#Ola Zielińska

[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.

[tonin-terets]

Las na zawsze - enviromental campaign from Studio Pigeon on Vimeo.

In cooperation with M5 agency we have created an animation for Polpharma. A project we made from the ground up, from the writing of the script to creating the illustrations, animations, and sound design.

CREDITS

The idea behind the animation is quite broad. To begin with, provide clear and precise information about the action that Polpharma is carrying out in collaboration with the foundation “Las na zawsze”. More information about the action itself you can find at ekowizyta.pl/

In addition to the main message, the animation communicates a number of good practices that may positively impact the environment and climate.

Art Direction: Sławek Wydra Copywrite: Łukasz Czubak (vel Czuły) i Sławek Wydra Storyboard & Animatic: Sławek Wydra Illustration: Sławek Wydra, Gosia Jeniec, Ada Jarzębowska-Zielińska, Ola Szpunar-Bućko, Ludmiła Kaczmarek Animation: Sławek Wydra, Igor Woźnicki, Wojtek Siejak, Sara Szymocha, Rafał Blecharz VO: Mikrofonika Sound Design: Daruma Audio Production Manager: Lena Ślósarczyk Relation Manager: Gosia Kucharska

[olagosciniak]

Jakie efekty można osiągnąć z kursami Twój Webinar i Twój kurs online? Poznaj opinie kursantów!💪💻 Artemisja Eunika Jedynak: Bardzo polecam kurs "Twój kurs online" - mi otworzył oczy nie tylko na kwestie techniczne, ale przede wszystkim na samą ideę biznesu online. Dzięki Ola! <3 No i ja oczywiście działam nad swoimi kursami - druga edycja biznesowego kursu scrapbookingu oraz kurs o wycenie prac. Lingua Studio Bogna Zielińska: Również mam ten kurs. Kursy Oli można kupować z zamkniętymi oczami, jestem od wrażeniem jej zaangażowania i wiedzy ♥️ Klaudia Łapa - Wirtualna Akademia Szycia: Robię webinary regularnie co miesiąc 🙂 dokładnie wg Twojego kursu. Mówię głównie o biznesie rękodzielniczym. Zaczęłam bardziej panować nad technikaliami, ale zdarza się, że moje odbiorczynie mi pomagają (np. Łapa wyłącz podglad na youtube😂). Bardzo dobry kurs, dzięki któremu zrobiłam jeden z kroków ku wolności we własnej firmie Chcesz dołączyć na pokład i rozkręcić swoje transmisje na żywo? Od jutra (23 lipca) do czwartku złapiesz kursy “Twój webinar” i “Twój kurs online” taniej! Skorzystaj ze zniżki i zacznij działać!💪💪💪 https://www.facebook.com/olagosciniak/photos/a.932774130144963/2389412897814405/?type=3

[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]

Embraces. Try 01 & 02 2018

Video installation and live act. Kana Theater, Szczecin, Poland

Another collaboration of Agnieszka Kucharska and Ola Zielińska touches upon the relation of bodies within different exhibitionary spaces. During the short residency at Kana Theatre in Szczecin, artists investigate the theatre as both public and private space, throug tracing choregraphies of its workers and audiences and studying the different positions of bodies imposed by gallery and theatrical spaces.

The installation consist of the audio and video diary of artists who are playing the role of actresses, looking for the comfort while adapting to the space expectations. They create scenography out of the found objects: parts of the space, props, tool and artworks. The voice over in the video is interrupted by live add comments.

~

Excerpt from the transcript:

We break into the library We find translations of Ginsberg’s works. That’s it, we are lying in the beds of Europe, again, the world at our feet, and yet “love is not perfect”, and it’s cold a bit, we “imagine the future and weep”.

You want to empty all rooms, all cloakrooms, all closets, we want to sit there and tell each other stories, but I am terrified by enormity of taking out and taking in, while you want to – a lot.

Agnieszka walks around the stage in flip-flops, she tells about moving her arm, about being forced to exaggerate her gestures, as if the air around her had another density she throws the flip-flop in the air, as if she doesn’t agree with it she want to embrace it she embraces herself she tells about being touched by a child in Sopot who greets Mr. Wodecki in heaven I cannot be touched by that, the alarm goes on again.

[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]

Person A is looking ____________ person B loves person A 

Skala Gallery, Poznań 2018

Agnieszka Kucharska / Ola Zielińska in collaboration with Jakub Czyszczoń 

In one of the scenes from "Paris, Texas" from Wim Wenders, we see a neon sign over a motel contouring four galloping horses. The main protagonist passes it by, transversing Texas in search of his wife, who left him without a word. This moment, perhaps insignificant to the rest of the storyline, continuously returns, while preparing for the show. In the film, Travis finds Jane situated behind a two-way mirror of a private booth at a strip club. They talk, but she cannot see him. Right before his monologue, Travis turns around; his back facing the window pane. Jane does the same while responding to him. In that moment, they are talking, they are talking to each other from the past. The way in which Agnieszka Kucharska and Ola Zielińska collaborate is based upon the very mechanism of story telling. The story arises when two people are in dialogue and somebody listens. For both artists, the main carrier of the story is the image, or rather a sequence of images. Both work in a completely different manners: Kucharska examines meanings, producing subsequent images - reflections and further sequences. Zielińska is interested in the concept itself - looking at the image and breaking it down to its formal elements, looking into the medium, such as LCD screens. Zielińska and Kucharska, like me, watched Paris, Texas on the screens of their laptops, after downloading it from torrents. The BitTorrent file sharing protocol works in a simplified way in which while downloading the chosen file (usually video or audio) the user simultaneously sends its fragments to other users. This format adequately illustrates the way in which we participate as viewers in the exhibition. A panoramic image cannot be contained with a single glance. It must be viewed in fragments, like a movie sequence. The fluorescent lamps from LCD screens illuminate its surface making it difficult to see the picture as a whole. The resulting image is blurred - and in that moment we are watching a completely different film. 

text: Maja Demska

fot: Tomasz Koszewnik

[ola-zielinska]

Person A is looking ____________ person B loves person A

Skala Gallery, Poznań 2018

Agnieszka Kucharska / Ola Zielińska in collaboration with Jakub Czyszczoń