Piotr Bosacki: Films To Watch

20. 9. – 22. 10. 2017

Opening 20. 9. 18:00

Karlin Studios, Prvního pluku 2, Praha 8

The Films to watch exhibition features two animated pictures. They were made using classical technology from photographs of images painted in gouache. This is classic. Every frame of the film represents another stage of development of the structure of the painting. We can witness a painting process rather than a movie. The film is just a method of representing a painting.
Talking about these two features, or rather pictures, one has to mention the theory of unison, formulated by Strzemiński in the 1920s. Władysław Strzemiński was interesting, since “he wasn’t a born painter”. His interest in fine arts first begun in his mature years. He was able to look at the painting from the “non-artistic” perspective, as a philosopher or an anthropologist. In this respect, he was better in theory than practice. This allowed him to create a theory that is bold and unrestrained in its utopia. He perceived a painting as a work of art with various parameters, each resulting from one another, a work of art that, in a way, builds itself. True enough, let’s take a “traditional” picture for example a drawing has nothing to do with colour. That’s why Strzemiński dreamed about a picture where the drawing is organically intertwined with colour and vice versa. Unfortunately, in the pictures of Strzemiński himself, who liked to call them unified, the unification between the drawing and the colour was not successful. However, this does not change the fact that the theory of unification itself is extremely interesting. The key concern of Strzemiński was the fact that in “traditional” paintings, the canvas stretcher frame (rectangular format of canvas) has no organic link with the image presented in the picture. True. The shape of Mona Lisa’s mouth does not sprout from the frame of the canvas, on which it was painted in a cause and effect mode.
One of the animated features screened during the exhibition presents a picture painted on a cylinder. The other – a painting created on a sphere.
Let’s talk about the painting appearing on the sphere (since it’s a more picturesque one): The sphere is a surface without any boundaries. Thus, the problem of the format of the canvas is non-existent. No spot can be seen as being in the “centre of the painting”. Since the sphere is a curved surface, paint dribbles off of the curved base due to gravity. Thus the surface of canvas has a real impact on the shape and on the drawing made of colourful spots that are dripping off (this rather simple operation would be a dream come true for Strzemiński).
Both films screened at Karlin Studios form a part of the “Die Kunst der Animation” series that I first initiated in 2014.
Piotr Bosacki