Mateusz Choróbski Born in 1987, Poland

Transcription

1 Mateusz Choróbski Born in 1987, Poland Education: PHD, Interdisciplinary Studies, University of Arts, Poznań, PL MA, Media Art - Mirosław Bałka Studio of Spatial Activities, Academy of Fine Arts, Warsaw, PL BA, Multimedia Communication, University of Arts, Poznań, PL He lives and works in Warsaw. Member of the Artist Pension Trust. In his artistic undertakings, Mateusz Choróbski tests various ranges and scales of artistic expression: from short films to complex arrangements in gallery spaces, or contextual activities in public spaces. He cooperate with Warsaw-based Wschód gallery

2 portfolio

3 Le premier venu? (nie ma już bezpańskich psów) solo exhibition, 2017 Les Bains Douches, Alençon, France curator Arnaud Dezoteux exhibition view link on the right Nie ma już bezpańskich psów #1 aluminum, seashell, irobot; object, 2017

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5 on the left Nie ma już bezpańskich psów #2 installation site-specific, 2017 stainded glass, fat on the right Nie ma już bezpańskich psów #3 installation site-specific, 2017 furs

6 Nie ma już bezpańskich psów #2 installation site-specific 165 x 51 cm (x6) each unique, 2017 stainded glass, fat on the right: detail

7 Nie ma już bezpańskich psów #4 (fountain) video collage, without sound,

8 The falcon cannot hear the falconer installation, 2017 leather, brass, steel

9 Nice to meet performance action (4 people), 2016 duration 2 months TRAFO, Szczecin, PL curator Marie-Ève Lafontaine Nice to meet is based on the simplest sound system used by humans: speech. The event takes place in a space dedicated to art a field in which non-verbal experience plays an important role. Together with the Trafo staff, I initiate a situation which changes how the institution functions by exposing the activities of café employees, security staff, and exhibition guides. The project cannot be realized without the presence of the viewer. Confronted with an audience, the everyday duties of the people engaged in the project are rendered incomplete. The results of this experiment do not follow institutional schemes and are difficult to predict. It turns out that the entire public staff the ticket collector, security guard, tour guide, and barman stutter to such an extent that almost no communication is possible, at least to the extent which the average visitor understands communication to occur.

10 The Slow Collapse of a Journey solo exhibition CSW Kronika, Bytom, PL curator Piotr Drewko from text by Magdalena Radomska: The ways in which we do not know things are just as important (and perhaps even more important) as the ways in which we know them as Giorgio Agamben wrote in Nudities There are ways of not knowing carelessness, inattention, forgetfulness that lead to clumsiness and ugliness, but there are others (...) the enchanting sprezzatura of an infant, whose completeness we never tire of admiring (...). on photo: Long day s journey into the night & Stepson (detail)

11 Long day s journey into the night (detail) 120 x 4 cm (x24), object, 2016 neon lamps, glass from demolished National Mint Each from 24 tubes is covered with debris of recuperated glass from Warsaw, the ruins of the old National Mint, destroyed several months earlier. The two-way mirrored windows of the building blocked the view of passer-by. This work concentrates on our perception of the object, instrument of monstration usually strictly function, tending to become invisible. The historical and political context of glass broken then concentrated, becomes, in accordance with the quality of the luminous support, a paradoxical discourse on the notions of transparency, clarity, opacity and conversion.

12 Long day s journey into the night (detail)

13 Long day s journey into the night DAMA, Turin

14 Long day s journey into the night RAW MATERIAL, Eva Meyer, Paris

15 Scrotum (Moszna) [detail] from solo exhibition The Slow Collapse of a Journey

16 Scrotum (Moszna) object #1, x 27 cm Object made of sewer pipe, turned into a distorting mirror. The title refers to the parts of the body and to the town named Moszna, where the pipe was found. Moszna in polish language has got a double meaning - it is a name of the town and a body part (scrotum). from solo exhibition The Slow Collapse of a Journey

17 Scrotum (Moszna) object #2, 2016 Dama, Turin

18 you see me do mi dirt object, x 163 x 163 cm steel, melted coins, brass from solo exhibition The Slow Collapse of a Journey

19 you see me do mi dirt (detail)

20 Stepson site-specific installation, 2016 aluminum, cement 500 x 300 x 3 cm from solo exhibition The Slow Collapse of a Journey

21 Curve installation site-specific, x 60 cm copper, steel, electricity from the exhibition What to Do with Things I Don t Want to Share? curator Piotr Drewko Dom Słowa Polskiego, Warsaw link

22 exhibition view - What to Do with Things I Don t Want to Share?

23 Corner object, x 200 x 200 cm steel, UV lamps from the exhibition What to Do with Things I Don t Want to Share?

24 Nesting installation site-specific, x 200 cm (x2) copper, electricity, UV lamp from two person exhibition Nesting curator Jakub Śwircz Asymetria Gallery, Warsaw link

25 Nesting (detail)

26 190 Russell St. installation, x 300 x 25 cm (with casters 32 cm) plywood, industrial weels, sound (120 min loop) from solo exhibition I was maddened by sunlight. I felt like laughing curator Monika Szewczyk Arsenał Gallery, Białystok, PL link

27 8,2 feet object, x 3 x 3 cm marble from solo exhibition I was maddened by sunlight. I felt like laughing link

28 Beautiful man object, cm epoxy resin, aluminum from solo exhibition I was maddened by sunlight. I felt like laughing link

29 Portrait & L oiseau bleu polaroid, ,7 x 8,5 cm (x2) from solo exhibition I was maddened by sunlight. I felt like laughing

30 solo exhibition Blue Bird curator Aurelia Nowak Zona Sztuki Aktualnej, Szczecin link on photo Russell 190 St. installation, 2015 dimension variable video projection, rotating mechanism

31 Russell 190 St. installation, 2015 dimension variable video projection, rotating mechanism on the left

32 Postcards found footage on the left Blue Bird performance, 2015 duration: 8 hours per day

33 Blue Bird performance action, sound, 2015 carators Magdalena Łazarczyk, Łukasz Sosiński Realny Obszar Działań, Warsaw

34 map shows the connection between three solo exhibitions: I was maddened by sunlight. I felt like laughing Blue Bird Blue Bird

35 Museum shop site-specific exhibition, 2015 hats, books, flowers, map, pendrive, postcards, shirts, necklace, boomerang, neon in cooperation with Anna Orłowska curator Wojtek Ziemilski XS, Warsaw

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38 Jitters site-specific performance, 2015 in cooperation with Anna Jochymek, Magdalena Angulska, Norbert Delman, Tymon Nogalski Komuna Warszawa, Warsaw link video documentation

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41 The Loneliness of the Long Distance Runner performance action, radio online in cooperation with Anna Orłowska Manifesta 11, Zurych, 2016 BWA Katowice, 2014 link video documentation link Manifesta 11

42 Hats objects, 2014 dimension variable hats, plexiglass Exterminate all the brutes

43 The draught various media project, 2013 public action (jet plane, aerobatic plane) video documentation drawings postcard collage link I wanted to treat the city as a sheet of paper that I can crumple or draw on; where I can draw a line. Akin to an urban planner or a draughtsman who is about to begin to sketch a city. (...) Since Łódź lost its status of an industrial centre, air lingers there all the time in a certain sense. The space required ventilating, but to make it happen I needed something that would set the still air, the surrounding buildings and their dwellers in motion. Even though it is by nature a transparent but audible and tangible mix of chemical substances in the atmosphere, the air in Łódź appeared to me as a mass of slime that sets the movements in slow motion and kills all dynamics. (...) Making any kind of movement in such circumstances requires a certain force, often rapid, that would enter such space. That was what I needed... Superior to the city, sound and vision fulfilled that condition. In 2013, a jet airplane flew lower than 200 metres above Piotrkowska St. in Łódź, the city s oldest thoroughfare and the starting point of Łódź s linear urban growth. When the plane disappeared, another one emerged that left an ephemeral smoke line suspended in the air the new first line in an urban planner s sketchbook. on the right The draught drawing, based on the Strzemiński s wrtitings

44 The draught video documentation, :50 with sound, full hd video in Filmoteka of the MoMA Warsaw collection link

45 The draught postacard, found footage

46 The draught Map, x 100 cm collage

47 Mateusz Choróbski 25 października :59 Do: Dear Sir or Madam I am writing to You in unusual case. If it is possible I would like to know what kind of white paint to you use to paint walls in the space of white cube. I look forward to hearing from you soon. White Cube Mateusz Choróbski mobile phone Michael Corcoran <masonsyard@whitecube.com> 29 października :09 Do: mateuszchorobski@gmail.com Dear Mateusz, Thank you for your interest in White Cube. We usually use this paint, Dulux Trade Vinyl Matt paint white. Kind regards, Mike --

48 Beater #1 site-specific installation, x 240 cm steel curator Mirosław Bałka space of Academy of Fine Arts in Warsaw

49 Tarzan site-specific installation, 2011 various dimension artificial snow, abandoned car curator Mirosław Bałka public space, Art and Business Center - Old Brewery, Poznań

50 Diving video #1, :50 with sound, full hd link

51 Diving video #2, :30 without sound, hd link Diving (fountain) video #3, :13 without sound, hd link