Friday, 19 May 2017, 24:00 | midnight

#85: Agnieszka Polska

Agnieszka Polska uses computer-generated media to focus on the individual and her social responsibility positioned in an intricate relationship between language, science and history. She attempts to describe the overwhelming ethical ambiguity of our time by poetic means; and the relationship between an individual and her surroundings by constantly shifting of the narrative through different scales. These melancholy journeys might depart from the laws of quantum mechanics, the female mouth, or an imperfect and fragile artifact, and soon reach the horror of catastrophes on a cosmic scale. Polska’s films take a hallucinatory form, composed largely of found, digitally manipulated images. Many of her works examine various processes of influence, legitimization or exclusion in the fields of language, consciousness and history. In order to describe these processes, Polska deliberately uses visual and acoustic stimuli to affect the viewer’s brain – in other words, that trigger a very physical feeling of being immersed in the material being watched.

What the Sun Has Seen, 2017, 7:00 min
My Little Planet, 2016, 8:00 min
Ask the Syren, 2017, 9:00 min
Watery Rhymes, 2014, 4:00 min
I Am the Mouth II, 2014, 5:30 min
The Guns, 2014, 6:00 min
How the Work is Done, 2011, 7:00 min

“Misunderstandings or erroneous interpretations are all factors, which push art forward creating new values and posing new questions. An archive – as every living organism – is alive and subject to incessant change, forever multiplying images of itself. The elements negated and rejected during the process of archivisation, later appear as the dark matter of our subconsciousness” – Agnieszka Polska

Agnieszka Polska (born 1985 in Lublin, Poland) lives and works in Berlin. Studied 2004 – 2005 at the Artistic Department of the UMCS, Lublin and from 2005 at the Graphics Department of the Academy of Fine Arts, Krakau. Agnieszka Polska is nominated for the Preis der Nationalgalerie 2017 and participates at the 57th Venice Biennale.