Mateusz Choróbski Born in 1987, Poland Education: 2015-2017 PHD, Interdisciplinary Studies, University of Arts, Poznań, PL 2011-2013 MA, Media Art - Mirosław Bałka Studio of Spatial Activities, Academy of Fine Arts, Warsaw, PL 2008-2011 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
portfolio
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
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
Nie ma już bezpańskich psów #2 installation site-specific 165 x 51 cm (x6) each unique, 2017 stainded glass, fat on the right: detail
Nie ma już bezpańskich psów #4 (fountain) video collage, without sound, 2010-2017
The falcon cannot hear the falconer installation, 2017 leather, brass, steel
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.
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)
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.
Long day s journey into the night (detail)
Long day s journey into the night DAMA, Turin
Long day s journey into the night RAW MATERIAL, Eva Meyer, Paris
Scrotum (Moszna) [detail] from solo exhibition The Slow Collapse of a Journey
Scrotum (Moszna) object #1, 2016 40 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
Scrotum (Moszna) object #2, 2016 Dama, Turin
you see me do mi dirt object, 2016 240 x 163 x 163 cm steel, melted coins, brass from solo exhibition The Slow Collapse of a Journey
you see me do mi dirt (detail)
Stepson site-specific installation, 2016 aluminum, cement 500 x 300 x 3 cm from solo exhibition The Slow Collapse of a Journey
Curve installation site-specific, 2015 1300 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
exhibition view - What to Do with Things I Don t Want to Share?
Corner object, 2015 200 x 200 x 200 cm steel, UV lamps from the exhibition What to Do with Things I Don t Want to Share?
Nesting installation site-specific, 2015 100 x 200 cm (x2) copper, electricity, UV lamp from two person exhibition Nesting curator Jakub Śwircz Asymetria Gallery, Warsaw link
Nesting (detail)
190 Russell St. installation, 2015 450 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
8,2 feet object, 2015 250 x 3 x 3 cm marble from solo exhibition I was maddened by sunlight. I felt like laughing link
Beautiful man object, 2015 213 cm epoxy resin, aluminum from solo exhibition I was maddened by sunlight. I felt like laughing link
Portrait & L oiseau bleu polaroid, 2015 10,7 x 8,5 cm (x2) from solo exhibition I was maddened by sunlight. I felt like laughing
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
Russell 190 St. installation, 2015 dimension variable video projection, rotating mechanism on the left
Postcards found footage on the left Blue Bird performance, 2015 duration: 8 hours per day
Blue Bird performance action, sound, 2015 carators Magdalena Łazarczyk, Łukasz Sosiński Realny Obszar Działań, Warsaw
map shows the connection between three solo exhibitions: I was maddened by sunlight. I felt like laughing Blue Bird Blue Bird
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
Jitters site-specific performance, 2015 in cooperation with Anna Jochymek, Magdalena Angulska, Norbert Delman, Tymon Nogalski Komuna Warszawa, Warsaw link video documentation
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
Hats objects, 2014 dimension variable hats, plexiglass Exterminate all the brutes
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
The draught video documentation, 2013 3:50 with sound, full hd video in Filmoteka of the MoMA Warsaw collection link
The draught postacard, found footage
The draught Map, 2013 120 x 100 cm collage
Mateusz Choróbski <mateuszchorobski@gmail.com> 25 października 2012 21:59 Do: enquiries@whitecube.com 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 2012 -- Mateusz Choróbski mobile phone +48 604 26 05 66 Michael Corcoran <masonsyard@whitecube.com> 29 października 2012 11:09 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 --
Beater #1 site-specific installation, 2012 340 x 240 cm steel curator Mirosław Bałka space of Academy of Fine Arts in Warsaw
Tarzan site-specific installation, 2011 various dimension artificial snow, abandoned car curator Mirosław Bałka public space, Art and Business Center - Old Brewery, Poznań
Diving video #1, 2010 5:50 with sound, full hd link
Diving video #2, 2010 1:30 without sound, hd link Diving (fountain) video #3, 2010 2:13 without sound, hd link