By mal2008

The descriptions of the artworks at the 2003 Shipyard-Konfrontacje project:

<!– @page { size: 21cm 29.7cm; margin: 2cm } P { margin-bottom: 0.21cm } The winding-sheets of shipyard (Agnieszka Szreder)

I imprinted on them an impresion of places/things from that part of shipyard which stopped to work, which became almost 70hectares of waste land.Winding-sheets show few particular places but they concern all shipyard.They show(rather showed) sth.that a few years ago was vibranting with life,sth.about what hundreds of workers were walking every day,sth.that that people were touching,openinig,wearing,sth.what died and brang to ruin. Now,after the destruction act(washing),which I did during the openning of exhibition,we can see only a sketch of what it was.Time will do the same with shipyard – will destroy it. Only a remembrance, unprobable and transitory,will be left.


About the work of Benjamin Coelle.

The work I made during the plenner 2003 was a video installation about the uprising during the 1981-strikes in the Gdansk shipyard that was sampled from the original film-material of that time. With my installation I linked visually the uprising in the shipard to the uprising in Soweto/South Africa that took place in exactly in the same time but on the other part of the world. The idea was to show that people can organise powerful resistance against opression ? anytime and anywhere. Benjamin Coelle works audio-visual within an intercultural and socio-philosophical context. Source of inspiration are people from all over the world who initiate or take part in projects and collectives of theoretical and practical exchange of ideas ? together creating alternatives to contemporay capitalist culture in this complex world. This network of people works within an open platform between the local scenes of different cities (Amsterdam, Barcelona, Berlin, Gdansk, London, New York?) and on the internet (


The work of Ell Southern during the project.

The artwork I make falls into two catagories: documentation and drawings. During the Gathering, I took many photographs. I was editing them and making archives too. I also made a documentary movie, which due to lack of time i had to edit very crudely. I made one single large drawing for the Plener (A0). I thought I would make more at first, but in the end what I did felt right. I made a large drawing because thats how the shipyard terrain felt to me, made me feel slightly out of my depth. And the stillness of the shipyard visually was why the paper remained largely blank, sheer space. I prefer the lonely parts of the terrain, the forgotten parts. Trembling with past events yet surrounded by silence and stillness. I was inspired by the film footage we saw in the Roads To Freedom (Drogi do Wolnosci) exhibiton at the start of the Plener. That footage, so distant, out of focus, colours and pixels desperatley hanging on to the images of far away figures being beaten, crushed, gunned down. Real people feeling real pain, yet so far away.


General Statement – Jack Southern

Much of my work stems from an ongoing investigation into the representation and portrayal of world political events by the Western media. Embedded, is a fundamental interest in the accessibility of information, how it is presented, preserved and mediated. I am fascinated by the concept of „true” information in a saturated society. I aim to explore how and to what extent, our interpretation of information is dictated through editing and how this penetrates popular consciousness and breeds in the public domain through television, film, advertising, newspapers and the Internet.Central to this interest is the notion of individual identity, and the degree to which it is lost in the midst of collective experience.


The Rise of the Polka Dot – Rachel Oxley

Sound. Headset – Reflection Aural journey through the space and rhythms of the shipyard. Best listened to through headphones in the terrain of the shipyard. The audio aimed to describe the patterns of movement and sound that transend the generations and time specifics, within the shipyard. Time present, time passing. Time wasted – time to come. The Rise of the Polka Dot.Warning Signals – As normally encountered by students, fishermen and professional mariners. Large wall drawing relating to the specific and worldwide use of light warning signals for ships. Plotted within a target area, the warning ‚polka’ dots gather around a center point. The image is left as a line drawing, to be filled in by anyone. You follow the instructions and paint the warning dots by number. Cultural transgressions Light warning signals for ships are officially illustrated as polka dots. Polka Dot – Poland = Woman; Polka Dot – Shipyards = Warning signal ; Polka Dot – London = Fashion Statement


Absent/ excluded. Women in the shipyard. (Ewa Majewska)

To say about women, that they were not present during the 1980 strikes is simply not possible for me. They were here – phisically – about 30% of the workers of the shipyard were women, and also in the memories, dreams, desires of the striking men. In the space of the shipyard plants grow up and trees, which helps to think of and see also the imaginary space of the unconscient dreams, desires and needs, that supported, as it usually does, all kinds of strugle. The shipyard is also an udigested fragment of the common memory, which was vital still in the 80’s, but somehow disapeared after ’89. In my installation I tried to speak about all these things. I think, that the intime and the political united in this work, just as it usually does.


Identities of people in changing Gdańsk (Robert)

We have been invited to Stocznia Gdansk to „confront” the history of the shipyard and work with what inspires us here. As someone who does not work with his own hands but rather with information I was impressed by the immanence of materiality at the shipyard. Raw-materials are being processed step by step, into gigantic machines. Meanwhile, very closely, there is a group of young people with laptop computers and instant internet access reflecting on that condition, reflecting about what work means, and how creative energy should be directed. There are discussion about the possibilities and dangers of new technologies and how information may be appropriated by anybody and being developed further collectively through means of open software. The shipyard not only represents the opposition to bureaucratic domination and repression, it is also the witness of a social process; of peoples lives and individual stories. There are all kinds of buildings and machines as well as numerous relationships between „actors” and technologies at the shipyard. The parallelity and continuity/discontinuity of all these lines creates a very dynamic tension, Stocznia Gdanska is alive!


The work of Piotr Mróz during the gathering


The Shipyard of Gdańsk – The Old Forge in Oliwa. Three colours – black. I made a cycle of graphics comparing similar places from the Shipyard of Gdańsk and The Old Forge in Oliwa, which was built in the XVIII century. My work is confronting two places that come from totally different technological times. The basic idea for these graphics was to show two different historical times and work-places characteristic for them. To make the representations similar I used very simple colours – three kinds of black – 100, 50 and 30% (that’s where the title of my cycle comes from).

The shipyard – a look from inside. Computer animation based on digital pictures compiled with some video sections (4’20’’) The idea for the animation was to confront the nowadays shipyard spaces owned by Synergia, the rests of the Shipyard of Gdańsk on one hand and the political and social changes from the 70’s and 80’s on the other. My movie is an overview on the working rooms, demonstrations and simple, creative work, which is the most important for people nowadays.


Coordination of the cyberspace for the Gathering (Szczym)

During the Gathering in the shipyard I have concentrated on creating the space of collaboration between the artists taking part in the project, busy organizers and the public. This space took form of a system for group work, editing and archive based on internet and the multimedia studio in the atelier of the Gathering, which, apart from being a busy working space, was serving as one of the connection points to the creative work in the internet. The internet space is based on rules of open publication in sense of indymedia and is under a careful patronage of the bzzz network from where comes the theoretical and technical support in the wide sense. The website is fully powered by the free software under GNU license. Wonderful linux, apache, postnuke and many others, is where the credits go. Also in the multimedia workshop we have used open standards, where it was possible.


The drawings of Iwona Zając

My drawings are for me a bridge between the gasplant, my previous art -studio and the shipyard; the place, where I work now. The works that I made are a big collage of what happened with me in the last years. Its so cool, that Art lets you combine so different emotions, places and experiences. There is me in the gasplant, than me on a drawing, than in the back of it, on a picture, than the picture of all of it inspires my another work. The silhuette of that woman; means me; becomes a matrix, something like a soul, which comes with me everywhere. There is a bike coming out of my head; I combine myself with the pipes, my body becomes the main part of a ship, a part of the factory, like room. On the poster I was given wings, and I always wanted so much to fly. Ian made a printable matrix out of my draving, it is so easy to repaint that drawing everywhere, that it contrasts a lot with the way I make my drawings. With the reprints I can apear everywhere, I became a real Madonna, I have a face of a real pop star.

Participantsof the International Gathering of Young Artists :

Stocznia – spojrzenie z zewnątrz/ konfrontacje II” :


Ell Southern studied multimedia art at the University of the West of England, Bristol, UK, and now works as a video activist in Gdansk. Ell has been involved in creative activism and independent media for several years, and now co-runs a multimedia workshop,, in Gdansk shipyard.


Rachel Oxley graduated in Fine Art at Falmouth College of Arts in 2001. Since graduating Rachel has exhibited in both group and solo exhibitions in the UK and abroad, most recently showing ‘Rhetoric’ – an adapted radio installation at 340 Old Street, London. Rachel is currently undertaking a Sonic Arts research MA at Middlesex University and lives and works in London.


Jack Southern graduated with an MA from the Slade School of Fine Art, London in 2003. Recent exhibitions include; ‘Tape291’, 291 gallery, London, ‘New video art from London’, Muu gallery, Helsinki and ‘Odds on placebo’, Gallery Morcilla, Barcelona. Jack is a participating artist in ‘Kulturforum’, Berlin 2004. Jack is currently artist in residence at east London based arts organisation ‘Acme’.


Tom Mason studied art at the University of the West of England, Bristol, UK. He lives and works in London England, after having lived in Berlin. Tom has just finished a book of his drawings, and recently participated in a 2 week artists gathering at Area 10, London.


Ewa Majewska finished philosophical studies at the Warsaw University. Since many years she has been involved in various progressive social projects and independent media. In 2003 she was teaching in the Gender Studies in the Warsaw University. She has been photographing since many years, exhibited her work in small cultural events (like the “antyakt” exhibition in the Baugart/ Libera cafe in Warsaw). Published in several social and feminist reviews, including “Zadra”, “Bez dogmatu”, “Lewą Nogą”. Currently works on her PhD, lives in Warsaw.


Ewa Sobczak studies painting in the Art. Academy in Gdansk. She took part in the collective exhibitions, as: „Interpretacje” (Sopot, March 2003); „PlenerStocznia” (Gdańsk; July 2003); „Teatr Stocznia” (w ramach Festiwalu Szekspirowskiego w Gdańsku, August 2004).


Nina Kosakowska finished philosophical studies in the Warsaw University. In the years 1998 – 2002 she cooperated as camera operator and photograph with the usa – canadian – british group „Cromwell Productions” which produced movies based on Shakespeare’ s theatre. She exhibited in the Public State Gallery in Słupsk in 2003 (The „Young and clever” exhibition). For almost 2 years she worked in one of the polish tv station as a camera operator. Currently lives in Warsaw.


Jo Frgmnt Grys studied chemistry, philosophy mineralogy etc at the Justus-Liebig-University of Giessen. Than more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law. He cooperated with many independent sound based projects, like noisiv ( . He lives and works in Berlin.

Martin Kuentz – since 1991 works in various ways with soundart, spontanous universities, open workshops, housing projects, radionetworks, media collectives and for this project with Berlin based Grys as reingeneering source for forthcoming sound and radio installation „made in stocznia gdanska”.



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