, Labo
12.00-21.00
BLOCK 4 / Review of competition films / Youtube
Passages
Zuza Banasinska, Living and Studying Together
Deborah Perrotta, Um filme em dois atos ( A film in two acts)
Hanna Kaszewska, Pozdrowienia z Atlantydy
Mauricio Sanhueza, La Casa
Anne Linke, PIGEONS AND ARCHITECTURE
15.00
Discussion with the artists of BLOCK 3 /„ Architecture as a memory carrier?" / host: Helena Szewiola – Board Member of ANTYRAMA Foundation and Artist Director of A<FESTIVAL / online
Even though architecture can be perceived in a formal, academic way as a study of buildings and cities, it is so much more than that. It unites, represents, secures, collects and inspires. Without people, without life it is just empty structures carrying histories nobody will ever discover. People are what drives the change in architecture, what defines it and interprets it. One can hardly exist without the other, but the relationship is one of many facades.
16.30
Conversation with the artist Tanin Torabi, lead by Ula Zerek / online
Tanin Torabi طنین ترابی was born in 1992 in Tehran, Iran. She earned BA in Sociology in Tehran, and her MA in Contemporary Dance Performance from University of Limerick, Ireland. Torabi has made several award winning dance films and performances and currently works as a dancer, choreographer and dance filmmaker in Iran and Ireland. Her most recent works are The Dérive, Invisible Point, Ruby, Beyond the Frames and Immensity. She has received over 15 awards for her films to date and her works have been described by festival directors as rebellious, creative, inspiring, unbearably elegant and affecting, emblematic and poignant, empowering to women, and with an exceptional ambition that is layered with a complexity of personal and cultural nuan
18.00
Discussion with the artists of BLOCK 4 / Passages / host: Helena Szewiola – Board Member of ANTYRAMA Foundation and Artistic Director of A<FESTIVAL / online
Even though architecture can be perceived in a formal, academic way as a study of buildings and cities, it is so much more than that. It is all around us: inside and outside our homes, wherever we go, whatever we do, wherever we live. It is static in a way, though ever-changing. Filled with a rush, while frozen in time.
20.00
Anouncments of the result of the comeptition and presentation of works / Concert Marsija (Loco Star) / online
Marsija a singer, composer, songwriter, album cover artist and music video co-creator. Graphic designer and book illustrator. Leader of ‘the Loco Star’ band, which has been representing the Tri-City music scene for many years. She has been performing on stage since 2000. She collaborated with many famous and important personalities of the world of culture and entertainment. Currently, Marsija is creating her own comic book and preparing for recordings for the next Loco Star album
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MODERATORS:
Piotr Czyż - architect and philosopher, academic teacher at the Faculty of Architecture at the Gdańsk University of Technology. Academically, he focuses on the social role of architecture and the cultural background of modernism and postmodernism. Consultant at many workshops in the Tri-City area, participant in urban initiatives. Co-founder and president of Inicjatywa Miasto association.
Iga Perzyna - architecture historian, coordinator of projects that bring together cultural heritage and urban planning. She focuses on topics related to the influence of the broadly understood cultural heritage on a city and its inhabitants. Member of the Board of the Inicjatywa Miasto Association and African Architecture Matters.
Barbara Szczepańska - art historian and architecture researcher, PhD student at the Institute of Art History at the University of Wrocław. She is in process of writing a doctoral dissertation devoted to the architectural and spatial development of Opole after 1945. Associated with the Museum of Architecture in Wrocław, where she works as an assistant in the Department of Architecture and Contemporary Art (contemporary architecture section). Member of the Karyatyda Collective - an informal group of information activists whose aim is to supplement Polish Wikipedia with entries related to women of art.
Helena Szewiola - Graduate of the Faculty of Architecture at the Silesian University of Technology, where she is currently working on her PhD Thesis. She also studied at TU Dresden. Board member of ANTYRAMA Foundation since 2018, as well as the Artistic Director of A<FESTIVAL, as part of which she has been hosting a series of discussions called A<SYMETRIE. She gained her work experience at Medusa Group, Riegler Riewe Architekten, Wiencke Architekten and Studio 44STO and currently at A. Płomecki Architecture Studio. Organiser of the first TEDx at the Silesian University of Technology. Co-organiser and volunteer of countless workshops, lectures, discussions and other cultural events in Silesia. Participant of many national and international workshops. In her work she puts her focus on the social aspect of Architecture and Urban Planning.
JURY OF THE SECOND STAGE OF THE COMPETITION:
Piotr Lorens – PhD, DSc., urban planner. Lecturer in urban design and development and - since 2007 - Head of the Department of Urban Design and Regional Planning at the Faculty of Architecture, Gdansk University of Technology. He graduated as architect from the Gdansk University of Technology, and also completed the post-graduate studies (as Fulbright Fellow) at Harvard University and Massachusetts Institute of Technology. Since then he is active as guest lecturer at numerous universities, mostly around Europe. His university activities also include coordination of the research and EU Social Fund projects. Based on these projects he was responsible for organization and coordination of the post-graduate studies and international conferences related to the issues of urban regeneration and management. Besides his academic career he is also actively involved in the activities of the International Society of City and Regional Planners (at present – holding the position of Vice President responsible for the Young Planning Professionals program) as well as of the Society of Polish Town Planners – TUP (at present – President of the society).
Enrico Lunghi (b. 1962 in Luxembourg) – studied History of Art, as well as History at the University of Human Sciences in Strasbourg. He was a Scientific Assistant at the National Museum of History and Art of Luxembourg from 1991 to 1995, an Artistic Director of Casino Luxembourg - Forum of Contemporary Art founded with Jo Kox, from 1996 to 2008. He was a General Director of the Mudam (Museum of Modern Art of Luxembourg) from 2009 to 2016. He was a Curator for Luxembourg at the Venice Biennale in 1995 (Bert Theis, Potemkin Lock), in 1999 (Simone Decker, Chewing and Folding projects) and in 2007 (Jill Mercedes, Endless Lust). In 2009, he was a Curator in Venice for the French Community of Wallonia-Brussels with Jacques Charlier’s 100 Sexes d’artistes project. From 2005 to 2011, he was a President of the IKT (International Association of Curators of Contemporary Art). Curator of multiple exhibitions, he has also published numerous texts on art and contemporary artists. Since 2017, he has been in charge of studies for the Ministry of Education (SCRIPT) and at the University of the Grand Duchy of Luxembourg (IRMA). He explores the relation of contemporary art and architecture as a Guest Professor at a Master's course in architecture at the University of Luxembourg and he has organized or been involved in many projects of "art with public space" (rather than "art in public space") in Luxembourg and abroad. In 2019 he curated, a.o., the retrospective of Bert Theis Building Philosophy - Curating Utopia at Mudam Luxembourg, "Un monde, un seul, pour demeure – Sociétés et figures humaines dans les collections des FRAC de Nouvelle-Aquitaine" at the Château de Biron (Dordogne) and Celebration Factory of Filip Markiewicz at Kunsthalle Osnabrück.
Joanna Rajkowska – born in 1968, Bydgoszcz, Poland, is an artist based in Warsaw and London. A versatile artist, Rajkowska is best known for her work in public space, where she uses real-life situations, energies, organisms and materials to construct sites, installations and ephemeral actions. She utilises elements as diverse as plants, buildings, found objects, water and smoke. De-familiarizing, de-humanizing and relating are her operating devices. She is interested in the limitations and the limiting of human activities, multiplicity of agencies and human and non-human relations.The outcomes of her works range from urban axes and architectural projects, through geological fantasies, excavation sites to underwater sculptures. Both alongside and separately, she produces films, photographs and models. Most of her works happen, live and age in public space. Thus, her practice embraces all the entities involved as well as their relations, including organic and inorganic beings. Her work has been presented in the UK, Germany, Poland, France, Switzerland, Brazil, Sweden, USA, Bulgaria, Palestine, India, Japan, Turkey and Kenya among others.
Her public projects include commissions by Frieze Sculpture 2019, United Nations Environment Pogramme, European Capital of Culture Wrocław, Institute for Contemporary Ideas and Art (2014, Carpet, Sweden), Royal Society of Arts, Citizen Power Peterborough programme’s Arts and Social Change, Arts Council England, Frieze Projects 2012, Museum of Modern Art in Warsaw (2009, Ravine, Poland), CSW Zamek Ujazdowski. As well as commissions, she has realized a number of partisan public projects, most notably Greetings from Jerusalem Avenue in Warsaw (2002) which shaped the unique set of methods Rajkowska employs. The project was to become a major city landmark and has acted as a base for numerous political actions ranging from nurses’ protests to expression of solidarity with Ukraine during its invasion.