W dwóch pierwszych cz?ciach podstaw? dzia?a? performera Aleksandra Janickiego jest jego wideo: „Albion Hotel” to niepokoj?ca opowie?? o drodze wiod?cej przez puste korytarze wiktoria?skiego hotelu w Brighton. „Tokyo” to obraz wspó?czesnej metropolii.
W trakcie performance obraz zostaje poddawany deformacji – linearno?? materii filmowej zaczyna si? rozpada?. Wideo z mini projektora trzymanego w r?ku performera, nieustannie si? zmienia: drga, powi?ksza si?, duplikuje i nak?ada. Na pocz?tku realistyczny, rozpada si?, deformuje, tworz?c kalejdoskopow? mozaik?, na ko?cu b?d?c? abstrakcyjn? form? pixli w typowej dla projekcji gamie kolorystycznej RGB. Odbity przez ekran z lustrem obraz, zostaje przechwycony przez rejestruj?c? go kamer? i wyprojektowany na du?ym ekranie na scenie, stanowi?c punkt odniesienia dla muzyków.
Dynamicznie zmieniaj?cy si? obraz staje si? partytur?. Muzycy reinterpretuj? obraz w czasie rzeczywistym a linia melodyczna wp?ywa na performera tworz?c zamkni?ty kr?g oddzia?ywania.
Utwór „Cisza” to obraz video i ?wiat?a ale odbity od tafli wody. Jej migotliwa powierzchnia zaburzana interwencj? performera odbija obraz zniekszta?cony, pozbawiony realnych odniesie?, abstrakcyjny, staj?c si? rodzajem zwizualizowanej mantry.
Ostatni utwór „BlackOut” to projekcja totalna – obraz projektowany na artystów i ekran powoli, od bieli poprzez szaro??, stopniowo zmierzaj?cej ku czerni. Elementem nawarstwiaj?cych si? elementów w animacji s? mapy w formie rysunków technicznych z poziomicami, uk?adami odniesie? geograficznych, fragmentarycznych oznacze? i opisów. Ich konkretne odniesienie do terytorium traci na znaczeniu. Poprzez ich multiplikacj?, ruch i uk?ad przestrzenny, w ko?cu zag?szczenie, tworz? coraz bardziej skomplikowan? sie?. A? do czerni.
Performance audiowizualnym „Palimpsest” odnosi si? do otaczaj?cej nas ikonosfery - wizualnego ale i d?wi?kowego ?rodowisko cz?owieka. Wspó?czesna ikonosfera jest tworzona w znacznej mierze przez wytwory kultury masowej oraz ?rodki masowego przekazu. Jej wzmagaj?c? si? intensywno?? stanowi podstawowy punkt odniesienia.
Od energii, twórczej wra?liwo?ci oraz co najwa?niejsze, otwarto?ci na dzia?anie intuitywne performera i muzyków,
zale?y jak d?ugo i w jakiej formie performance zostanie zrealizowany. Jedno jest pewne: ka?de z wyst?pie? ró?ni si? od innych tak w warstwie obrazu jak i muzyki i czasu jego trwania. To dla twórców realna podró? poza czasem do której formacja HiQ zaprasza tak?e i odbiorców.
Aleksander Janicki is a graduate from the Academy of Fine Arts, Krakow (1984 -1990).
He is the author of numerous multimedia installations (both interactive and semi-
interactive) and has presented in public spaces (including the award issued in Poland
and abroad: Projections - Seated, Non Stop, gymnastics, Accession @ workers, Identity,
He is the author of and shares the artistic and para-theatrical activities in Poland and
abroad of ‘Visitor’ in a series of re-productions presented independently in Muenster,
Kassel, Venice, and the Art Forum in Berlin, Krakow, Warsaw, Frankfurt, St. Petersburg
The exhibition ‘Transmission’ was his first installation to gain exposure at three locations
during the exhibition: CSiTJ Manghha - a branch of the National Museum in Krakow,
Starmach Gallery and Gallery bumper.
Janicki’s semi-interactive installation ‘Echo’ was presented by the duration in the Polish
Pavilion Expo in Japan, 2005.
The WRO International Media Festival and the International Street Art Festival in Warsaw
staged multimedia action: Accession @ NEK 1 - Tram Stop, Bus Stop. At the invitation of
Andrzej Wajda, Janicki designed a multimedia exhibition about the history of PRL -
SocLand in Nowa Huta in 2001 and an exhibition on the occasion of the Emperor of
Japan’s visit to Krakow called ‘Multimedia Hiroshige’ in 2002.
Janicki has participated in international presentations on Polish art, including:
‘Young Art from Krakow’ at the museum Junge Kunst in Frankfurt Am Oder, 2000.
‘Visual Art - Simple Life’ – video and media art from Poland. Oldenburg, 2000.
‘Polish Days’ in Vienna, 2003.
‘Blaue Nacht’ in Nuremberg, 2004.
‘New Poland’ (Une saison Polonaise en France 2004), Expo in Japan 2005.
‘Odyssey Media and Performance Art Festival’ in Bałakława, 2006.
‘International Media Art Biennale’ as part of WRO in 2011.
Janicki is the creator of multimedia installations and paintings to contemporary music
composers such as Krzysztof Knittel, Hanna Kulenty and Tadeusz Wielecki which were
shown at festivals including ‘Musica Polonica Nova’ in both 2007 and 2008, ‘Audio Art
Festival’ in 2007 and the ‘Warsaw Autumn’ in 2008. During 2010 he began developing
interactive projections for a series of concerts called ‘Haiku’ performed inter alia, with
Rafal Mazur on bass and Tom Chołoniewskim on drums. The project comes as an
intuitive picture of the merging of music.
During his career Janicki has made a lot of set designs for theatres and public spaces.
Projects include The Common Theatre in Warsaw, them. J. Slovak, WHO and the
Bagatelle in Krakow, the New Theatre in Lodz, Theatre Posters, Grotesque in Krakow,
Harlequin in Lodz, National Museum, the Museum of Polish History, WRO Center in
Wroclaw, Wieliczka Salt Mine, Film and Theatre School in Lodz. The Institute of
Good Taste and Malopolska region staged a series of outdoor events and culinary fairs in
support of the idea of ?Polish accession to the European Union.
Janicki is the author of experimental films in the festivals including ‘New Era Horizons’ in
Wroclaw for the exhibition ‘Has-unreachable’ in 2010 and ‘Manggha’ in 2011 which had
its premiere in Paris and ‘Haiku’ for the International Audio Art Festival in 2011. Janicki
is currently involved in a pioneering project implementing a meta-film internet-based
Dziga Vertov film structure, ‘Man with Camera’ from 1929.
Janicki recently presented on the work of media for the following projects:
‘Ok.! Wyspianski’ at the Museum
Cracow's National Contemporary Art Gallery in 2008
‘The Beach’ (site specific) in the Pavilion Wyspianski, Krakow 2009
Field of view 2/Festival
Animation and New Media at CCA, Torun in 2009
‘Origami’ in the Museum of Art
I Manggha Japanese Techniques, Cracow in 2009
‘Aura’ in the exhibition
‘Hidden Decade 1995-2005’ in Contemporary Art, Cracow (2009/10),
in the Year of Chopin realized three years of the project in public space:
‘He fell piano’, ‘Accession @ NEK’ and ‘Chopin SAT’ (2010). In the current year within the
year of Czeslaw Milosz realized was installed:
‘Trace’ / at Wawel / i ‘HAIKU’ / from the National Museum in Cracow /and Camera
Obscura - the biggest such plant in Europe.
In 2011 he exhibited it at the International Media Art Biennale, WRO.
Janicki is skilled within graphics, photography, video, graphic design and set design,
interior space, in this exhibition: Hiroshige - multimedia CsiTJ Manggha, (2002) Identity
- Contemporary Art Krakow (2005/06), and finally New! - National Museum in Cracow
in 2007, ‘Hidden Decade’ in 2009/10. He is the originator and co-author of the project
multimedia Polish Pavilion at Expo 2005 in Japan and space DOJO Old City – a Japanese
martial arts Holy Mountains - the first of this scale, central Europe.
Janicki has created conceptual design within multimedia; examples include ‘The Polish
Pavilion’ at an Expo in Japan (2005), ‘Museum Place’ in Oskar Schindler's Factory
(2006), the Pavilion. ‘Wyspianski’ Krakow (2007), ‘Garden of the Arts’ in Krakow
(2008), Centre for Contemporary Art ‘Signs of the Times’ in Torun (2007/8). He recently
undertook the position of consultant for the media centre for Contemporary Art in
Torun (2008), the Museum of Modern Art in Krakow (2009) and MOCAC / Museum of
Contemporary Art Krakow in 2010.
Aleksander Janicki has won awards and been nominated for awards including:
SARP Award - / branch office in Krakow / for best design of 2005
National Award of SARP, 2006
Award of the Minister of Infrastructure Degree, 2006
Contractworld Award, Hanowerf, 2007
Best Practice Special Award for Interactive Digital Signage in the Open Space Art &
Rafal Mazur is an improvising musician and philosopher.
Mazur’s main interests and activities are within improvisation, both working within
a team and as a solo performer. For several years, he has worked vigorously on the
European improvised music scene. He has been invited to concerts and festivals and he
invites foreign musicians, particularly improvisers, to play at events in Poland.
In his practice, music, improvisation and is on his way to mastering it. Mazur is studying
Chinese philosophy at the Institute of Philosophy of the Jagiellonian University. Taoism
promotes a strong basis for achieving an attitude as an improviser. For five years
we train Taoist martial art Taiji Quan Chen, thinking about the Chinese philosophers
and martial artists, that the most important in terms of spontaneous creation and an
adequate response to unforeseen situations (situations of collective improvisation)
is a state of mind. In China over 3,000 years have evolved to perfect the practice of
preparing the mind to act spontaneously, and theoretical reflections on the creation
of ‘ad hoc’ found its roots in Taoist thesis of ‘natural and spontaneous creation’ the
reality around us, have their origins in the early Middle Ages - the Tang Dynasty.
In 2006 during a tour of Polish Sound Art in China, where the artist represented the
Polish improvised music, in addition to touring, Mazur delivered lectures in NiLIHo
Gallery in Foshan and Zendai Art Museum in Shanghai and confronted his approach
to improvisation (and to Taoism and Tai Ji) in meetings within the Chinese improvised
As a result of research and artistic work by Mazur, the first CD called ‘Sonor Forms’ of
freely improvised music on the acoustic bass guitar solo was released in November 2009
by the independent publisher DTS Records, in a series TRANSIDIOMATICS. This is the
result of a spontaneous artist's solo improvisation work.
Mazur currently working in the following groups: Ensemble 56, Mockunas / Mazur / Strid
Trio Mazur / Neuringer Duo, "HiQ" - visual project implemented together with Aleksander
Janicki and the Krakow Intuitive Music Ensemble. At the same time the doctorate at
the Institute of Philosophy of the Jagiellonian University implements research program
strategy used daoistycznych in practice the artistic circle of Confucian and applied these
strategies in practice, free improvisation. Mazur plays an acoustic bass guitar built by
Jerzy Wysocki and uses Thomastik-Infeld strings.
Paulina Owczarek is a saxophonist, a graduate from the Academy of Music in Cracow
and also studied Russian philology at the Jagiellonian University. She also plays alto and
She plays mostly freely improvised music and contemporary chamber music. She is the
co-founder of Radioactive Duo improvisations W.Krzakiem, OCD Trio (P.Owczarek - J.
Carmona - M. Smoke), and a draft Will Sound of A.Chikmakovem, quartet and band
Vladimirska Saksofonarium. It is involved in projects in the Krakow improvised music
scene including the Laboratory of Intuition, Open Session, as well as festivals devoted
to contemporary music and free improvisation such as ‘Musica Electronica Nova’ in
Wroclaw, ‘Leytonstone Festival’ in London, ‘Taller de Musica Improvisada’ in Malaga,
and ‘Audio Art Festival’ in Krakow. She has entered competitions in contemporary
chamber music and attended saxophone course master classes with Prof. G.Preisnera
and M. Mazzoniego.
She has played in electro acoustic quartet ‘Lanza’, ‘Saksofonowo-organ Movement Duo’
specializing in performing music of the twentieth century, and ‘Such ... Duo’ with dancer
A.Bogdanowicz, collaborated with the London Improvisers Orchestra, Stary Theatre in
Krakow and the Association of Theatre nr and musicians including Noel Akchoté, Tom
Cho?oniewski, Raphael Wooden, Kamil Korolczuk, Rafal Mazur, Barbara Meyer, Phil
Palmer, Federico Reuben, Josef Spodniak, Zsolt Sores et al.
She participated in the Polish first performances of saxophone works.
Michal Dymny is a musician focussing on improvisation. Playing the electric guitar he
developed an individual style based between others on the techniques and preparacjach
sonoric instrument. He participated in events organized by the Krakow Improvising
Artists Collective and also in projects called ‘Entropy’ and ‘Process - Laboratory of
Intuition.’ He works with improvisers from many countries and has taken part in festivals
such Audio Art Festival, Unsound, Sound Exchange, PAFME Festival, Jam Paprika
(festival improvisation), Laboratory of Intuition, 2nd RELATIVE (CROSS) Hearings
FEST in Budapest, Art-Camp in Jászberény and others.
In 2008-2009 Dymny organized ‘Open Sessions’ - open sessions of freely improvised
music with the Holy Cow club in Krakow and Radio Art. He is now engaged with many
initiatives related to an improvisation collective and is also part of a team Nucleon and
composes music for theatre and film, acting, among others in the ‘Sound Ensemble’
group. He graduated in cinema at the Jagiellonian University.
Maria Anna Janicka is a classically trained musician principally playing the violin. She
also operates within digital music as a composer and also curates soundscapes and
sound installations. She gained a BA Hons in Digital Music and Sound Arts from the
University of Brighton in 2008.
‘Cable - My Audio Experience’ (My Sound Experience) was a sound installation
showcased at the Audio Art Festival in Krakow, 2008. The installation centres around
three cities - Krakow, Brighton and London and characterizes the space of these cities
via sound. It is the story of city identity and the installation was experienced through
headphones in one location. It enabled users to experience the sound of three cities in
Janicka successfully graduated with an MA (Master of Arts) in Studio Composition at
Goldsmith College in London in 2010.
Janicka’s portfolio comprises three projects:
KITCHEN - Sound from the Past - a sound installation
Really? - Music for Performance - Music for the play of the diploma Music for Image-
sound compositions for films
2011 performances with the formation of HiQ (electric violin, sound effects) at the
invitation of the Rector of the University Film School in Lodz on the occasion of the New
Media building opening, at the invitation of the University Jagiellonian and the Audio Art
1/2000 Audio Art Festival - My Krakow, Brighton, London Audio Experience sound
09/2007 participated in workshops in the Audio Art Warsaw
Centre for Contemporary Art under the direction of composers:
Christopher Knittel and Thaddeus Wielecki 08/2007 advertising film produces sounds
(English printing company R.R. Donnelly)
02/2006- 01/2007 musical compositions headlamps to ten the statistics for
11/2000- bell in the composition Llorenç Barber Symphony Dzownów Cities in the Audio
Art Festival Working in film
2011 - Assistant Sound Operator Krzanowska Monica on the set of series The Warsaw
Pact dir. Katarzyna Adamik, Luke Jaworski (production TVN)
2011 - Assistant Sound Operator Krzanowska Monica on the set of lists to M. dir. Mitja
Okorn (production TVN)
2011 - Assistant Sound Operator Krzanowska Monica on the set Los Numeros dir.
Richard Zatorski (production TVN)
09/2009- assistant cameraman on the set of incident sound dir. Jan Kwiecinski
10/2007- 11/2007 special effects (sample) to the forefront of the program culinary
Robert Mak?owicz - Martha Stewart on the road for TVP1
08/2007 experience with an operator Jack Hameli sound on the set of series The third
criminal Officer dir. Matthias Dejczer
08/2007 experience with Anna Malarowskiej at ud?wi?kawianiu directed the show.
Miroslaw Gronowski Determinator
Michal Gorczyca is a musician and composer. He is acted under the name ‘DJ Dokuro’
A centre is co-operating with a group of musicians as well as is contributing to the
Fractal Beats group.
Gorczyca is the chairman and co-founder of the Commbo Association entertaining with
and propagating the audio-visual culture both at home and abroad. He has collaborated
on many artistic projects including projects with Janek Simon, Blacksmith's Karolina and
Marta Deskur. Together with Joanna Warsz? they created the post-futurist action ‘B?uh
Mózeum’ in Cracow, 2009.
Gorczyca is the author of the music to performances by Maja Kleczewska – ‘Story of the
Vienna Wood’ in 2008 and ‘Dusk of gods’ in 2010. With Edward Gilem-Deskurem (Edee
Dee) they composed the music to theatre performances such as ‘Werter in New York in
2006 and ‘Leonce and the Lena’ in 2007, directed by Micha? Borczuch.
Gorczyca had his debut as a young child, acting in the theatrical production with Cricot2
of Tadeusz Kantor called ‘Let Artists Perish’ in 1988.
Andrew Skwarek was born in 1971 and graduated from High School Musical in 1990 - here he attended a
class with Rafal Mazur.
During his studies at the Cracow Academy of Music (graduating from the cello class of Prof. Leon Solecki
in 1995) what interested him most was chamber music. With colleagues, he formulated a string quartet
and toured Europe playing concerts mostly in the street. He was a founding member of The Chamber
Youth Orchestra of Cracow. The team (which turned into the Sinfonietta Cracovia Orchestra) left at his
own request in 1996.
Darkness enveloped during the period 1996-1999.
In 2000 he returned to music and became a member of the hardcore Wu-Hae, where he is still a
In 2003-2005 he was team keyboard player Pudelsi, who left along with the Maciek Male?czuk. He is
widely understood in alternative music and best-loved improvisation on the cello. He can also play the
keyboard and bass guitar.
Since 2004 he has been associated with the team Z'umba, playing music based on Georgian folklore.
With them he played concerts at many prestigious events (e.g. Transkaukazja, Crossroads). Most of the