KLAUDIUSZ ŚLUSARCZYK


BIO


(PL) Absolwent reżyserii teatralnej wydziału Performing Arts na Uniwersytecie Monash w Melbourne, autor tekstów i artysta wizualny. Jest wykładowcą na Wydziale Sztuki Nowych Mediów Akademii PJATK w Warszawie. W swojej interdyscyplinarnej pracy twórczej Klaudiusz opiera się na szeregu dyscyplin naukowych i artystycznych. Interesują go szeroko pojmowane stany wykluczenia i topologiczne przekształcenia przestrzeni. Jego badania obejmują też pojęcia związane z kształtowaniem się ludzkiej podmiotowości. Koordynował projekty artystyczne w Australii, Japonii i Europie. Mieszka i pracuje w Warszawie.


(EN) Theatre practitioner, writer, and visual artist. He is also a lecturer at the New Media Arts Faculty / PJATK Academy in Warsaw. In his work, Klaudiusz draws on a range of disciplines that explore the possibility of embodying states of exclusion and spacial topologies. His research based practice scrutinises ideas connected to the shaping of human subjectivity. His investigation has led him to co-ordinate several projects in Australia, Europe and Japan. At present Klaudiusz works and lives in Warsaw, Poland.

KONTAKT


To find out more write to: couscouskuskus@gmail.com

Scroll down to see works ↓




STEPS


Type:  Small Sculptural Object | 2024


Samuel Beckett once described the character of May in his short play Footfalls as the embodiment of someone who remains in their "imaginary" womb; strangely existing but not truly alive. Much like the play that depicts the life of the protagonist whose existence is limited to the rhythm of her own pacing footsteps, the work reimagines the metronome's function by denying the object its designated purpose.

image credit: Marcin Nalepa


MAN WHO LAUGHS

wkrótce /soon

Type:  Multimedia installation, sculpture 




COMFORT NOISE

Type:  Photography | TBA

...comfort noise is a synthetic background noise used in radio and wireless communications to fill the silence in a transmission resulting from no voice activity. The result of receiving total silence, especially for a prolonged period, has a number of unwanted effects on the listener, including: the listener may believe that the transmission has been lost, and therefore hang up prematurely. To counteract these effects, comfort noise is added, usually on the receiving end in wireless systems, to fill in the silent portions of transmissions with artificial noise. The noise generated is at a low but audible volume level.






SELF-MAINTENANCE

Type: Installation | 2023

Self-Maintenance is an algorithm governed mini-circuit device that produces an infinite state of self realisation by checking the potential of its own components.



The work explores the idea of human traits replicated by machines, and through the device, human self assurance of continuous self realisation through maintaining a state of high performance is referenced.


Self-Maintenance was created with technical support from Marek Gnyś and Piotr Gnyś.



ISLANDS
Type: Serigraph print, A1 | 2021


Islands is a set of large serigraph prints based on human sketches.

Print 1:



Print 2:







IN PRAISE OF BOREDOM

Type: 2# Performative action | 2018

In Praise of Boredom was a second collaborative performance action realised at Centre for Contemporary Art, Warsaw with dancers and performers as part of series of experimental workshop sessions.
In reference to Brodsky seminal essay, this performative session addresed boredom, nothingness, and the act of refusal.

co-author : Sara Rodowicz-Ślusarczyk
sound : Nicholas Pollock

previous session:

Eyes of the Skin / Oczy skóry was an non-stop 10hr night art/dance improvisation session. 

https://www.mixcloud.com/teatrcouscouskuskus/oczy-skóry-the-eyes-of-the-skin-warszawa-session-part-1/






HOW GO

Type: Photography + Installation | 2016


How go was a photographic installation presented as part of the Biennale de Stonefield, France.




TAHITI IS APPROACHING…

Type: Photography | 2014

Tahiti is approaching… was a solo photographic exhibition presented at GWL Warsaw, Poland.

…the islander navigator did not conceive of the earth as a globe, but as a "mother'' who would bear him to the distant lands in her care. Lacking both the practice of text reading and its overhead view, the Pacific navigator instead followed a practice of learning oral songs that carried the formulas for voyages and a body relativism for calculating apparent directions. The perspective adopted was one of embodied "being-here." Once on board, the navigator takes his actual bodily position as constant and judges all relativistically according to that reference. Even the language changes, and one says: “Tahiti is approaching”, rather than “I am nearing Tahiti”… – Don Ihde







couscouskuskus@gmail.com
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