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Films from the Collection

Now you may explore films from our Collection from home.

  • Mateusz Sadowski, Films From Home [Filmy z domu], 2011

    • Mateusz Sadowskis film depicts micro-worlds indicating the intimate scale of experiencing reality. Mixed together, images of mountains, forests, insects and Japanese engravings appear on the screen. The final shots are accompanied by the authors reflection on the selective nature of perception. Films From Home combines nature, art, geometry, rhythm, repetition, sound and the artists performance.

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  • Mateusz Sadowski

    • (born 1984) makes animated and video films, creates photographs and installations. His work can be referred to as visual poetry, through which he communicates with the audience, simultaneously providing them with some kind of psychological tools. Their use largely depends on the sensitivity of the viewer.

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  • Karolina Breguła, Leaving [Wyjście], 2013

    • This short, two-minute film (in a sequence of three repetitions, 253)  prompts reflection on important topics. The recording shows employees of Ujazdowski Castle Centre for Contemporary Art leaving the building after a days work. The work refers directly to the first real motion picture, the 1895 Workers Leaving The Lumière Factory in Lyon by the Lumière brothers, which was both the first documentary film and the first one focusing on human labour. In a sense, Bregułas Leaving is a remake of this pioneering work. However, in Bregułas film, art workers are leaving the cultural institution that is likened to a factory. One by one, they exit through the narrow door: the first one is the leader of the labour union, followed the personnel of the documentation, accounting and promotion departments, curators, coordinators, assistants, cleaning staff... and at the end, of course, the director.

    • The film is a staged recording of a particular kind of performative action with the participation of Ujazdowski Castle Centre for Contemporary Art employees and is one of the few works in which the issue of work in a cultural institution and “art workers people responsible for its everyday functioning is discussed and problematized.

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  • Karolina Breguła
    • (born 1979) creates films and photographs, installations and actions in public space. A graduate of the PWSFTviT in Łódź, where she obtained a doctoral degree in 2016 She also studied at the GFU photo school at the Folkuniversitetet in Stockholm, and at the European Academy of Photography in Warsaw.
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  • Józef Robakowski, I'm going [Idę], 1973

    • Im going was created during Józef Robakowskis work with the Film Form Workshop. In the 1970s, the artist developed the concept of art as a field of energy transmissions; hence in many of his film works classified as structural cinema, a biological-mechanical record appeared, exposing the collision of the mechanical camera and the human body, the meeting between man and medium. Here, the camera attached to the artists body creates a direct record of his monotonous climb up the stairs of a watchtower. It is an attempt to shift the “film gaze onto the machine the man does not interfere in what is recorded on tape. The film was shot in one take, in real time, without editing. One can hear how Robakowski breathing increasingly heavily counts the steps from one to two hundred. In some interpretations of the work there are references to the “way of life.

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  • Józef Robakowski

    • (born 1939) multimedia artist, Polish experimental filmmaker and avant-garde creator. Author of films, photographic series, video recordings, drawings, installations, objects, conceptual projects; art historian, theoretician, teacher, curator, and animator of many artistic actions. In the 1960s, he studied at the Faculty of Fine Arts of the Nicolaus Copernicus University in Toruń and at the Cinematography Department of the PWSFT in Łódź. Between 1970 and 1981, he was a lecturer and head of the Photography and Visual Advertising Department at the Łódź Film School and since 1995 he has been working there again. He is the co-founder of experimental artistic groups including, among others: OKO (1960), STKF PĘTLA (1960-1966), ZERO-61 (1961-1969), KRĄG (1965-1967), the Film Form Workshop formed in Łódź in 1970 and Telewizyjna Grupa Twórcza Stacja Ł (19911992). In his experimental films, he examines media languages and tools.

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  • C.T. Jasper and Joanna Malinowska, Charge [Szarża], 2002

    • The film is inspired by the myth of the victorious charge of the Polish hussars during the Battle of Vienna and the role played today by Polish history among the Polish diaspora. Poles abroad seem more attached to old, “heroic Polishness than current events in Poland. The authors focus on the hussars wings, a distinct symbol of Polishness. However, they take them out of their historical context instead, they attach fake wings to the backs of ordinary citizens, dressed in ordinary clothes, without weapons and horses. Modern hussars cover the distance from the top of a hill towards its base, marching though terrain reminiscent of a battlefield or an image of such field that exists in collective consciousness. For the filmmakers, the sound of the wings of the speeding hussars and the wings themselves are significant insofar they are a strange addition that imposes a specific choreography and movement. The soundtrack is an accumulation of sounds of insects and birds typical of Poland. The duration of the work, 4 minutes and 33 seconds, is a nod to the famous composition by John Cage.

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  • C.T. Jasper and Joanna Malinowska
    • split their lives between New York and Gdynia. They usually work separately, but have collaborated on a few pieces, including Halka/Haiti. 18°4805N 72°2301, a project that represented Poland at the 2015 Venice Biennale. They are both winners of the prestigious John Simon Guggenheim Award. C.T. Jasper runs the sculpture department at the Tyler School of Art and Architecture in Philadelphia, and Joanna Malinowska lectures at Cornell University.
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  • Marcus Kaiser, Andree Korpys, Markus Löffler SUPERSAM, 2002

    • The film is the work of three German artists who in 2002 came to an art residence at Ujazdowski Castle. Marcus Kaiser (born 1967), Andree Korpys (born 1966) and Markus Löffler (born 1954) made a video about a legendary, socialist modernist supermarket. Thanks to the duo of outstanding creators architect Jerzy Hryniewiecki and constructor Wacław Zalewski Supersam has become the flagship retail space in the capital. Thanks to its innovative structure, unprecedented on a global scale, the elegance of form, and the bold choice of used materials, the building stood out among everything that was previously built in the Polish Peoples Republic (despite protests, Supersam was demolished in 2006). The artists show not only Supersams architecture and interiors, but also its employees who have worked in the iconic store for forty years. The film is a kind of a staged documentary; emotionless Supersam's employees recall the opening ceremony, the store's day-to-day operations and stock. Their lines often sound odd, because they are reading out a text prepared by the artists.

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  • Joanna Rajkowska Oxygenator [Dotleniacz], 2007
    • The film shows that the very process of implementing the project was as important as its final result. Oxygenator took the form of a social sculpture made in the city space of Warsaw in 2007. It was an artificial reservoir, 150 square metre-large, 1 metre-deep pond built on Grzybowski Square, close to Warsaws city center. The local residents called it “the pond and it enjoyed a much better reception than Rajkowskas previous project in public space, Greetings from Jerusalem Avenue a palm tree standing on the Charles de Gaulle roundabout in the heart of Warsaw. Oxygenator very quickly became a pretext for creating new social rituals, a clear form of communication for the local community. It was supposed to create a pleasant place to spend time together in a space marked by unprocessed trauma related to the tragedy of the historic site of the Warsaw Ghetto.

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  • Joanna Rajkowska
    • (born in 1968) is the author of projects and actions in public space, objects, films, and installations. She studied art history at the Jagiellonian University in Kraków (19871992) and painting at the Academy of Fine Arts in Kraków in the studio of Prof Jerzy Nowosielski (19881993). In 2007, she was awarded the Polityka Passport award in the visual arts category. In 2010, she received Fundacja Kultury Grand Prize for her artistic achievements.

  • Dominika Olszowy, Wanda Wanton, 2015
    • Wanda Wanton is the mysterious heroine of Dominika Olszowys mockumentary. During the day, Wanda works as a teacher in a school in Wieliczka, and at night, perhaps possessed by the ghosts of the ancient Vandals people, she destroys everything that comes her way. The interview with Wanda shows that she loves destruction and calls her acts of vandalism art. Vandalism becomes her philosophy of life, a way to create a new order. The film asks whether vandalism can be an act of freedom, freeing oneself from the order of oppression imposed by others

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  • Dominika Olszowy
    • is the winner of the 9th edition of the Spojrzenia competition (2019). She was recognized as the most interesting artist of the young Polish visual arts scene. The prize was awarded for “consistency in developing a creative path and creating her own universe, boldly mixing various means of artistic expression and playing with aesthetic conventions. Olszowy (born 1982) is a graduate student from Prof Marek Wasilewski video art studio at the Adam Mickiewicz University in Poznań. She works at the intersection of various media and is best known for her post-internet confabulations; she also creates performances, video works, sculptural installations, and scenography projects. She draws on the convention and style of amateur theatre, cabaret, mockumentary, and TV talk show.