8.08.2016

DZIEŃ VI

OPOLE -> METALCHEM -> PRZYWORY -> MIEDZIANA -> KAMIEŃ ŚLĄSKI -> GÓRAŻDŻE


"I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation. The parks that surround some museums isolate art into objects of formal delectation. Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art . A park carries the values of the final, the absolute, and sacred. Dialectics have nothing to do with such things. I am talking about a dialectic of nature that interacts with the physical contradictions inherent in natural forces as they are - nature as both sunny and stormy. Parks are idealizations of nature, but nature in fact is not a condition of the ideal. Nature does not proceed in a straight line, it is rather a sprawling development. Nature is never finished. When a finished work of 20thcentury sculpture is placed in an 18th-century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us. Many parks and gardens are re-creations of the lost paradise or Eden, and not the dialectical sites of the present. Parks and gardens are pictorial in their origin - landscapes created with natural materials rather than paint. The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness.
Apart from the ideal gardens of the past, and their modern counterparts - national and large urban parks, there are the more infernal regions - slag heaps, strip mines, and polluted rivers. Because of the great tendency toward idealism, both pure and abstract, society is confused as to what to do with such places. Nobody wants to go on a vacation to a garbage dump. Our land ethic, especially in that never-never land called the "art world" has become clouded with abstractions and concepts. 
Could it be that certain art exhibitions have become metaphysical junkyards? Categorical miasmas? Intellectual rubbish? Specific intervals of visual desolation? The warden-curators still depend on the wreckage of metaphysical principles and structures because they don't know any better. The wasted remains of ontology, cosmology, and epistemology still offer a ground for art. Although metaphysics is outmoded and blighted, it is presented as tough principles and solid reasons for installations of art. The museums and parks are graveyards above the ground- congealed memories of the past that act as a pretext for reality. This causes acute anxiety among artists, in so far as they challenge, compete, and fight for the spoiled ideals of lost situations."


_______________________________LOST IN METALCHEM___________________________



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NINA ADELAJDA OLCZAK









DZIEŃ V

OPOLE -> KRAPKOWICE -> OTMĘT




DZIEŃ IV

OPOLE -> MOSZNA -.OPOLE

 z Opola do Nysy, czyli jak w miarę bezboleśnie przejechać 90 km... i się nie zmęczyć...

stop in Moszna;)




--------------------------------------------- LISA BERGMANN------------------------------------







5.08.2016

DZIEŃ III

OPOLE - > CHMIELOWICE - > SZYDŁÓW - >SKARBISZOWICE - > TUŁOWICE MAŁE - > LIPNO - > TUŁOWICE 







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LAURA PAWELA


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LISA BERGMANN


3.08.2016

DZIEŃ II

OPOLE - > CZARNOWĄSY - > DOBRZEŃ - > ŚWIERKLE - > KUP - > MURÓW - >
 OKOŁY - > ŁADZA - > KUP - > DOBRZEŃ MAŁY - > RAJ 






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LAURA PAWELA






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NINA ADELAJDA OLCZAK



DZIEŃ I

OPOLE - > IZBICKO - > NIWKI - > JEZIORO TURAWSKIE - > JEZIORO SREBRNE - > OSOWIEC - >WĘGRY - > KĘPA 








2.08.2016

NINA ADELAJDA OLCZAK

Nina Adelajda Olczak - polsko-niemiecka artystka wizualna i kuratorka, pracująca w obszarze multimediów, instalacji, performansu. Urodziła się w 1980 roku w Polsce, w wieku 20 lat przeniosła się do Niemiec, gdzie studiowała historię sztuki, język angielski oraz sztukę. Ukończyła Arts and Design University w Karlsruhe. Była kuratorką festiwalu „Transmission Karlsruhe-Athens", w ramach którego wydarzenia artystyczne odbywały się w live streamingu pomiędzy dwoma miastami. Jej wielokanałowe projekcje i instalacje składają się na osobliwą introwertyczną narrację koncentrującą się wokół tematu tożsamości.
Brała udział w licznych wystawach zbiorowych i indywidualnych, m.in.: „Pied-à-terre, One Night Only", Zürich; „Athens Biennale" curated by Contemporary Art Showcase Athens, Transmission Art Festival Karlsruhe-Athens, Karlsruhe/Athens; „Akcja Wioska" UND#8 Artfestival, Karlsruhe; „Born 1980 in Poland", Fokus Videokunstfestival, Nikolaj Kunsthal, Kopenhagen; „Pilot's Fall", Schnongs Festival, Dessau; The National Centre for Contemporary Arts, St. Petersburg, RU