Papers by Fotografia Multimedia
Ghost Forms, 2024
The world of new media is inherently hybrid, and the boundaries of this world are not fixed.
The... more The world of new media is inherently hybrid, and the boundaries of this world are not fixed.
The interplay of physical and virtual reality raises questions about the role of materiality and representation in art. I try to combine the analog and the digital into a continuous image tradition in which the process remains entangled in various media and technologies.
The resulting works are a record of three-dimensional casts made of transparent epoxy resin, which have been transformed into digital negatives. The cycle was created in a process that begins with an authentic cast made of resin mass, which is the "positive" of a given object. Appropriating the material elements of nature in order to reinterpret them in the digital world, I create works that do not always consist of recognizable and classifiable entities. For me, the silicone matrix is the starting point for artistic experiments that find one of their final expressions in virtual, unreal and simulated space, taking the viewer into a new dimension where reality is dematerialized. After making a cast in resin, I photograph it and turn it into a digital negative. This process of transferring from matter to the digital world is a link between reality and virtuality, emphasizing the unique connection that exists between traditional art and modern technologies. In the series of Ghost forms works, I reconstitute nature by immersing viewers in new perceptual spheres where the boundaries between what is physical and what is virtual are blurred.
Fot. Anita Osuch Tatuaż, który Anita wykonała na podstawie rysunku ze strony 36.
Books by Fotografia Multimedia
Autorka zwraca uwagę, że zjawisko tanatoturystyki zostało opisane już dość dawno. Odwiedzanie pól... more Autorka zwraca uwagę, że zjawisko tanatoturystyki zostało opisane już dość dawno. Odwiedzanie pól bitew, obozów śmierci, miejsc katastrof, cmentarzy wojennych, nieczynnych więzień i miejsc kaźni wpisuje w ten szczególny rodzaj, coraz popularniejszej turystyki kulturowej. 8 http://www.britannica.com/event/Napoleonic-Wars (8.16.2015).
remedying the uncontrollable influx of migrants from Africa, Asia and Middle East, began to slowl... more remedying the uncontrollable influx of migrants from Africa, Asia and Middle East, began to slowly reappear on the maps of Europe. The narrative about a peacefully growing European empire was replaced by another one, with the vision of a fortress at its center. Europe has found herself under siege, whose first impact and direct consequences affected mostly her external countries, such as Greece, Italy and Spain. This book, devoted to the external borders of the EU, is directly linked to the two previous volumes we have worked on, also pertaining to space, the ways of controlling it and its physical and symbolic divisions. In the first book, together with other authors, we studied how various architectural forms serve to discipline human behavior. 7 The second, also a joint effort of several authors, dealt again with space; this time with historical, political, aesthetic and symbolic aspects of war monuments. 8 In both cases, though in different contexts, one of the key problems was division, separation and their maintenance. The essence of control and discipline always relies on a clear distinction between those who have the power and surveillance tools and those subjected to them. It is borders where such tensions are manifested directly, instantaneously and oftentimes violently, even brutally. These are the places we wanted to scrutinize. The crisis, stemming from mass migration, a lack of solidarity in fighting its consequences, the UK leaving the EU, a revival of nationalist movements-all of which pose a serious threat to the unity of the Community, made us take a closer look at places where, depending on one's perspective, the territory of a united Europe begins or ends. Frontiers are sensitive spots, from a social, political and historical perspective alike. It is there that we can observe the clash of two European myths. The first was created by the Europeans and the EU administrative apparatus. It is a myth of unity, solidarity, tolerance and affluence. On the other hand, newcomers reaching Europe have their own mythical thinking. They perceive Europe as a land of plenty, advanced social plans and security. Both of these myths, understood as collectively shared sets of mental images, turn out to be mere ideological constructs, incongruent with reality. The specificity of processes taking place on the borders cannot be understood fully if we limit ourselves only to describing the control and security systems. These places have a complicated history and for centuries have been a melting pot of various cultures, religions and ethnic groups. On both sides of the fences, walls and barriers there are people who communicate and cooperate with each other or fight, creating a common history together. Next to them, we have refugees and migrants, who wandered in to cross the border and move on. Our initial premise-of studying the borders, focusing on their infrastructure and functioning-had to be verified. It proved crucial to take into consideration the category of a frontier, which in every case is a separate, specific entity, created at the meeting point of cultures. Looking at the map of the EU and taking into account the current political situation, we chose three places: the Greek island of Lesvos, the Spanish enclave Ceuta and the border between Poland and Kaliningrad Oblast, a Russian exclave-we devoted one chapter to each of them. These are the three places where the EU borders not only other unassociated countries, but also different political systems. There were two main reasons why we chose them. First was that we wanted to show different kinds of borders: an island (natural border), an exclave (border resulting in a long historical process) and an arbitrarily drawn border separat-7 Architektura Przymusu. Interdyscyplinarne studia nad dyscyplinującymi funkcjami architektury, 2013, eds. M. Domański, T. Ferenc, Strzemiński Academy of Art in Łódź.
ISBN 978-83-66037-36-6, 2019
Rozpoczynając pracę jako wykładowca w uczelni artystycznej byłam ciekawa doświadczenia innych ped... more Rozpoczynając pracę jako wykładowca w uczelni artystycznej byłam ciekawa doświadczenia innych pedagogów w materii nauczania fotografii. Książka ta narodziła się z potrzeby poznania metod przy użyciu, których realizowane są programy nauczania fotografii w Polskich Uczelniach Artystycznych. Moim celem było znalezienie i ujawnienie prawidłowości i zjawisk zachodzących w procesie dydaktycznym, w obszarze nauczania sztuk wizualnych. Tworząc tę książkę skontaktowałam się z wieloma wykładowcami, w całej Polsce, którzy przyczyniają się do poszerzania umiejętności swoich studentów dzięki realizacji bogatego zakresu tematów związanych z historią, technikami i estetyką fotografii. Ten zbiór zadań traktuje mniej o technicznej stronie uczenia fotografii, a bardziej o ćwiczeniu się w sztuce obrazowania. Publikacja zawiera wiele interesujących zadań, które skłaniają do głębszej refleksji nad rzeczywistością i medium. Mam nadzieję, że ta książka stanie się jednocześnie inspiracją dla studentów, zestawem ćwiczeń, ale także dokumentem współczesnej sceny fotograficznej. Starting my professional career as a lecturer on Artistic Academy I was curious of other lecturers’ experiences in the matter of teaching photography. The book was born out of the need to learn and recognize methods through which photography curricula are implemented and realised on Polish Artistic Academies. My main aim was to find and present rules and phenomenons which occur in didactic processes of visual art teaching. While working on this book I have contacted numerous lecturers, all around Poland, who by implementing a wide range of topics related to history, techniques and photography aesthetics broaden students’ artistic awareness and abilities. This Collection of Tasks is concerned more with exercising oneself in the art of imaging rather than with technical aspects of teaching photography. The publication consists of many interesting tasks, which make us reflect over the reality and the medium. I wish this book was at the same time – an inspiration for the students, a set of exercises and a documentation of modern photography.
Visual Reality/ ISBN: 978-83-65403-25-4, 2016
Visual Reality to publikacja, w której próbujemy zmierzyć się z fenomenem fotografii post- intern... more Visual Reality to publikacja, w której próbujemy zmierzyć się z fenomenem fotografii post- internetowej zarówno na płaszczyźnie teoretycznej, jak i praktycznej. Czym jest fotografia postinternetowa i czy można używać terminu fotografia w odniesieniu do niektórych jej form, przejawów, manifestacji?
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Papers by Fotografia Multimedia
The interplay of physical and virtual reality raises questions about the role of materiality and representation in art. I try to combine the analog and the digital into a continuous image tradition in which the process remains entangled in various media and technologies.
The resulting works are a record of three-dimensional casts made of transparent epoxy resin, which have been transformed into digital negatives. The cycle was created in a process that begins with an authentic cast made of resin mass, which is the "positive" of a given object. Appropriating the material elements of nature in order to reinterpret them in the digital world, I create works that do not always consist of recognizable and classifiable entities. For me, the silicone matrix is the starting point for artistic experiments that find one of their final expressions in virtual, unreal and simulated space, taking the viewer into a new dimension where reality is dematerialized. After making a cast in resin, I photograph it and turn it into a digital negative. This process of transferring from matter to the digital world is a link between reality and virtuality, emphasizing the unique connection that exists between traditional art and modern technologies. In the series of Ghost forms works, I reconstitute nature by immersing viewers in new perceptual spheres where the boundaries between what is physical and what is virtual are blurred.
Books by Fotografia Multimedia
The interplay of physical and virtual reality raises questions about the role of materiality and representation in art. I try to combine the analog and the digital into a continuous image tradition in which the process remains entangled in various media and technologies.
The resulting works are a record of three-dimensional casts made of transparent epoxy resin, which have been transformed into digital negatives. The cycle was created in a process that begins with an authentic cast made of resin mass, which is the "positive" of a given object. Appropriating the material elements of nature in order to reinterpret them in the digital world, I create works that do not always consist of recognizable and classifiable entities. For me, the silicone matrix is the starting point for artistic experiments that find one of their final expressions in virtual, unreal and simulated space, taking the viewer into a new dimension where reality is dematerialized. After making a cast in resin, I photograph it and turn it into a digital negative. This process of transferring from matter to the digital world is a link between reality and virtuality, emphasizing the unique connection that exists between traditional art and modern technologies. In the series of Ghost forms works, I reconstitute nature by immersing viewers in new perceptual spheres where the boundaries between what is physical and what is virtual are blurred.