PATRYCJA PLICH
patrycjaplich@op.pl
PORTFOLIO
+48517324814
patrycjaplich.tumblr.com
EDUCATION
EXHIBITIONS AND FESTIVALS (SELECTED)
2020-2021 The Art of Writing, Roman Literature Faculty, University of Adam Mickiewicz, Poznań, Poland
07.2022 (upcoming) Plastigo project, exhibition at Galerie Vitrine, Marseille, France
2013-2018 Intermedia Department, BA+MA, University of Arts in Poznań, Poland
2021 Plastigo project, exhibition at Martigues Culture Center, Martigues, France
2011-2012 Stage design course, Atelier Foksal, Warsaw, Poland
2020 So no wilderness no revelations, Salony Foundation, Zielona Góra, Poland
2008-2012 Visual advert specialization, National School of Fine Arts, Warsaw, Poland
2020 Acte 1/ Acte 2, collective exhibitions, Emprise, Marseille, France
EXPERIENCE
2019 Scholarship laureate exhibition, Rozruch gallery, Poznań, Poland
2026-now Founder of WASTEBOOKS publishing press working with recycled materials 2017-2020 Co-founder of Kobalt migrating platform – educational project working worldwide 2011-2012 Costume and set designer, The Polish National Film, Television and Theatre School in Łódź, Poland SCHOLARSHIPS 2020 laureate of Culture and National Heritage Scholarship for the Wanderland Platform project, The Ministry of Culture and National Heritage, Poland 2019 Artistic Scholarship of City of Poznań
Patrycja Plich (born in 1992, Poland) works and live in Arles, France and Leipzig, Germany I’m work with symbolic organization of the space in the socio-natural landscape. In my artistic practice I use various media that interconnect in the frame of exhibition, publication or widely recognized performance. I use drawing, archives (video, texts) and wide research of data with their translating potential on the base of theoretical-philosophical reflection. I’m focused on the meaning of the translation of territory in multidimensional sense. Those topographical undertakings are set in the human environment which is subject to constant material and semantic transformation that spans multiple dimensions – from geopolitical to antropocentric ones. I work in various geographical contexts with the issue of migration and trajectories of social and political changes. The meaning of the critic mapping of real and imaginary territories is the unifying point of my works. It is supported by the direct activity in the field of environmental research on site (in situ). The new materialism meaning is the based on which I placed all my artistic actions.
What we create burns in a process of endless change. By creating I ask what’s the nature in the age of the possibility of its technical reproduction? And what’s the position of the artist in overproduced and overrepresented reality?
2017 laureate of Culture and National Heritage Scholarship for outstanding achievements, The Ministry of Culture and National Heritage, Poland RESIDENCIES 2021 Residence Tètrodon, 4 sessions during 2020-2021, long-lasting project, run by association par ce passage, infranchi…, Martigues/Port de Bouc/Rassuen/Marseille, France 2020 Salony Foundation, in frame of Climate Changes program, Zielona Góra, Poland 2020 Acte 2 Residency, Emprise, Marseille, France 2019 Residents of the Universe/Pobratymcy, YermilovCentre, Kharkiv, Ukraine 2019 Residents at the Residency, ZAMEK Culture Centre, Poznań, Poland 2017 Sorry, we have no rooms available, Higher order understatements project, Hotel Zakarpattia, Uzhhorod, Ukraine 01-14.07.2017 Serde Residency, Wanderland: Suburban botany project (workshop and publication), Aizpute, Latvia
2019 We wished for a comfortable life (with Wojciech Ulman), duo exhibition :SKALA, Poznań 2019 Local connections, solo exhibition, ZAMEK Culture Centre, Poznań, Poland 2019 Printemps de l’Art Contemporain, Come together International Forum, presentation of Wanderland project, Marseille, France 2019 Retrotopia, set-design, video design and co-direction of stage effects, opera composed by Sebastian Dembski, in frame of New Music program, Great Hall, ZAMEK Culture Centre, Poznań, Poland 03.2018 Archeology of the place: imaginary objects, group exhibition, Ichot Cultural Center, Poznań, Poland 01.2018 Sorry, we have no rooms available residents exhibition, Hotel Zakarpattia, Uzhhorod, Ukraine 08.2017 Summer 68, online exhibition, Roland Wegerer Labor, Austria http://rolandwegerer.bplaced.net/vos/ 06.2017 Malta Festival 2017, I sleep on the left, I sleep on the right zine published by Ostrov, Poznań, Poland 06.2017 Ping Sensors, Hat Center, Interactive Media and Performance Department, University of Adam Mickiewicz, Poznań, Poland 06.2017 La Nuit de l’Instant festival and competition Prix Nuit de l’Instant, Les Ateliers de l’Image, Centre de Photographique, Marseille, France 05.2017 WRO Media Art Biennale 2017, Such a Landscape exhibition, participation in competition, Wro Art Center, Wrocław, Poland 06.2016 Malta Festival 2016, Miopia project, Poznań, Poland 06.2016 Ideas secretly cherished, solo diploma exhibition, PB Gallery Skalar Office Center, Poznań, Poland
So no wilderness no revelations (2020) What light does aesthetics as a branch of thought, and art as a contemplative practice, shed on the (possible) end(s) of the world? What if we consider the end of the world as the finished product of aesthetic modernity? The blue ruin of earth is the total work of art at the end of history. The earth will be buried at sea.*
So no wilderness no revelations is a project mapping areas affected by human exploitation, presenting research results in a visual sensible form, as an alternative to abstract mathematic data. It directs its attention to places located outside large urban agglomerations, where the „visibility” related to land transformations and the impact of industry is governed by a different optics. The artist selects those areas where the factual information regarding exploitation is unknown to a wider public discussion and which, due to their hyper-local specificity, become unspoken problems. It deals with the problem of access to information related to climate change, the use of manipulation strategies of industries that want to hide their impact on the environment. In addition, Plich explores places around industrial plants, observing how, due to their operational activities, they change the landscape deeply. The artist captures all of her activities in the scheme of an alternative research, where visual, mathematical data and direct messages of people living or working there are emerging in the form of an anthropocentric map that gives access to previously unavailable information. The visual forms included in the installation are based on statistical and research aesthetics, however, engaging organic representation in their form, they encourage recipients to empathize with the natural environment, of which humans are also a part. Objects were made by wastes of industries. To make it done artist must first go through bureaucratic process of gaining permission to use something that even if it’s wasted has a special status in capitalist reality. Artist in this and other projects works with the problem of disinformation (greenwashing) and in contrary states the power of adopting the realness of current critical moment to find deep disagreement after all. According to the artist, in order to truly feel the level of risk associated with human exploitation, it is necessary to identify deeply with the post-natural landscape, live in it, daily consciously experience, tame it, and then abandon it. The artist calls those activities the Black Ecology.
*Blue Ruin: Totality and Acceleration, McKenzie Wark — March 6, 2014, http://www.publicseminar.org/2014/03/blue-ruin-totality-and-acceleration/
The topography of places that are yet to come (2029-continues)
Drawing series, various drawing medias, various sizes, part of Wanderland platform project, 2019-ongoing Presented during the exhibition and residency Acte 1 and Acte 2 at gallery Emprise, 09.2019-02.2020, Marseille, France
The topography of places that are yet to come, drawing series, various drawing medias, dimensions 50×70 cm
The topography of places that are yet to come, drawing series, various drawing medias, dimensions 1,5×2 m
The topography of places that are yet to come, drawing series, various drawing medias, dimensions 70×70 cm
The topography of places that are yet to come, drawing series, various drawing medias, dimensions 50×70 cm
The topography of places that are yet to come, drawing series, various drawing medias, dimensions 50×70 cm
The topography of places that are yet to come, drawing series, various drawing medias, dimensions 50×70 cm
The topography of places that are yet to come, drawing series, various drawing medias, dimensions 30×40 cm
The topologies of totality (2019) Site-specific text installation, 12 texts pieces, video, embroidered fabric pieces Karazin University, Residents of the Universe program, YermilovCentre The project in process is a reference to the history of Karazin University as an architectural assumption, its character of construction and functioning structure. The centrifugal point is the main hall located on the ground floor of the building. Its mirror construction (two identical parts located on two sides of the main entrance) is a space to reflect on the duality of perception. As a space between, a transient and temporary place, associated with movement but also waiting, led me to reflect on the importance of how the building stores information. The history of the University is not a history of walls, as architecture it retains its function, it is a refuge for the science. I am interested in stories of people, a direct meeting, and even a minimal influence on people passing by this space. Conducting research and observations of this space, I am not able to directly communicate with everyone, so I leave a fraction of what I have come up to so far, I create contact, the possibility of distorting the common use of this space. The title of the project indicates interest in the issue of totality, a view of all changes and processes occurring in this space. My interests concern how architecture determines the way of being in it. The modernist assumption of the structure became the starting point. The text is in places that I considered the least tamed by passers-by, are slightly hidden and not obvious. The text itself in a metaphorical way speaks about our behaviors of staying in different spaces. Other references appearing in the text are the motif of the written word itself, how we remember it, how we combine it with spatial memory. The text is also basically an auto-narrative representation of my initial inquiry process.
The topologies of the totality, view of the installation in the main hall, view of the „Work-in-progress” exhibition at the Siemiradz
We wished for a comfortable life (2019) :SKALA gallery, duo exhibition with Wojciech Ulman, installation, photographies, videos curator: Julianna Kulczyńska
„Is there a trash big enough for a big delete?”*
It is crucial for us to consider aspects of time in terms of the ongoing climate change. The ubiquitous rustling, fluttering wind, useful and wasted materials (intently hidden from the public view) are brought to the fore here. Plastigomerate layers have wrapped around the Earth. We wished for a comfortable life is based on a process of transformation of work Pułapka zdarzeń (The Trap of Events) created during the exhibition Znamy się, a nawet lubimy (We know each other and even like each other) at BWA Zielona Góra in 2018. We make our own decisions, and yet we are in a wider circle of connections between what large corporations supply us with and what we pursuit based on our expectations. We have a limited impact on global issues. In this paradox, we find the basis to present the crucial points of the whole problem. Being in a state of crisis, we are aware, that changes must start at „the top” – where it all began. Art will not be a remedy for an environmental crisis. However, it has the potential to raise awareness and tame with the consequences of consumption process.
*B.H. Bratton, The Stack. On Software and Sovereignty, Cambridge, Mass. 2016.
The Acceleration photo series presented at the exhibition We wished for a comfortable life printout on the banner, 100×70 cm, 2016-2019.
Plastigo (2019-ongoing) Research-based, walking oriented and complex social project situated in industrial zone in south of France. In cooperation with Par ce passage, infranchi… collective, Souad Mani (Tunisian artist) and Romain Papilon (technical support). Plastigo is a transmedial project. It is based on three spots that represents territorial complexity around the Gulf of Fos industrial zone. Collective creation of artists develops modalities of terrestrial installations in situ associated to the issue of plastiglomerate as well carry critical research in frame of radical cartography. Visual reseach and map making process is developing by coordination of Patrycja Plich. Plastigo questions these territories from the ghosts of the Anthropocene and fossil industries, revealing plots of landscapes abandoned by the technostructure implanted in the industrial area near Marseille for decades. The whole project is divided into parts of preparation, co-working activities of four international artists with specific skills supporting the project. In the research part we stimulate the search of dialogues with the inhabitants of the surrounding areas, the fishermen, the employees of the factories around the spots. Third, official part is a presentation in-situ, open visits in all spots. Website equipped with measurements and data is the summarizing part that opens the project for further duration and shows the research continuity. The project is an inquiry into the Anthropocene era. Research / artistic tools: walkabouts, field studies, visual records (critical maps), The entire working mode is accompanied by the Tétrodon residential program, a hub for the Plastigo project development.
Process of Plastigo process on VIMEO: https://vimeo.com/657436323
Plastigo zine #1
Plastigo research materials Graphics prepared for Plastigo zine #2 visual map focused on the problematique of the soil and pollution around Golf de Fos. Zine size: A3 format printed on recycled paper
Wanderland Platform (2016-ongoing) socio-artistic platform of mutual activites with local migrants on the meaning of the territory
The Global Art of Mixing –continental drift – human drift – nomadic man of speed in chains of his feet – Liberated Map – New Geography Wanderland platform is a long-term cycle of activities that widely map out the existence of transcultural communities in different geopolitical contexts. The threads taken up in here have their origin in the history of the African Center in Poznan (Poland) in the 1990s. The project follows the impact of the African Center’s activities on the possibility of building an inclusive society that creates a cross-border connections. The whole process is based on the idea of free wandering – discovering and experiencing reality beyond systemically established boundaries. It’s an issue of border places – places between places (disputed territories) and places between meanings (transcultural communities). The project reflects on
The main geographical references for the Wanderland platform are:
question how in this context present multi-layered society can emerge. The
Poznań (history and extension of the African Center)
social space undergoes constant translation. Here it is referred to an issue of
Marseille (a buffer place between Europe and Africa)
landmark and its double meaning, both in the geopolitical and metaphorical
Dakar (research and cooperation with local creators)
sense – understood as a turning point. This is a metaphor for building new concepts defining a complex drifting society – systemically entangled, but
The platform includes:
also offering bottom-up alternatives.
So far 3 films made (From Poland with Love, Translantic, Mirrored landscapes), a series of drawings and graphics, Wanderland issue (2 editions released),
The main geographical references for the Wanderland platform are:
cooperation with 3 artists in Poznań, a series of workshops and research work.
Poznań (history and extension of the African Center)
Activities are currently being continued with artists from Marseille, Poznań
Marseille (a buffer place between Europe and Africa)
and Dakar.
Wanderland platform: Local connections (2019) Final exhibition of th residency project at ZAMEK Culture Centre, bedsheetsprojects, 3 videos, installation in 3-room apartment, July 2019 Geographical space is subject to constant translation. Variability of the human loci generates new contexts for the politics and identity to morph and unfold. Settling-in becomes a process of identification in a place, while identity itself remains unsettled in that it is open to novel dependencies generated by the place and the modes of relating to it. The fluxes, however, make it possible to embrace new kinds of identification. The departures and the returns, relocations, the forced and the voluntary changes determine our belonging to a social context. By drawing on the individual and collective psychogeographies, one can develop new structures through which our modes of co-being in the world can be comprehended and constituted. Identification occurring at the juncture of strangeness and belonging becomes a topography of places yet to come. Patrycja Plich’s Wanderland project is centred around the issue of migration. Among other things, her work has yielded a platform which is both an open archive of migration and a place to undertake joint action, consisting in continuous exchange of knowledge and experiences associated with the change of one’s abode. This refers both to the volatile urban tissue and the human stories of arrivals, returns and familiarization. It is a place where individual components of an action achieve their final form, while others venture out into the future, re-connecting and re-engaging persons already associated with the platform. The exhibition shows the works of the artist and the outcomes of the project’s collective undertakings.
Connectimacy, dimensions 2×2 m, digital print on fabric, 2019
Connectimacy (2019) dimensions 2×2 m, textiles (various), digital print, 2019 authors: Patrycja Plich, Christina Ferreira (Portugal/ Poland), Yevgenia Nekrasova (Ukraine/Poland), Xinye Zhang (China/Poland) A series of intercourse - a collection of materials filled with a personal approach to the issue of home and settling, moving, nostalgia. Facilities for meeting and sharing space together. The assumption originating from the design of the sheet belonging to the intimate sphere has become a building block here to create situations and objects that multidimensionally provoke to divide space. They can be used in many ways depending on the needs, conditions and circumstances. In the exhibition space, they are constantly wandering to reveal the layers that make up the contemporary dimensions of migration.
Connectimacy, dimensions 2×2 m, digital print on fabric, 2019
Connectimacy, dimensions 2x2 m, digital print on fabric, 2019
Wanderland platform:
Three documents about the relations between places From Poland with Love, video, 30 mins, 1998-2019 The film consists of materials recorded in the 90s. by Marie Delahousse - a Frenchwoman who at that time worked at the Institute of Latin Languages of the Adam Mickiewicz University in Poznań. She observed the activities of the African Center existing in Poznań at the time, as well as the lives of people associated with it. The narrative includes interviews with Polish women who were in relationships with Africans. The structure of the film captures two perspectives - Poznań in the 90s and the present time and their ways of looking at the phenomenon of broadly interpersonal political relationships, but also emotionally confronted with the general social and economic situation of Poznań in the 90s.
Videos available here:
From Poland with Love
Film is edited by Patrycja Plich and became a starting point for new footages in reference to migrations and transcultural communities recorded by her in Marseille and Senegal.
Translantic, video in loop, 8 mins, 2019 Dakar - the capital of Senegal lies on the Atlantic Ocean. The ocean itself is a local capacious symbol. Without looking for each of its local meanings, it became the carrier of the country’s history for me, and in contemporary terms an opportunity - a forked path on all sides that returns the present and future of possible migration histories - human migration, meanings and goods. Transit areas are often connected with the port nature of flows. Containers, buoys that are border points and the sea borders themselves pass or pass through people, machines and objects conditioned by political and economic possibility of passage / access. The flowing translation of the Ocean.
Translantic
Mirrored landscapes, video in loop, 13 mins, Polish and French, no subtitles,
Mirrored landscapes
2019
Meetings on the other side, where it turns out that between blurs the border. The places are opposite each other. The meeting is the first stage of the connection. The film, by intention of a documentary, spreads its form by abolishing its objectives, focusing on returning to the often fleeting theme of the first meeting - direct delight with another person. The fragmentary stories of the people depicted are the beginning to deepen the relationship, to open the way of knowledge. Depriving the language of the translation film creates a space for dialogue, is an invitation to agreement, a return to the basics of communication and encouragement to start mediation. The footage is also a fragment of the next stage of the Wanderland platform, which will focus on creating a network of human connections where the buffer point is Marseille.
Higher roder understatements (2019)
Project made during the residency Sorry, we have no rooms available curated by Petro Ryaska, Hotel Zakarpattia, Uzhhorod, Ukraine , 2017 Site-specific text and light permanent installation on 4th floor of Hotel Zakarpattia. Book and video made after residency. The idea of words as navigators in fastly changing feelings in context of temporal places. Text in Polish, Ukrainian and English. Higher order understatements online book
The door came open and the light streamed out into the room again.
I’m geographically lost about you this summer – he wrote. Journey through imaginary spaces. Nomadic man of speed in chains of his feets.
The atmosphere of waiting - the current moment. Time is a waiting process. The Great Order of Waiting.
The signals of peripheral body. You open your mouth but you say nothing. I want to adhere to this palate, have those words but left them unvoiced.
Update error (2016) HD video, 25 minutes
Update error full length video
“Update error” is a video essay that looks into the concept of being up-to-date in the context of constantly changing world we live in. In the centre of this reflection there is a human; his environment and the tools he may use to develop and explore his surroundings.The work builds on the convention of a nature film in which one creation, a computer, is being examined in the context of the impact human activities have on our surroundings.The film touches upon the issues of of black ecology, technological development and politicization of almost every sphere of human life. The narration itself follows a specified pattern which, at the semantic level, brings together both the natural history and the history and structure of the programming language.