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[ola-zielinska]

Scream. Listen Series of five workshops, initiated by Duchini Bei - hauntological duo, by artists Olga Lewicka and Ola Zielińska, working in the field of experiencing, body-imaginary research and filtering reality through aesthetic experience. Within this series, we aim to learn together about our closest locality – the body and its memory, exploring the potential of screaming. Within this series we exercise, following different body&voice-oriented practices of our invited guests.

One of the starting points for our research is the affective force and the archaic impetus of the scream that has been filling Polish streets and our bodies over and over for several years now – and which had its culmination in the fall of 2020. We would like to test to what extent the hidden movements, rhythms and mechanisms of screaming and its muffled remnants can help to reveal as yet inaccessible, unknown or forgotten gestures and stories inscribed in the body, to awaken its unique possibilities of acting in a collective – and empathy beyond ideology. 

https://www.akademiasztuki.eu/Filter/krzyksluchaj-sztuki-wizualne?fbclid=IwAR3lH91iVZJD-R53KVBM5fUNUTLjpqQhIRK-TE3QZXABxJeKYzUDW337j4M

Supported by Academy of Arts in Szczecin and City Gallery of Gdańsk

[ola-zielinska]

ON GIVING A VOICE (AWAY), 2020

Series of silicone playing objects to lend for personal home listening.

Part of the project On giving a voice (away) in collaboration with Kana Theatrical Centre in Szczecin, funded by Scholarship of The City of Szczecin.

Design: collaboration with Karolina Babińska

[ola-zielinska]

On giving a voice (away). Exercises with Weronika Fibich, Marta Poniatowska, and Janek Turkowski.

This project is dedicated to the different work methodologies of a few members of Kana Theatrical Centre in Szczecin: Weronika Fibich, Marta Poniatowska and Janek Turkowski who are artistic directors and artists whose practices at large are engaging different marginalized communities by creating space for vulnerable stories and giving the voice to those who are often silenced.

Through the course of a few months, we have been discussing inclusive methods of participatory art- and social- practices, focusing on listening. As a starting point we took the etymological connection of listening and obeying in polish language, among the other european ones.

[ola-zielinska]

Historia na wiele głosów to badawczy projekt dźwiękowy o słuchaniu jako metodzie twórczej.

W ramach kilkumiesięcznej pracy z twórczyniami i twórcami, których praktyka artystyczna polega w dużej mierze na opowiadaniu i oddawaniu głosu innym, powstał utwór dźwiękowy zbudowany z ćwiczeń wyobrażeniowo-słuchowych.

W swoim krótkim tekście “O Fikcji”, Vilem Flusser zawadiacko stwierdza “fikcja jest rzeczywistością”, ale jego rozważania odrywają się od po-platońskiej myśli filozoficznej, która rozdziela idee od rzeczywistości, dalekie są również od “post-prawd” czy “fake-newsów”. Flusser dotyka czegoś zupełnie innego: Kiedy mówię „fikcja jest rzeczywistością”, głoszę względność i równoważność wszystkich możliwych punktów widzenia.

W ciągu kilku miesięcy zastanawiamy się jak tworzyć rzeczywistości uwzględniające równoważnie wszystkie możliwe punkty widzenia,rozmawiamy o odpowiedzialności opowiadacza, o zaangażowaniu w inkluzywne tworzenie przestrzeni dla newralgicznych historii, o zabieraniu i oddawaniu głosu. Proponujemy ćwiczenia słuchowe z aktywnej obecności i czujności.

W projekcie wzięli-ły udział twórczynie i twórcy Ośrodka Teatralnego Kana: Weronika Fibich, Marta Poniatowska, Janek Turkowski oraz artystki Karolina Babińska i Wera Bet.

Inicjatorka projektu: Ola Zielińska

Do pobrania na stronie Ośrodka Teatralnego Kana:

http://www.kana.art.pl/repertuar/wpis/historia-na-wiele-glosow-ola-zielinska,614?fbclid=IwAR3FbE9zWiF6_bmoemQC4TIPYUyPn1SiPD07ktNqoWVdSnkfMmHepDQDvo0

Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego “Kultura w sieci”

[ola-zielinska]

tekst “Gościnność Gościa. O gospodarzach i gościach w przestrzeni sztuki” w publikacji “Miejsca.” 2020 

a text “The Guest’s Hospitality. On hosts and guests in the context of Art.” in publication “Miejsca” 

Wydawnictwo Kolegium Sztuk Wizualnych Akademii Sztuki w Szczecinie

http://wydawnictwo.akademiasztuki.eu/Main/Product/miejsca-o-przestrzeniach-dla-sztuki

[ola-zielinska]

https://www.facebook.com/740677316274407/videos/1509829482542536 

online transmission,

in collaboration with Rafał Żarski

Dripping down - sadness is a long term project initiated by two artists in 2018 on weariness and boredom in the framework of professional practice.This utteration comes in the form of  online streaming of a prologue to supposingly-happen radio play (Terrarista TV, Domie, 2020). 

The body of work touches upon mutations into ghosts-like forms, reflecting on young artists and precarious workers at large, as permanent guests which are awaiting for invitation to be revealed. Project is an investigation on silent agents of hyperproductivity, permanent high performance and obedience, reflecting on neoliberal forms of oppression. In a hypnotic session, artists propose how to deal with precarious fears, frustrations, and phantoms haunting the ambitions of people who must necessarily do more and more, and better, but also how to embrace ghost-like forms and ghosting strategies.

We investigate processes of depersonalisation which shape other forms of sensitivity and perception. Our aim is to trigger awareness on communal aspects of the neoliberal stealthy processes and to find ways to subvert them. We take on ghost costumes to act, as our silent agents, invisibly and insidiously.

part of TERRARISTA TV Program

https://terraristatv.stream/Program

[ola-zielinska]

We train to be ghosts.

It’s never enough.

There is always a need to bring in something, to add.

One needs to be tired, needs to be exhausted.

~

We enter the art space fulfilled with the blue light and we are welcomed by the delayed voice of the artist. Rafał Żarski elaborates on the collaboration with Ola Zielińska, provoked by the dream of her about the last show in this space, in which he played a key figure. From the interpretation of that dream they have started a year long discussion about the mode of art-working, permanent state of exhaustion and ghostly position of young artists, who are waiting to be hosted.

Żarski proposes to the audience few breathing exercises, which help him to fall asleep.

The art space we are in, is one of the few so called project spaces in Szczecin, which was invited by the group of artists, back then Zielińska was one of them.

In the end of the invitation speech Żarski becomes a ghost and Zielińska continues with the session of listening. She plays few pieces based on her field recordings from the openings around the Europe.

Dripping down - sadness

Installation and live act,

Obrońców Stalingradu 17, Szczecin, PL 

[ola-zielinska]

Obrońców Stalingradu 17, Szczecin

10.05.2019 live act

[ola-zielinska]

Obrońców Stalingradu 17, Szczecin, PL

[ola-zielinska]

Wall’s monologue. 

Audio installation, part of Dripping down - sadness

~

Paraphrase of an excerpt from Inside The White Cube Brian O'Doherty

~

All this traffic across me, made me a far-from-neutral zone. Now a par cipant in, rather than a passive support for the art, I became the locus of contending ideologies; and every new development had to come equipped with an a tude toward me. Once I became an esthe c force, I modified anything shown on me. I, the contex of the art, had become rich in a contentwhish I subtly donated to the art. It is now impossible to paint up an exhibi on without surveying the space like a health inspector, taking into account the esthe cs of me which will inevitably "ar fy" the work in a way that frequently diffuses its inten ons. Most of you now "read" the hanging as you would chew gum - unconsciously and from habit.

[ola-zielinska]

part of Dripping down - sadness

[ola-zielinska]

Dripping down - sadness

Collaboration with Rafał Żarski

Installation view.

Obrońców Stalingradu 17, Szczecin, PL

[ola-zielinska]

Alarm

Polyphonic ringtones:

Nokia 1 Contamination alarm, modulated acoustic signal converted to MIDI melody using Bells High digital instrument.

.

Nokia 2 Cancellation of contamination alarm, continuous acoustic signal converted into MIDI melody using Bells High digital instrument.

~

Audio installation, part of a group show “Black Hawk Down”

BWA Drewniana, Świdnik, PL

2019

[ola-zielinska]

thought approaches the distant; but the distant also approaches thought* 2018

Installation. Collaboration with the Painting and Polychrome Sculpture Conservation Studio of the National Museum in Szczecin.

*John Berger, On looking

[ola-zielinska]

thought approaches the distant; but the distant also approaches thought* 2018

Installation. Collaboration with the Painting and Polychrome Sculpture Conservation Studio of the National Museum in Szczecin.

Part 2

Cross section of the painting from the collection of the National Museum in Szczecin, dated to the second half of XVII century, unknown author; Cross section examined by UV fluorescence microscopy; photo: Zuzanna Rozłucka, Department of Painting and Polychrome Sculpture Conservation Nicolaus Copernicus i University in Toruń

*John Berger, On Looking