The advantage of art over other forms of consciousness is such that art is not concentrating on any particular problems, and its myth is made by the desire of grasping and penetrating of Everything that is being made for the price of reduction the ‘Ego’ to an undimensional point. This resignation is a very difficult and long lasting process, but it is the requirement and the aim of the artistic activity for me. Cultivating an art is not similar to building of a very comfortable home to protecting one from the unfamiliar, indifferent world - it is a creation of that kind of Form, which penetrates and embraces the World as a whole. An artist is a hole inside the infinite continuum of time and space without inherent values. Therefore the output of any contemporary artist should not only belong to the art of the twentieth century but should go beyond it. The artist is aiming the telescope of his art into the space, and what is obvious, into the future time. At the same time, setting out into the culture’s past, he is treating his art. as an envoy into our cultured mind, where the goal is to discover the source of the authentic cultural energy, significant for us - contemporary people.
My works of art are made from various materials, such as metal, fabric, electromotion, projection and the like. I do not use any ready -made objects. In years 1994-1995 I was using a steel rod making it draw spatial forms. I was interested in the idea of transparency of form, interpenetrating of pictures that were complementary one to the other and equally were loosing themselves making a new quality. For more than a year I have been using projection of prepared slides, having quality of a drawing, made from different kind of foam;shaving-cream, lather, beer and also from dust, scraps and another organic substances. In ‘The Cradle’ I utilized also projection of short animated films, founded on my outlines. This projection should give the effect of changeability and of certain unpredictability. In every case the created object is a vehicle by the means of which we are traveling in time and space.
In ‘The Earth ship’ project, I am invoking the idea of that cosmic homeship that allows me again „put the Earth into the Cosmos’’, great and probably indifferent, where we are „transparent” quests, as unaccountable as entirely accidental. The project relates to the idea of inhibiting the earth in relation to the time and space in the global aspect. There is new aspect in my artistic „investigations” in this project where nature, by it’s indeterminate powers „creates” symbolic concept of time, where time and space is infinite, boundless and discontinuous. The project should be realized in an open, unurban landscape so whole globe space in a little more evident way will stay under influence of an art message. On the other hand I think it’s important for the man to set himself free from the involvement in the psychological concept of time, that in general, could be one of the main „goal” of art. Another objective, could put emphasis on the unity of the Cosmos energy, which man is a part of as well.
At present I am looking for a form that would provide for much more unpredictable things to happen because I think, that any work of art should be a discovery equally for the artist and for the receiver. What is most precious always comes from the most unexpected side. The artistic consciousness in our times broadens itself into all directions -it is almost infinite. There is no Absolute, or no another steady point in art. The art is partly an elusive dream, among other things because it is a trip of Mind into the unknown, and the more unknown, the better. It means the readiness of the artist and the receiver to make a discovery of the fundamental quality, some kind of unknown primeval energy of cultural life, owing to which the life is regaining the power and the glamour. Vector of Art - the discreet and hidden direction in which the mind makes its way.
Adam Kalinowski 1997
(TEXT FROM CATALOGUE “ In Stillness”, Arsenal Gallery, Poznan, Poland 1997).
CV
Born in 1959 in Poznan, Poland where he lives and works. Studied at the Department of Cultural Anthropology at Adam Mickiewicz University in Poznan, Poland. M.A. in 1986. M.A. Ministry of Culture, Departament of Visual Arts, Warsaw in 1992. In 1998 he established The Tadeusz Kalinowski Art Foundation. Author of outdoor projects and critical texts. web: http://www.adamkalinowski.com
SELECTED GROUP EXHIBITIONS
1989 Galeria Nie-Galeria, LITER-A-KCJE”, Wroc?aw, Poland.
1992 E-Gallery; - Kalinowski, Syska, Glowacki, Felcyn. Poznañ, Poland.
1998 „AGGREGATZUSTAND - Simple Constructions”, Umspannenwerk, Berlin, Germany.
1999 „Utopia and Vision”, Center for Contemporary Polish Sculpture, Oro?sko, Poland.
2000 „Utopia and Vision”, The Zach?ta Gallery of Contemporary Art., Warsaw, Poland.
2001 „Open Space 2001”, Zlotniki, Poland
2001 The 10th International Design Competition, Osaka, Japan, (The Bronze Prize).
2002 “Alternatywy Technologii”, Teatr Akademii, Warsaw, Poland.
2002 “Mit i Symbol”, XIII Biennale Rzezby, Arsenal Gallery, Poznañ, Poland.
2002 “Inner Spaces”, MCS, Poznan, Poland.
2003 EIGHTIES AND NINETIES of POLISH ART, L.WYCZOLKOWSKI MUSEUM in BYGDOSZCZ, POLAND
2004 A-21, International Art Exhibition, CONTEMPORARY ART SPACE, CASO Osaka, Japan.
2004 The 12th International Design Competition 2004, Osaka, Japan. (Excelllent product).
2007 Two Minds Projects; Belfast, Nothern Ireland.
SELECTED ONE-MAN EXHIBITIONS
1992 „Minute of silence”, Radio happening, Radio Merkury, Poznañ, Poland.
1994 „Spatial drawings and objects", Old Brewery Space, Poznañ, Poland.
1995 „Private Show”, Studio Space, Poznañ Poland.
1996 „Objects”, Place for Art Gallery, Mosina, Poland.
1997 „In Stillness”, Arsenal, Municipal Gallery, Poznañ, Poland.
1998 „Spatial objects and mobiles”, BWA Gallery, Bydgoszcz, Poland.
1999 “The Zlotniki Show”, Zlotniki, Poland.
2004 Opening of The Gallerie Track, Poznan, Poland.
2004 “The Sanctuary”, Oro?sko, Poland, Center of Polish Sculpture.
2005 “THE BIG EAR”, Oro?sko, Poland, Center of Polish Sculpture.
FUNDED ART RESIDENCY:
1997 Virginia Center for the Creative Arts, USA.
1999 ART/OMI, USA
2001 AIR, Vienna, Austria.
2002 International Studio Program, USA
2002 Sculpture Space, USA
PROJECTS WITH ARCHITECTS:
2007 Two Minds Projects; Belfast, Nothern Ireland.
GRANTS:
2000 THE POLLOCK - KRASNER FOUNDATION, USA.
2001 Ministry of Culture and National Heritige, Warsaw, Poland.
2002 The Ko?ciuszko Foundation, USA.
2004 Ministry of Culture, Warsaw, Poland.
WORKS IN COLLECTION:
Center of Polish Sculpture, Oro?sko, Poland.
The Leon Wyczolkowski Museum, Bydgoszcz, Poland.
Japan Design Foundation, Osaka, Japan.
Art/Omi, USA
PERMANENT REALIZATIONS:
2005, “The Big Ear”, Center of Polish Sculpture, Oro?sko, Poland.
BIBLIOGRAPHY
1983 „1962 Wiesbaden Fluxus, 1982 Wiesbaden, Kassel, Berlin”, Berlin 1983
1989 „The Painting” by Tadeusz Kalinowski, text in catalogue by Adam Kalinowski, BWA, Arsenal Gallery Poznañ.
1991 „Fluxus Mythology”, OBIEG, 7-8/1991, p.14-19, text by Adam Kalinowski, Center for Contemporary Art, Ujazdowski Castle, Warsaw.
1991 "Andrzej D?u?niewski", by Piotr Rypson, EXIT, 4/1991
1992 „The Painting” by Anna Cyronek-Kalinowska, text in catalogue by Adam Kalinowski, BWA, Arsenal Poznañ-Bydgoszcz.
1993 „The Vector of Art”, text in catalogue by Adam Kalinowski, BWA Gallery Arsenal, Poznañ.
1995 „New Is for New Years”, text in catalogue by Adam Kalinowski, Center for Contemporary Art, Ujazdowski Castle, Warsaw.
1996 „Adam Garnek”, by Adam Kalinowski, Czas Kultury, 2/1996, Poznañ.
1997 „In Stillness” by Adam Kalinowski, text in catalogue by Adam Kalinowski, and Andrzej Syska, Gallery Arsenal, Poznañ. Catalogue.
1997 Gazeta Wyborcza, IX/19/1997, „Ruch czasu i przestrzeni”, about Adam Kalinowski art by Gerard Radecki.
1999 , "Wspomnienie o Andrzeju Berezia?skim "- text by Adam Kalinowski, Gazeta Malarzy i Poetów, 2/1999
1999 "Rze?by, park i fundacja", about Adam Kalinowski art, Gazeta Pozna?ska 06 08 1999
1999 "ART/OMI 1999, Gor?ca Rezydencja", Gazeta Malarzy i Poetów, 5/1999, text by Adam Kalinowski
2000 Rocznik Rze?ba Polska, t.IX:1998-1999, TEATR MIASTA, UTOPIA I WIZJA, Centrum Rze?by w Oro?sku, 2000; p.130-131,166-168.
2000 Happy Birtday Johnnes, International Mail Art. Project, Mainz, Germany. Catalogue
2001„W hamaku do Japonii”, Gazeta Pozna?ska, 8 06 01, Poznan, Poland,
2001 “Przestrze? Sztuki”, Gazeta Malarzy i Poetów, 4/2001,Poznan, Poland,
2001 International Design Exhibition, The 10th International Design Competition, Osaka 2001, Catalogue.
2002 Sculpture Space, Vol1, No.1, April 2002.
2002 „Przezroczysty Symbol”, text by Adam Kalinowski, Gazeta Malarzy i Poetów, 2/2002, Poznan, Poland,
2002 Mit i Symbol, XIII Biennale Rzezby, Arsenal Gallery, Poznañ, Poland, Catalogue.
2002 “Alter-Tech” by Eulalia Domanowska, 3/2002 EXIT, Warsaw, Poland.
2002 „Przezroczyste Symbole”, ORONSKO 3/2002, p.43-46, text by Adam Kalinowski, Centrum Rzezby Polskiej w Oronsku, Poland.
2002 Gazeta Malarzy i Poetów 3/2002, Poznan, Poland.
2002 Andrzej Partum 1938-2002, by Jerzy Truszkowski, Zacheta Gallery, 96 p. Warsaw, Poland.
2004 Arty?ci Radykalni, by Jerzy Truszkowski, 168 p. Galeria Bielska, Bielsko Bia?a 2004, op.cit p.134
2004 Gazeta Wyborcza, 15 05 2004
2004 G?os Wielkopolski, Listonosze Marze?, VIII, 15 05 2004
2005 ORONSKO 3/2005, „Anty-pomnik i przestrze? publiczna”, text by Jerzy Truszkowski about art of Adam Kalinowski, p.65-68, Centrum Rze?by Polskiej w Oronsku, Poland.
2005 ARTEON 12/2005, „AntypomnikI”, text by Jerzy Truszkowski about art of Adam Kalinowski, p.33-35, Poland.
2006 Who is Who, Verlag für Personenenzyklopädien AG, Who is Who w Polsce, Poland 2006.
2007 Two Minds, Ten Artists+Ten ARCHITECTS, Belfast, UK; edited by Marianne O’Kane Boal. Catalogue.
FILMS „Fluxus; The Meeting”, film produced by Polish Public TV, 2000, Warsaw, Poland.
„Cannot disasters like earthquakes, cyclones, tornadoes and so on be imagined as the most perfect form of art?”
Walter de Maria, the sixties.
A good form is like a spirit, which does not hold any tights, is like particles of smoke traveling crosswise of time.
Let’s try to use the open space as a lens through which we look at culture.
“ I. Open space is an immemorial sphere of man’s free exploration, i.e. activity, whose results one cannot entirely predict or control. As far as the spiritual matters are concerned, the open, not urbanized space can mean liberation or even salvation. It can also be a metaphor for art, which must be independent of the past, but also of the “actuality”. Art should once again confront us with the siatuation in which the art habits will turn out to be relative and unnecessary. It must evoke a pure, uncontaminated mind which would be ready for foreseeing the changes. The task of art is to stimulate our mind to unite with broadly understood cosmos. I believe that as a result of this union we free ourselves from Ourselves and open up to “the Whole”.
An important aspect of my outdoor projects is nature that is being used in the way as it normally is, showing its constancy, and - to a certain degree - its fortuity and consequence. I believe that the equilibrium of nature can be a base for obtaining our own human equilibrium. Changes in nature are slow and non-dramatic, only exceptionally more impetuous events like tornadoes or earthquakes take place. Does not the equilibrium of nature, which we are part of, make us feel like being balanced inside? On the other hand, we need deep refreshment of the mind so in my opinion that’s the reason why some kind of paradox should be involved in the project. In general my idea about outdoor projects is that they are left for themselves in natural context, left for nature’s activity and powers so they respect their powers in a way that they are powered by them, literally and metaphorically, too. Isn’t that so that the model of a sculpture or other architectural realisation like shouldn’t be living organisms? Should not their ability to self-regulation be treated as most important? An architectural or sculptural object as a dynamic, self-regulating organism, co-operating with nature. Lets shape the external form the way as to expose it to the influence of nature. The self-regulating sculpture or architecture – we have here practical aspect; co-operation with nature, can bring only advantages. Ethical one; we must care about the world, the recourses of which are much more smaller and restricted than we have thought up to the present, and also cognitive one: we get deeper knowledge about the environment we live in. There is an option nowadays to treat design of external projects, no matter whether more complicated systems or simple forms as a self regulating structures, co-operating and finally becoming similar in the manner of operation to nature’s activities. Objects in space without unequivocal purpose, powered by the wind, changing under the influence of the temperature or light, joining us with space in direct and more remote dimension. Nature, the regulating environment, forming to a certain degree the object which interacting with the environment, establishes and conducts with it a kind of dialogue either because of technical and practical reasons, as in the case of e.g. architectural or other objects, or because of symbolic reasons, as in the case of artistic facts. In general sense, each external form must interact with the environment because open space as a dynamic system forces particular states on the objects contained in it. *1 This external form should rather be the opposite of the Machine *2. Each part of this form can be the centre of it (as in the case of living organisms or clouds). The form treated not as an object but as a kind of representation (embracing) of space, pointing to its dynamic and energetic character. We have here to do with simple transference of an artistic metaphor to the world as a whole. *3 Whether the sphere of art shouldn’t be a field of undetermined activity, for example working of nature in a clear form? Symphony of chance, showing order of cosmos. Why nature? Nature is a puzzle, still half-magic, half-impenetrable scientifically space. Here important aspect of external form is a fact, that is left to nature, devoted to it’s rule, and not belong to us anymore.
II. The Transparent Symbol suits to the form, devoted to and living thanks to space. This form does not fix attention on itself; more often its functioning depends on natural processes or can activate perception of them. The external realisation is meant to be a lens, a place of concentration of meanings, which refer to our being-in-space, experiencing it and consequently opening up to it. The matter of form, being an incarnation of transparent symbol, is used in such a way that what is used as symbolizing is simultaneously symbolized. “Knowledge” of nature spread out in infinite space is, as it were, “what” is symbolized. A work of art wants to refer to this knowledge, make it visible. It seems obvious that every artistic fact refers to the natural spatial context for which it was created and in which it exists. For example a musical performance must cooperate and interact with natural sound system of the environment, in which it is performed. An object of sculptural or architectural type the more perfect cooperates with the context of environment – with simultaneously intensively symbolic interaction – with the more distinguished artwork we have to do. This interaction with the environment can present itself in different ways. It could be a realisation almost in the spirit of mimicry, but it could also be a sort of antibody in space. Transparent symbols appear to be an important choice in the face of nature.We can assume that transparency, as a metaphor referring to human mind is a certain cultural value. Not literally contained in Buddhist removal, loss of an ego, as an unnecessary filter distorting our relation with the Reality. Similar examples we can find in Christian tradition (medieval mystics). Transparent symbol suits to the form devoted and living the space. The form is not focusing on itself, more often it’s functioning as a dependent on natural processes or can activate their perception. The form being an embodiment of a transparent symbol does not change the settings in which it is placed but is integrated with them. Not disturbing these settings it shows their whole symbolic power - as it was supposed to. The wisdom of nature spread out in the space is what is symbolized. An artifact whishes to relate to this wisdom and to expose it. To expose “through” the context of natural space the philosophical aspect of our being-in-the-world as the world of natural process that we are part of. The part originated in a long cycle of filo- and ontogenetic evolution. The question arises here: could not the external form relate to (join) the long evolutionary dance that takes place during ontogenesis?*4
“The Sky Reaching Hammock”
The point is not to disturb the stream of time and space by reckless activity, but to join with it. We should not create forms or situations interfering in Nature, instead we can try to discover her mysteries, as it were, to knock at them. Commonness, fleetingness, kinesis (variability) – these are the most important features of time and space where any element is not more important than any other, the tiniest piece is equally valuable to any other being. Giving sense is only the fact of existence of the Whole, Life, in all its appearances and variations, which is meaningful for the very fact of existence. “The Sky Reaching Hammock” makes possible dynamic meditation, embracing haven and earth, during which the feeling of unity and simultaneously independency from surrounding space joins with the celebration of what means nothing and has no purpose, like for example flowing clouds, the shining sun or falling rain. *5 A slow, simultaneous change in time-and-space is meant to create the state of timelessness (giving oneself to time and space without a priori accepted intention; everything is of the same value) *6, “resetting consciousness” whose vectors are directed towards feeling of space, spreading from inside of our body into infinity and vice versa. Our “positioning” in real space thanks to the wind, a phenomenon of nature, gives dimension our action towards Her. *7. Nature factually and symbolically directs us towards herself so that we could discover that may have been experienced by primal man wandering through the boundless spaces of Africa, Eurasia or America. *8 In this case the purpose of this “zero state” is putting aside for a moment the culture equipment in order to refresh the mind as it happens in every free change of consciousness. “Timelessness”, psychological appropriating the whole world, feeling of endless becoming is the result of influence on us of every eminent artwork. In this project, mentioning the category of timelessness has more direct reference because the module in which the passenger is placed indeed is suspended in the middle of time” and “space”, and this is not only a psychological feeling of the person taking part in the event. Important is the factor of lack of control, at least momentary one, over intensity and direction of changes, in which will be directed the “crew module”. “*
*FRAGMENT OF TEXT PUBLISHED IN : TRANSPARENT SYMBOLS, “ORONSKO”, 3/2002; page 43-46,quarterly published by Center of Polish Sculpture In Oro?sko, Poland.