*1985 in Lublin, Poland, lives in Warsaw, Poland.
The Polish artist Agnieszka Polska uses a quite unique digital collage technique, which she combines with the great tradition of animated films to create pictorial narratives.
In her work, Agnieszka Polska uses things she finds, especially photographs and printed materials from the 1920s to 1970s and then uses digital and traditional animation techniques to create a new narrative. She prompts questions about how the present can be constructed from memories and how private or historical events can be presented in a different way. She thereby touches on a key theme of Art Collection Telekom. How can contemporary art help rectify the problem of displacement, false memories, and the re-evaluation of historical events?
The source material for the 'Cops and Robbers' photo series is a handbook for the Polish militia before the fall of the Soviet Union. At the time, the book served as an instruction manual on self defense for the militia and was published in 1956, exactly at the time that the first workers' protests against the People’s Republic of Poland broke out. By removing the civilian attackers from the photos, Agnieszka Polska transforms the poses of the militia into an absurd ballet.
The digital collage entitled 'Arton 1' refers to Włodzimierz Borowski and his series of 'Artons' dating from the period 1961–1963.
'Sensitization to Colour' reconstructs the room where legendary Polish artist Włodzimierz Borowski (1930–2008) performed the work 'Sensitization to Colours', including objects used in the initial performance as well. The original performance, in the Od Nowa Gallery in Poznań in 1969, was only visually recorded in a few black and white photographs. Here Agnieszka Polska imagines how the performance by this key figure in the Polish avant-garde could have been staged.
'The Forgetting of Proper Names', from the three-part film series 'Three Videos with Narration', presents us with a wealth of imagery of minimal art and performance art of the 1960s and 1970s. It is a play on the recognition of events in art history. Some of the works seem familiar such as the 'Earth Room' by Walter de Maria and works by Robert Smithson and Robert Morris, but it is as if the name of a particular artist has slipped the memory. Almost incidentally, extracts from Sigmund Freud's essay 'Vergessen von Eigennamen' are quoted from the beginning.
As if in a doll’s house, in 'My favourite Things the artist’s favorite themes and objects are brought together in miniature. In one respect they remain a puzzle, in another they inspire a play between things that seem familiar and things that originate in the artist's own imagination.
In the film 'How the work is done' Agnieszka Polska refers to a 1956 strike by art students at the Kraków Academy of Fine Arts that was prompted by political circumstances. The students occupied the building and locked themselves into the Academy's sculpture and ceramic workshops for several days. The artist recreates this situation with a group of sculptures made from clothes, which resemble people lying on mattresses. The camera pans over the workbenches and artworks as if in a dream, with an almost nostalgic look at the traditional craft of sculpture.