THE CINEMATIC SUBSTRAT OF ART

展期: 2026-05-23 ~ 2026-05-25
展場: INSTITUTE OF CYBERNETICS ART AND SPIŻ 7 GALLERY IN GDAŃSK, OSOWA, KOMANDORSKA street. 26, 80-299
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ARTISTS / artists: XIX – Kasia Borejsza + Marcin Karton Karczewski, Emilia Borodo, Piotr Cieślik, Yao Jui-Chung, Barbara Drozdowicz, Dominika Dolna, Tomasz Gadecki, Iouri Grankin, Piotr Hopcia, Filip Jacaszek, Olaf Le, Magdalena Kołodziej Olszewska, moRgan Barbara Konopka, Monika Krygier i Włodzimierz Pietrzyk [+ Stefan Krygier i Władysław Strzemiński], Przemek Kryszk, Weronika Anna Michalak, Agata Nowosielska, Mateusz Pęk, Magda Połomska, Monika Pudlis, Marek Rogulski [+ Topler’s Cylinder], Przemek Hiero Rundom [+ Wolne Brzmienia; Free Sounds of Multi-Talent], Alexander Rynéus, Wojtek Sosnowski, Sara Susmend, Marta Magic Tobolska + Sylwia Hinz + Kludia Majkowska [+ collective], Tomasz Zabrocki, Marek Zygmunt

The exhibition will address the problem of engineering within the „problem of art.”

We can treat each artistic proposal as an attempt to address this problem and the necessity of grappling with historically conditioned ways of thinking about it. Each proposal, therefore, contains an element of constructibility. This is a kind of Kinematics of Art (of thought and recording) – revealing the capacity of the human mind and experience to manifest in artistic creations.

The concept of Kinematics is drawn here from the field of physics, which deals with how a given body moves, and in the context of the exhibition, it is invoked as an analogue for artistic strategies for using material, i.e., substrate.

It is a specific kinematic self-replication of ideas and cognitive powers [vectors of displacement and acceleration] applied in a selected and specific cultural environment.

While biological evolution produces solutions to specific problems in natural environments, humans, in the act of creating cultural phenomena, create mechanisms with a higher architecture of competences (e.g., ethical ones)—in some way contradicting what is found in nature.

Thus, the natural world that „built” us is, in a sense and scope, what we reject. Broadly understood engineering therefore seems to be the appropriate perspective for conducting reflection on the conscious use of both natural and cultural resources.

This approach can be implemented in social, linguistic, and spatial spaces—for example, as behaviors expressing varying degrees of cognition, different preferences, and a complex inner life. With such a multidimensional and dynamic frame of reference, questions arise about possible directions of navigation and the ability to define one’s own goals.

These goals can be seen as the presumed source of the formation of both individuals and collective communities. The challenge for the future lies in the fact that any complex system can have multiple applications—it can emphasize environmental control or propose the construction of new spaces for individual self-fulfillment: What would need to be changed and what would we like to achieve?

Jeffrey C. Alexander advocated the introduction of the specification method—that is, combining the process of identifying the validity and relevance of abstract propositions in social conditions with empirical work. This could involve critical „reading” combined with the introduction of critical corrections.

The combination of rational and irrational elements was intended to reveal non-random social patterns, and the action was to be realized as an interpretation based on strategic calculation. It is not just about philosophy, but also about empirical experiences providing a basis for making sound decisions—appropriate for this type of activity.

It is essential to be able to conduct experiments—including in the field of art.

What signal, what impulse will be considered significant—in the aforementioned context—by artists?