Łukasz Jastrubczak

BORN 1984, Zielona Góra

A graduate from the academy of Fine Arts in Katowice in 2009, he makes intermedia art whose dominant motif is perception. Cinematography is an ongoing source of inspiration for Jastrubczak: “films are part of my life, my world, they are a lens through which I perceive the world.” The artist constructs objects that make sly reference to film titles and arranges situations in which reality begins to behave according to the logic of a film narrative. He and Finnish artist Markku Peltola are interested in a legend of outsider art: Edmund Monsiel. Over several years their collaboration has born fruit in a range of objects (including two films), through which the artists explore various states of sensory perception.
He has been working with Krzysztof Kaczmarek as the Krzysztofjastrubczakłukaszkaczmarek art group since 2010. He lives in Szczecin, where he lectures at the local art academy.
 

Leaning Glass (Hologram)
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Łukasz Jastrubczak

Leaning Glass (Hologram)

2013 / glass, paint, HD projection / 100 x 100 cm / no. 0152 Creative CommonsCreative CommonsCreative Commons Licence    Wróć
Description

The 1960s brought America the first harbingers of a crisis: the straining of the conflict in Vietnam, the continuing space race, the ongoing Cold War, and the assassination of Kennedy and Luther King Jr. Social revolt was brewing – ethnic and sexual minorities, opponents of imperialist and consumer politics, American style. Artists came up with the notion of making art vanish – it ceased to be material, and thus defied the principles of the capitalist market. One conceptual art pioneer was Joseph Kosuth. In 1965 he created the Square Clear Glass Leaning installation.
Alluding to this object and the epoch in which it was made, Łukasz Jastrubczak has created Hologram. A self-declared “lyrical post-conceptual artist,” he calls his installation an “upgrade” of Kosuth’s work in the late capitalist era. Here the conceptual disappearance of art is identified with changes in financial circulation. This includes the departure from precious-metals parity, which, economists believe, was responsible for the crash in 2007. The artist intends the flaming bar of gold to speak of the dematerialization of the object conceived as a work of art, and the vanishing of the material aspect of money.
This work was part of the artist’s Doctoral thesis, titled Silence Is Golden.

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