Łukasz Jastrubczak

b. 1984, Zielona Góra

Creator of objects, drawings, installations, videos, and actions. A graduate of the Academy of Fine Arts in Katowice, he heads his own studio at the Academy of Art in Szczecin. The issue of perception remains a dominant motif in his art. His commentary on reality involves assorted techniques and measures. He is inspired by cinematography, which he refers to as a section of life and the lens he uses to view the world. True to these declarations, he develops objects indirectly alluding to film titles or plots. He also stages situations where reality begins adapting to the logic of a film narrative. In recent years he began focusing on past, forgotten, or generally lesser-known art movements and groups, and their contemporaneous reception. He joined Małgorzata Mazur in managing the CentrumCentrum cultural institution at an allotment garden site in Szczecin. Winner of the Views 2013 Deutsche Bank Foundation Award. He lives and works in Szczecin.

Leaning Glass (Hologram)

2013, installation, glass, paint, projection, video HD, 100 × 100 cm

The 1960s brought early harbingers of crisis to America: exacerbated conflict in the Tonkin Bay, the Cold War, the as-yet unresolved Space Race, assassinations of Kennedy and King. The society began rumbling with rebellion: opponents of imperialism and consumerism policies took to the streets; ethnic and sexual minorities began fighting for their rights. Conversely, artists were appealing for all art to simply disappear, fully aware that the less material art is, the less subject to capitalist rules it will become: once it becomes more difficult to buy or sell, subjecting it to pecuniary rules will be tedious as well. This is how conceptual art was born, Joseph Kosuth one of its pioneers; in 1965, he created the installation Square Clear Glass Leaning. Łukasz Jastrubczak developed Hologram in reference to that object, and to the troubled 1960s. In his work, he draws a parallel between the disappearance of art and changes resulting in the instability of the global financial circuit. In the artist’s intent, a burning bar of gold conveys the dematerialisation of an object seen as an artwork as well as the disappearance of actual currency. The work formed part of the artist’s doctoral dissertation, titled Silence Is Golden.

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