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Events

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Ξεριζωμένος / Ανήσυχος

– Συνεργατική υπαίθρια δράση ήχου/πεζοπορίας και υλοποίηση σεμιναρίου.

Ακολουθώντας την κληρονομιά της ελληνικής μυθολογίας, η υπαίθρια επιτέλεση: χορού/πεζοπορίας/ηχητοπίου επιχειρεί την προσέγγιση δύο μυθικών μορφών: της Ιούς και του Προμηθέα. Οι δύο αυτοί χαρακτήρες θεωρούνται ως η αντίθεση μεταξύ της οντολογίας του ανθρώπου και των φυτών. Στόχος της διάδρασης είναι να προσεγγιστεί καλλιτεχνικά αυτή η διασταυρούμενη πόλωση. Λαμβάνοντας υπ' όψη τον μύθο του Προμηθέα Δεσμώτη, το όλο εγχείρημα επιδιώκει να "εξάγει" τη μεταφορά της τιμωρίας του σώματος, που είναι δεμένο στο βουνό, καθηλωμένο στο χώμα, ενώ στην ουσία πρόκειται για ένα ον χωρίς ρίζες, περιπλανώμενο ανάμεσα σε θεούς και ανθρώπους ή ανάμεσα σε φυτά και ανθρώπους. Η ίδια η καταγωγή του φανερώνει την ενδιάμεση οντολογία, καθώς είναι γιος της Γαίας (Γης) και του Δία (Ουρανός). Εξ αιτίας της τιμωρίας του, ο Προμηθέας αναστοχάζεται την οντολογική διπολικότητά του· δεμένος σε ένα βράχο ως φυτό αλλά χωρίς ρίζες, αναζητά την παρηγορητική έμπνευσή του στο αιθέριο φως.

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Ξεριζωμένος / Ανήσυχος

– Συνεργατική υπαίθρια δράση ήχου/πεζοπορίας και υλοποίηση σεμιναρίου.

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GEERT VERMEIRE

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GEERT VERMEIRE

[13] => [attachments_gr] => [14] => ROOTLESS / RESTLESS [title_en] => ROOTLESS / RESTLESS [15] => [lead_en] => [16] =>

Rootless / Restless

– Collaborative movement sound/walking performance and creation seminar

Following the artistic emanations of Greek mythology, our dance/walking/soundscape performance proposes an actualization of two mythical figures: Io and Prometheus. We consider both as an opposition between human and vegetal ontology and we mean to reveal artistically this cross-polarization.

Taking into account the version of the myth in Prometheus Bound, our performance intents to extract this metaphor of the punishment of the body, bound to the mountain, connected with the ground, but rootless as a being, a wanderer between gods and humans or plants and humans. His origin indicates the same intermediary ontology: he is the son of Gaia (the Earth) and of Zeus (the Sky). By being punished, he contemplates his own ontological bipolarity: bound on a rock as a plant, but rootless, searching his inspiration on the ethereal light.

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Rootless / Restless

– Collaborative movement sound/walking performance and creation seminar

[17] => [captions_en] => [18] =>

GEERT VERMEIRE

[pivots_1_en] =>

GEERT VERMEIRE

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Φυτο-περιπλάνηση

– Συνεργατική υπαίθρια δράση ήχου/πεζοπορίας και υλοποίηση σεμιναρίου.

Το φυτοπλαγκτόν είναι ένας αδέσποτος φυτικός ιστός που ρέει στην επιφάνεια του νερού, ακολουθώντας το φως και την υδρόβια αντανάκλασή του. Η ίδια η ετυμολογία εξηγεί την ταυτότητα του συγκεκριμένου είδους φυτών, καθώς πλαγκτός σημαίνει: περιπλανώμενος. Λαμβάνοντας υπόψη τη σημασία για τον διατροφικό ιστό του οικοσυστήματος και τις συνέπειες στην περιβαλλοντική αλυσίδα, αυτή η βιο-πλωτή δημιουργία γίνεται πηγή έμπνευσης για τα ανθρώπινα βήματά μας, οδηγώντας μας μέσα σε ένα Φυτο-τοπίο (Plantescape). Η καλλιτεχνική δράση επιχειρεί να μιμηθεί τη ροή του φυτοπλακγτόν, μεταμορφώνοντας τους συμμετέχοντες σε επικοιστές του εδάφους. Έχοντας κατά νου αυτή την πράσινη σχεδία, που παρασύρεται από όλα τα είδη των νερών της Γης, οι περιπατητές μεταμορφώνονται σε... φυτά και ακολουθούν το φως, μιμούμενοι τον τρόπο τους. Ένας εικονικός χάρτης της μορφής "φυτοπλαγκτόν πάνω σε νερό", δημιουργείται από τους περιπατητές στο έδαφος, που θα τον εμπλουτίσουν με διάφορα είδη βλάστησης, θέλοντας να μοιραστούν την κοινή ουσία της ζωής: το φως. Υπ' αυτή την έννοια κι έχοντας υπόψη το παράδειγμα φωτισμένων πνευμάτων της ανθρωπότητας, όπως ο Ιησούς, ο Γκάντι, ο Βούδας, η περιπλάνηση γίνεται πηγή γνώσης, πηγή ανάδυσης του εσωτερικού φωτός.

Ο καλλιτεχνικός περίπατος επιχειρεί να διευρύνει την αναζήτηση του φωτός, αναζητώντας την επίτευξη σύντηξης μεταξύ φυτών και ανθρώπων, μέσω της λέξης ΑΝΤΗΧΗΣΗ (Reverbaration).

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Φυτο-περιπλάνηση

– Συνεργατική υπαίθρια δράση ήχου/πεζοπορίας και υλοποίηση σεμιναρίου.

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SIMONA VERMEIRE

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SIMONA VERMEIRE

[13] => [attachments_gr] => [14] => PHYTOVAGARE [title_en] => PHYTOVAGARE [15] => [lead_en] => [16] =>

PhytoVagare

– Collaborative sound/walking performance and creation seminar

Phytoplankton is a vagrant vegetal web flowing on the water surface, following the light and its aquatic reflection. The etymology itself explains this wanderer act of these plants (phyton means plant and plankton means "wanderer" or "drifter"). Taking into account its importance for the web food in the ecosystem and its consequences for environmental monitoring, this bio floating device becomes a source of inspiration for our human steps, drifting through a Plantescape.

Our artistically journey intents to be a stepping translation of this vegetal flowing, transforming unplanned human wandering in a euphonic colonization of the ground. Keeping in mind this green raft drifting all kinds of waters of the Earth, walkers became vegetal emanations of the light by flowing the Plants Way. An imaginary map of the phytoplankton vagrancy on the water will be created by the walkers on the ground proliferating all kinds of plants in order to share the common essence of life: the light. In this sense, remembering the example of the Enlightened spirit of humanity, like Jesus, Gandhi, Buddha, wandering becomes the source of the gnosis, a source of emanation of the inner light. Our artistic walking approaching expands this quest of light by searching to reach a fusion between plants and humans through the keyword REVERBERATION.

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PhytoVagare

– Collaborative sound/walking performance and creation seminar

[17] => [captions_en] => [18] =>

SIMONA VERMEIRE

[pivots_1_en] =>

SIMONA VERMEIRE

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ΟΧΙ ΝΤΡΟΠΗ

Το έργο επιχειρεί να εξετάσει το πόσο συχνά αρνούμαστε "την ανάγκη" να είμαστε οι εαυτοί μας χωρίς να ντρεπόμαστε, δείχνοντας –με αυτή τη γενναία πράξη– την αξία της δικής μας μοναδικότητας. Το έργο αποτελείται από τρία μέρη: εννοιολογικό, κοινωνικό και ατομικό.

Μέρος Ι.

Εννοιολογικό. Ο συγγραφέας μάς λέει για την αξία της δικής του μοναδικότητας, παρεμβαίνοντας με μια έγρωμη ακίδα φωτός σε μια προβαλλόμενη ασπρόμαυρη φωτογραφική εκδοχή του, επιχειρώντας να διαπεράσει την επιφάνεια της εικόνας του. Ένας μεταφορικός παραλληλισμός κατάδειξης πώς μια ολόκληρη εικόνα «κερδίζει» σε δύναμη και ομορφιά όταν, ακόμη και μόνο ένα ελάχιστο ξένο στοιχείο με τη δύναμη του χρώματός του και την αυθεντικότητά του, μπορεί να καταλύσει τη δομή της. Όποιος αναλαμβάνει την ευθύνη της ευτυχίας του, αναλαμβάνει και τον κίνδυνο έκθεσης του εαυτού του.

Μέρος II.

Κοινωνικό. Η τρέχουσα κατάσταση περιγράφεται από 20 εικόνες σε ποπ ύφος, ως μέρος μιας διεθνούς εικόνας, που αναδεικνύει τα κοινωνικά και επικοινωνιακά προβλήματα που χαρακτηρίζουν την εποχή μας. Για να βιώσει ο επισκέπτης μια αισθητηριακή εμπειρία 360°, ακούει μια πρωτότυπη μουσική υπόκρουση μέσα στον χώρο και οσφραίνεται ένα άρωμα που διαχέεται στον αέρα. Με μια εφαρμογή αυξημένης πραγματικότητας, ο θεατής θα είναι σε θέση να αλληλεπιδρά με τα έργα τέχνης, είτε αφήνοντας τον εαυτό του να παρασυρθεί από αυτά είτε αντιδρώντας. Μια αντίδραση δημιουργεί σχέση.

Μέρος ΙΙΙ.

Ατομικό. Μία μικρού μήκους ταινία, σκηνοθετημένη και ερμηνευμένη από τον ίδιο τον συγγραφέα, παρουσιάζεται στο τρίτο μέρος, μαζί με μια σειρά προσωπογραφιών ανδρών και γυναικών, που αναδεικνύουν την πιο μύχια ενέργεια τους, εκείνη που διαφοροποιεί τον ένα από τον άλλο περισσότερο από ό,τι τα φυσικά χαρακτηριστικά τους, το όνομα, το επώνυμο ή η σεξουαλικότητά τους. Αλλά, πάνω από όλα, το τρίτο μέρος θα αποκαλύψει το νόημα του έργου, μέσα από μια συλλογή μόδας για τον άντρα και τη γυναίκα. Το έργο γίνεται ένας τρόπος ζωής. Ένα ένδυμα που χρησιμεύει για την απο-κάλυψη.

"Πιστεύουμε ότι η δημιουργικότητα είναι μια απομονωμένη πτυχή της ζωής μας, κάτι το περιθωριακό, που πνίγεται από την καθημερινή μας ρουτίνα. Χάνουμε την αντίληψη της μοναδικότητάς μας και ζούμε διαιρώντας τις ζωτικές στιγμές μας σαν να ήταν μεμονωμένες στιγμές, σαν να είχαν διαφορετικές ταυτότητες. Ο καθένας από εμάς είναι ένας δικός του κόσμος, ένα μαγικό οργανικό σύμπαν. Πρέπει να διεκδικήσουμε τη μοναδικότητάς μας, με θάρρος και χωρίς ντροπή, γιορτάζοντας με αυτόν τον τρόπο την ύπαρξή μας".

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ΟΧΙ ΝΤΡΟΠΗ

Μέρος Ι.

Μέρος II.

Μέρος ΙΙΙ.

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SALVO GENOVESI

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SALVO GENOVESI

[13] => [attachments_gr] => [14] => NO SHAME [title_en] => NO SHAME [15] => [lead_en] => [16] =>

NO SHAME

No Shame to examine "the need", so often denied, to be ourselves, without shame, showing –with this brave action– the value of ones owns "uniqueness". No Shame lives of three parts: conceptual, social and individual.

Part I.

Conceptual (already exhibited) The author tells us about the value of his own uniqueness by breaking the homologating photographic black and white through a detail shown in its original color. Metaphoric parallelism to show how much the entire "picture" gains in strength and beauty when, even just one element, breaks the pattern, and has the courage of showing its real color. Its own authenticity. Only who takes responsibility for his own happiness accepts the risk. And exposes himself.

Part II.

Social (to exhibit) This moment is narrated by 20 pop style images of an international icon interpreting the social and relational problems that characterize our times. In order to let the visitor have a 360° sensorial experience, an original soundtrack was composed and a perfumed essence was created. An App. Augmented Reality, the viewer will be able to interact with the works of art, starting disarming and involving re-action.

A reaction creates relations.

Part III.

Individual (to exhibit). A short film, written and interpreted by the author himself, will be presented in the third part of NoShame, together with a series of portraits of men and women that highlights their most intimate energy, the one that differentiates one from another more than ones physical traits, than ones name and surname, or than ones own sexuality. But, above all the third part of the project will disclose the brand NoShame through a fashion collection for man and woman.NoShame becomes a lifestyle. A dress to use for un-cover.

"We believe that creativity is an isolated aspect of our life. Something marginal, drowned by our everyday routine. We lose the perception of our uniqueness and live dividing our vital moments as if they were isolated instants, nearly as if they had different identities. Each of us is a world of his own, a magic organic universe. We have to retake possession of our uniqueness, with courage and without shame, celebrating in this way our existence. Because we are creating beings."

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NO SHAME

Part I.

Part II.

A reaction creates relations.

Part III.

[17] => [captions_en] => [18] =>

SALVO GENOVESI

[pivots_1_en] =>

SALVO GENOVESI

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Ὁ γερο-Ὑδραῖος

Στάθηκα ψηλὰ στὸν βράχο, μὲ τὸ πέλαγος στὸ βάθος,

Ἡ ψυχή μου λυτρωμένη, ἄρχισε νὰ πετᾶ μὲ θάρρος.

Τὰ μάτια μου πλανήθηκαν σὲ θάλασσα καὶ σὲ στεριά,

Καμιὰ ἁλυσίδα δὲν μὲ ἐμπόδιζε νὰ ἰδῶ πέρα, μακριά.

Μέχρις ἐκεῖ, ὅπου ἡ ἡμισέληνος δὲν φαινόταν,

Σὲ βουνά, πύργους, ἰστούς, μεγαλόσταυρος κρεμόταν.

Κι ὅσο κοιτοῦσα πιὸ μακριά, τὸ στῆθος μου ἄλλο τόσο

Ἀπ᾽ τῆς πίστης τὴ φλόγα κόρωνε, τὴν ἀγάπη, τὸν πόθο.

Ὅ,τι μᾶς συνθλίβει κι ὅ,τι μᾶς χαροποιεῖ,

Ὅ,τι μᾶς ἐμψυχώνει κι ὅ,τι μᾶς ἀνησυχεῖ,

Στὴ φωτιὰ τὸ ρίχνουμε, τὸ πετᾶμε στὸ νερό,

Στὶς καρδιές μας πεταρίζει, λάμπει κάτι ἱερό.

Βλέπω πλέοντα καράβια, ὑπερήφανα στὰ νερά,

Εἶν᾽ τῆς λευτεριᾶς ὁ ἀέρας ποὺ φουσκώνει τὰ πανιά;

Χαῖρε ἐσὺ καὶ τὸ ταξίδι σου! Χαῖρε τὸ ὄμορφο φορτίο σου!

Χαῖρε ὁλόκληρο σκαρί, ἀπ᾽ τὴν καρίνα μέχρι τὸ ἱστίο σου!

Διασχίζετε φουρτοῦνες γιὰ ἕναν εὐγενὴ σκοπό,

Φέρνετε τῆς νίκης τὸ ἄνθος, θρεμμένο μὲ αἷμα ἡρωικό.

Εἶναι οἱ μακρινὲς βροντὲς ὁ ἀπόηχος τῆς μάχης;

Ἢ συντρίβεται στὰ βράχια τὸ ἄγριο κύμα τῆς θαλάσσης;

Ἡ καρδιά μου πάει νὰ σπάσει ἀπ᾽ τοῦ κρότου τὴν ἠχώ,

Μὰ εἶμαι γέρος γιὰ τὴ μάχη, καὶ δὲν ἔχω μήτε γιό.

DER GREISE VON HYDRA. Wilhelm Müller, Lieder der Griechen. 1821, Erstes Heft, Christian Georg Ackerman, Dessau 1822

Τὸ Ὑδραιόπουλο

῎Ημουνα μικρὸ ἀγόρι, εἶχα μόλις στὰ πόδια σταθεῖ,

Κι ὁ πατέρας μου μὲ πῆγε στῆς θαλάσσης τὴν ἀκτὴ

Ἐκεῖ, μὲ μαστοριὰ μοῦ ἔμαθε πὼς νὰ κολυμπῶ,

Κι ὣς τὴν ἄμμο τοῦ βυθοῦ της θαρραλέα νὰ βουτῶ.

Ἀσημένιο νόμισμα στὰ νερά της πετοῦσε τρίς,

Δῶρο μου, ἂν τρὶς τὸ εὕρισκα, ὡς καλὸς βουτηχτής.

Ἔπειτα μ᾽ ἔβαλε σὲ βάρκα, δίνοντάς μου τὸ κουπὶ

Ὁ ἴδιος στάθηκε στὸ πλάι, στὴ θέση τοῦ ἐκπαιδευτῆ,

Μοῦ ῾δειχνε καὶ μοῦ ῾λεγε πὼς νὰ μὴν εἶμαι χύμα

Πὼς τὶς ξέρες νὰ ἀποφεύγω καὶ νὰ πολεμῶ τὸ κύμα.

Κι ἀπ᾽ τὴ βαρκούλα μ᾽ ἔβαλε σὲ καΐκι μεγάλο,

Ἡ θύελλα μᾶς ἔσπρωξε σιμὰ σὲ ἕναν βράχο.

Στὸ κατάρτι ἀνέβηκα, κάτω ἡ θάλασσα, πέρα ἡ στεριά,

Βουνὰ, πύργοι, ἀκτὲς ἔφευγαν, χάνονταν μακριά.

Ὁ πατέρας μοῦ ῾δειξε πὼς τὰ πουλιὰ νὰ μελετῶ

Τὶς κίνησεις, τοὺς ἀνέμους, καὶ τὰ νέφη νὰ κοιτῶ.

Κι ὅταν ἡ καταιγίδα θέριεψε πάνω ἀπ᾽ τὸ κεφάλι μου

Καὶ τὸ κύμα ἔφτανε ψηλὰ ὡς τὸ καλάθι* μου,

Μὲ τὸ βλέμμα του ὁ πατέρας μοῦ ῾λεγε μὴ φοβηθῶ

Κι ἀπὸ ἐκεῖ ὅπου βρισκόμουν, διόλου νὰ μὴν κουνηθῶ

Κι ἐμψυχώνοντάς με εἶπε, μὴν κάνεις σὰν παιδόπουλο

Ἀέρα στὰ πανιά σου, Ὑδραιόπουλο!

Σήμερα, ὁ πατέρας μοῦ χάρισε ἐκεῖνο τὸ σπαθί,

Γιὰ τὸν Θεὸ καὶ τὴν Πατρίδα, ποὺ μ᾽ εἶχε ὑποσχθεῖ.

Μὲ θωροῦσε ξαναμμένος ἀπὸ κάτω ὡς τὴν κορφή,

Μπήγοντάς μου ἅγριο βλέμμα, σὰν νὰ ἤτανε καρφί.

Κι ἀδράχνοντας τὴ λάμα, τὴν ἔσεισε σὰν πούπουλο

Τὸ σπαθί σου νὰ ῾χει τύχη, μοῦ εὐχήθη, Ὑδραιόπουλο!

*Κόφα, στη ναυτική ορολογία.

DER KLEINE HYDRIOT. Wilhelm Müller, Lieder der Griechen. 1821, Zweites Heft, Christian Georg Ackerman, Dessau 1822

Ὕδρα

Ψηλέ, ἀγέρωχε, ἀκλόνητε βράχε, ὅπου ἡ ἐλευθερία τῆς Ἑλλάδος ἀκουμπᾶ!

Βλέποντας τὴ νεφοσκεπῆ κορφή σου, τὸ αἷμα μου βράζει κι ἡ καρδιὰ σκιρτᾶ.

Ψηλέ, ἀγέρωχε, ἀκλόνητε βράχε, ἡ θάλασσα γύρω σου ἀλυχτᾶ,

Κι ὁ κεραυνὸς πάνω στὴ γυμνή σου ράχη ἀστράφτει καὶ βροντᾶ!

Ἀλλ᾽ ἐσὺ γενναία ἀντιστέκεσαι στὴν καταιγίδα αὐτή,

Καμιὰ ἀστραπὴ δὲν σὲ δειλιάζει, ὅσο κι ἂν εἶναι δυνατή·

Κι ἀπ᾽ τὶς βαθύτατες σπηλιές της, ἡ θάλασσα λυσσομανᾶ,

Ὅμως ἐσὺ ἵστασαι ἐκεῖ, στὰ πόδια σου, γερὰ καὶ εὐγενικά,

Δὲν σείεσαι, παρὰ ὅπως τὰ ἔλατα ἀπὸ τὶς αὔρες ποὺ περνᾶνε

Τὰ ἐρεβώδη κύματα ἀφρίζουνε, ἐξατμίζονται, σκορπᾶνε.

Ψηλέ, ἀγέρωχε, ἀκλόνητε βράχε, ὅπου ἡ ἐλευθερία τῆς Ἑλλάδος ἀκουμπᾶ!

Ὕδρα, ἀκούγοντας τ᾽ ὄνομά σου, τὸ αἷμα μου βράζει κι ἡ καρδιὰ σκιρτᾶ.

Μὲ τὰ πανιά σου τὸ πνεῦμα μου στὶς θάλασσες περιπλέει,

Ἐκεῖ ὅπου τὸ ἀεράκι στὰ κύματα γιὰ τὶς νίκες σου λέει.

Ἐρειπώθηκε ἡ Ἀθήνα, δηώθηκε τοῦ Ἀμφίωνος ἡ πόλη,

Ἀγνοεῖ τὸ ἐγγόνι, ποὺ ἦταν κάποτε ἐκεῖνο τὸ κατώφλι,

ὅπου ἡρωίδα μάνα ἔδιωξε τὸν γιὸ ―ἔρριψε τὸ ξίφος του στὴ γῆ!

βλέποντάς τον νὰ στέκεται στὴ θύρα της, δίχως στεφάνι καὶ πληγή.

Ἀφῆστε τείχη καὶ πύργους νὰ πέσουν· ὅ,τι χτίσατε, πρέπει νὰ γκρεμιστεῖ,

Τῆς λευτεριᾶς ὁ βράχος ὑψώνεται ἀπ᾽ τὴ θάλασσα, ποὺ ἔχει ἐλευθερωθεῖ!

HYDRA. Wilhelm Müller, Neue Lieder der Griechen, Sweites Heft, F.A. Brockhaus, Leipzig 1823

[text_gr] =>

Ὁ γερο-Ὑδραῖος

Στάθηκα ψηλὰ στὸν βράχο, μὲ τὸ πέλαγος στὸ βάθος,

Ἡ ψυχή μου λυτρωμένη, ἄρχισε νὰ πετᾶ μὲ θάρρος.

Τὰ μάτια μου πλανήθηκαν σὲ θάλασσα καὶ σὲ στεριά,

Καμιὰ ἁλυσίδα δὲν μὲ ἐμπόδιζε νὰ ἰδῶ πέρα, μακριά.

Μέχρις ἐκεῖ, ὅπου ἡ ἡμισέληνος δὲν φαινόταν,

Σὲ βουνά, πύργους, ἰστούς, μεγαλόσταυρος κρεμόταν.

Κι ὅσο κοιτοῦσα πιὸ μακριά, τὸ στῆθος μου ἄλλο τόσο

Ἀπ᾽ τῆς πίστης τὴ φλόγα κόρωνε, τὴν ἀγάπη, τὸν πόθο.

Ὅ,τι μᾶς συνθλίβει κι ὅ,τι μᾶς χαροποιεῖ,

Ὅ,τι μᾶς ἐμψυχώνει κι ὅ,τι μᾶς ἀνησυχεῖ,

Στὴ φωτιὰ τὸ ρίχνουμε, τὸ πετᾶμε στὸ νερό,

Στὶς καρδιές μας πεταρίζει, λάμπει κάτι ἱερό.

Βλέπω πλέοντα καράβια, ὑπερήφανα στὰ νερά,

Εἶν᾽ τῆς λευτεριᾶς ὁ ἀέρας ποὺ φουσκώνει τὰ πανιά;

Χαῖρε ἐσὺ καὶ τὸ ταξίδι σου! Χαῖρε τὸ ὄμορφο φορτίο σου!

Χαῖρε ὁλόκληρο σκαρί, ἀπ᾽ τὴν καρίνα μέχρι τὸ ἱστίο σου!

Διασχίζετε φουρτοῦνες γιὰ ἕναν εὐγενὴ σκοπό,

Φέρνετε τῆς νίκης τὸ ἄνθος, θρεμμένο μὲ αἷμα ἡρωικό.

Εἶναι οἱ μακρινὲς βροντὲς ὁ ἀπόηχος τῆς μάχης;

Ἢ συντρίβεται στὰ βράχια τὸ ἄγριο κύμα τῆς θαλάσσης;

Ἡ καρδιά μου πάει νὰ σπάσει ἀπ᾽ τοῦ κρότου τὴν ἠχώ,

Μὰ εἶμαι γέρος γιὰ τὴ μάχη, καὶ δὲν ἔχω μήτε γιό.

DER GREISE VON HYDRA. Wilhelm Müller, Lieder der Griechen. 1821, Erstes Heft, Christian Georg Ackerman, Dessau 1822

Τὸ Ὑδραιόπουλο

῎Ημουνα μικρὸ ἀγόρι, εἶχα μόλις στὰ πόδια σταθεῖ,

Κι ὁ πατέρας μου μὲ πῆγε στῆς θαλάσσης τὴν ἀκτὴ

Ἐκεῖ, μὲ μαστοριὰ μοῦ ἔμαθε πὼς νὰ κολυμπῶ,

Κι ὣς τὴν ἄμμο τοῦ βυθοῦ της θαρραλέα νὰ βουτῶ.

Ἀσημένιο νόμισμα στὰ νερά της πετοῦσε τρίς,

Δῶρο μου, ἂν τρὶς τὸ εὕρισκα, ὡς καλὸς βουτηχτής.

Ἔπειτα μ᾽ ἔβαλε σὲ βάρκα, δίνοντάς μου τὸ κουπὶ

Ὁ ἴδιος στάθηκε στὸ πλάι, στὴ θέση τοῦ ἐκπαιδευτῆ,

Μοῦ ῾δειχνε καὶ μοῦ ῾λεγε πὼς νὰ μὴν εἶμαι χύμα

Πὼς τὶς ξέρες νὰ ἀποφεύγω καὶ νὰ πολεμῶ τὸ κύμα.

Κι ἀπ᾽ τὴ βαρκούλα μ᾽ ἔβαλε σὲ καΐκι μεγάλο,

Ἡ θύελλα μᾶς ἔσπρωξε σιμὰ σὲ ἕναν βράχο.

Στὸ κατάρτι ἀνέβηκα, κάτω ἡ θάλασσα, πέρα ἡ στεριά,

Βουνὰ, πύργοι, ἀκτὲς ἔφευγαν, χάνονταν μακριά.

Ὁ πατέρας μοῦ ῾δειξε πὼς τὰ πουλιὰ νὰ μελετῶ

Τὶς κίνησεις, τοὺς ἀνέμους, καὶ τὰ νέφη νὰ κοιτῶ.

Κι ὅταν ἡ καταιγίδα θέριεψε πάνω ἀπ᾽ τὸ κεφάλι μου

Καὶ τὸ κύμα ἔφτανε ψηλὰ ὡς τὸ καλάθι* μου,

Μὲ τὸ βλέμμα του ὁ πατέρας μοῦ ῾λεγε μὴ φοβηθῶ

Κι ἀπὸ ἐκεῖ ὅπου βρισκόμουν, διόλου νὰ μὴν κουνηθῶ

Κι ἐμψυχώνοντάς με εἶπε, μὴν κάνεις σὰν παιδόπουλο

Ἀέρα στὰ πανιά σου, Ὑδραιόπουλο!

Σήμερα, ὁ πατέρας μοῦ χάρισε ἐκεῖνο τὸ σπαθί,

Γιὰ τὸν Θεὸ καὶ τὴν Πατρίδα, ποὺ μ᾽ εἶχε ὑποσχθεῖ.

Μὲ θωροῦσε ξαναμμένος ἀπὸ κάτω ὡς τὴν κορφή,

Μπήγοντάς μου ἅγριο βλέμμα, σὰν νὰ ἤτανε καρφί.

Κι ἀδράχνοντας τὴ λάμα, τὴν ἔσεισε σὰν πούπουλο

Τὸ σπαθί σου νὰ ῾χει τύχη, μοῦ εὐχήθη, Ὑδραιόπουλο!

*Κόφα, στη ναυτική ορολογία.

DER KLEINE HYDRIOT. Wilhelm Müller, Lieder der Griechen. 1821, Zweites Heft, Christian Georg Ackerman, Dessau 1822

Ὕδρα

Ψηλέ, ἀγέρωχε, ἀκλόνητε βράχε, ὅπου ἡ ἐλευθερία τῆς Ἑλλάδος ἀκουμπᾶ!

Βλέποντας τὴ νεφοσκεπῆ κορφή σου, τὸ αἷμα μου βράζει κι ἡ καρδιὰ σκιρτᾶ.

Ψηλέ, ἀγέρωχε, ἀκλόνητε βράχε, ἡ θάλασσα γύρω σου ἀλυχτᾶ,

Κι ὁ κεραυνὸς πάνω στὴ γυμνή σου ράχη ἀστράφτει καὶ βροντᾶ!

Ἀλλ᾽ ἐσὺ γενναία ἀντιστέκεσαι στὴν καταιγίδα αὐτή,

Καμιὰ ἀστραπὴ δὲν σὲ δειλιάζει, ὅσο κι ἂν εἶναι δυνατή·

Κι ἀπ᾽ τὶς βαθύτατες σπηλιές της, ἡ θάλασσα λυσσομανᾶ,

Ὅμως ἐσὺ ἵστασαι ἐκεῖ, στὰ πόδια σου, γερὰ καὶ εὐγενικά,

Δὲν σείεσαι, παρὰ ὅπως τὰ ἔλατα ἀπὸ τὶς αὔρες ποὺ περνᾶνε

Τὰ ἐρεβώδη κύματα ἀφρίζουνε, ἐξατμίζονται, σκορπᾶνε.

Ψηλέ, ἀγέρωχε, ἀκλόνητε βράχε, ὅπου ἡ ἐλευθερία τῆς Ἑλλάδος ἀκουμπᾶ!

Ὕδρα, ἀκούγοντας τ᾽ ὄνομά σου, τὸ αἷμα μου βράζει κι ἡ καρδιὰ σκιρτᾶ.

Μὲ τὰ πανιά σου τὸ πνεῦμα μου στὶς θάλασσες περιπλέει,

Ἐκεῖ ὅπου τὸ ἀεράκι στὰ κύματα γιὰ τὶς νίκες σου λέει.

Ἐρειπώθηκε ἡ Ἀθήνα, δηώθηκε τοῦ Ἀμφίωνος ἡ πόλη,

Ἀγνοεῖ τὸ ἐγγόνι, ποὺ ἦταν κάποτε ἐκεῖνο τὸ κατώφλι,

ὅπου ἡρωίδα μάνα ἔδιωξε τὸν γιὸ ―ἔρριψε τὸ ξίφος του στὴ γῆ!

βλέποντάς τον νὰ στέκεται στὴ θύρα της, δίχως στεφάνι καὶ πληγή.

Ἀφῆστε τείχη καὶ πύργους νὰ πέσουν· ὅ,τι χτίσατε, πρέπει νὰ γκρεμιστεῖ,

Τῆς λευτεριᾶς ὁ βράχος ὑψώνεται ἀπ᾽ τὴ θάλασσα, ποὺ ἔχει ἐλευθερωθεῖ!

HYDRA. Wilhelm Müller, Neue Lieder der Griechen, Sweites Heft, F.A. Brockhaus, Leipzig 1823

[11] => [captions_gr] => [12] =>

ΒΙΛΧΕΛΜ ΜΥΛΛΕΡ

[pivots_1_gr] =>

ΒΙΛΧΕΛΜ ΜΥΛΛΕΡ

[13] => [attachments_gr] => [14] => THREE POEMS FOR HYDRA [title_en] => THREE POEMS FOR HYDRA [15] => [lead_en] => [16] =>

Der Greis auf Hydra

Ich stand auf hohem Felsen, tief unter mir die Fluth:

Da schwang sich meine Seele empor in freiem Muth.

Ich ließ die Blicke schweifen weit über Land und Meer:

So weit, so weit sie reichen, klirrt keine Kette mehr.

So weit, so weit sie reichen, kein halber Mond zu sehn,

Auf Bergen, Thürmen, Masten, die heil'gen Kreuze wehn.

So weit, so weit sie reichen, es hebt sich jede Brust

In eines Glaubens Flamme, in einer Lieb' und Lust;

Und Alles was uns fesselt, und Alles was uns drückt,

Was Einen nur bekümmert, was Einen nur entzückt,

Wir werfen's in das Feuer, wir senken's in die Fluth,

Die wogt durch alle Herzen in einer heil'gen Gluth.

Ich sehe Schiffe fahren – die stolze Woge braust –

Ist es der Sturm der Freiheit, der in die Segel saust?

Heil euch und eurer Reise! Heil eurer schönen Last!

Heil eurem ganzen Baue vom Kiele bis zum Mast!

Ihr steuert durch die Fluthen nach einem edlen Gut,

Ihr holt des Sieges Blume, die wächst in Heldenblut.

Es donnert aus der Ferne – ist es der Gruß der Schlacht?

Ist es der Wogen Brandung, die an die Felsen kracht?

Das Herz will mir zerspringen bei dieses Donners Ton –

Ich bin zu alt zum Kampfe und habe keinen Sohn.

Wilhelm Müller, Lieder der Griechen. 1821, Erstes Heft, Christian Georg Ackerman, Dessau 1822

Der kleine Hydriot

Ich war ein kleiner Knabe, stand fest kaum auf dem Bein,

Da nahm mich schon mein Vater mit in das Meer hinein,

Und lehrte leicht mich schwimmen an seiner sichern Hand,

Und in die Fluthen tauchen bis nieder auf den Sand.

Ein Silberstückchen warf er dreimal in's Meer hinab,

Und dreimal mußt' ich's holen, eh' er's zum Lohn mir gab.

Dann reicht' er mir ein Ruder, hieß in ein Boot mich gehn,

Er selber blieb zur Seite mir unverdrossen stehn,

Wies mir, wie man die Woge mit scharfem Schlage bricht,

Wie man die Wirbel meidet und mit der Brandung ficht.

Und von dem kleinen Kahne ging's flugs in's große Schiff,

Es trieben uns die Stürme um manches Felsenriff.

Ich saß auf hohem Maste, schaut' über Meer und Land,

Es schwebten Berg' und Thürme vorüber mit dem Strand.

Der Vater hieß mich merken auf jedes Vogels Flug,

Auf aller Winde Wehen, auf aller Wolken Zug;

Und bogen dann die Stürme den Mast bis in die Fluth,

Und spritzten dann die Wogen hoch über meinen Hut,

Da sah der Vater prüfend mir in das Angesicht –

Ich saß in meinem Korbe und rüttelte mich nicht –

Da sprach er, und die Wange ward ihm, wie Blut, so roth:

Glück zu, auf deinem Maste, du kleiner Hydriot! –

Und heute gab der Vater ein Schwert mir in die Hand,

Und weihte mich zum Kämpfer für Gott und Vaterland.

Er maß mich mit den Blicken vom Kopf bis zu den Zehn,

Mir war's, als thät' sein Auge hinab in's Herz mir sehn.

Ich hielt mein Schwert gen Himmel, und schaut' ihn sicher an,

Und däuchte mich zur Stunde nicht schlechter, als ein Mann.

Da sprach er, und die Wange ward ihm, wie Blut, so roth:

Glück zu, mit deinem Schwerte, du kleiner Hydriot!

Wilhelm Müller, Lieder der Griechen. 1821, Zweites Heft, Christian Georg Ackerman, Dessau 1822

Hydra

Hoher, steiler, fester Felsen, darauf Hellas' Freiheit ruht!

Seh ich deine Wolkengipfel, steigt mein Herz und wallt mein Blut.

Hoher, steiler, fester Felsen, den des Meeres Wog umbraust,

Über dessen kahlem Scheitel wild die Donnerwolke saust!

Aber in das Ungewitter streckst du kühn dein Haupt empor,

Und es wankt nicht von dem Schlage, dessen Schall betäubt das Ohr;

Und aus seinen tiefsten Höhlen schleudert das erboste Meer

Wogenberg' an deine Füße, doch sie stehen stark und hehr,

Schwanken nicht, so viel die Tanne schwankt im linden Abendhauch,

Und die Wogenungeheuer brechen sich zu Schaum und Rauch.

Hoher, steiler, fester Felsen, darauf Hellas' Freiheit ruht!

Hydra, hör ich deinen Namen, steigt mein Herz und wallt mein Blut;

Und mit deiner Segel Fluge schwebt ins weite Meer mein Geist,

Wo der Wind, wo jede Welle jubelnd deine Siege preist.

Ist Athen in Schutt zerfallen, liegt in Staub Amphions Stadt,

Weiß kein Enkel mehr zu sagen, wo das Haus gestanden hat,

Dessen Ziegel nach dem feigen Sohne warf der Mutter Hand,

Als er ohne Kranz und Wunde vor der Tür der Heldin stand:

Laßt die Türm und Mauern stürzen; was ihr baut, muß untergehn:

Ewig wird der Freiheit Felsen in dem freien Meere stehn!

Wilhelm Müller, Neue Lieder der Griechen, Sweites Heft, F. A. Brockhaus, Leipzig 1823

[text_en] =>

Der Greis auf Hydra

Ich stand auf hohem Felsen, tief unter mir die Fluth:

Da schwang sich meine Seele empor in freiem Muth.

Ich ließ die Blicke schweifen weit über Land und Meer:

So weit, so weit sie reichen, klirrt keine Kette mehr.

So weit, so weit sie reichen, kein halber Mond zu sehn,

Auf Bergen, Thürmen, Masten, die heil'gen Kreuze wehn.

So weit, so weit sie reichen, es hebt sich jede Brust

In eines Glaubens Flamme, in einer Lieb' und Lust;

Und Alles was uns fesselt, und Alles was uns drückt,

Was Einen nur bekümmert, was Einen nur entzückt,

Wir werfen's in das Feuer, wir senken's in die Fluth,

Die wogt durch alle Herzen in einer heil'gen Gluth.

Ich sehe Schiffe fahren – die stolze Woge braust –

Ist es der Sturm der Freiheit, der in die Segel saust?

Heil euch und eurer Reise! Heil eurer schönen Last!

Heil eurem ganzen Baue vom Kiele bis zum Mast!

Ihr steuert durch die Fluthen nach einem edlen Gut,

Ihr holt des Sieges Blume, die wächst in Heldenblut.

Es donnert aus der Ferne – ist es der Gruß der Schlacht?

Ist es der Wogen Brandung, die an die Felsen kracht?

Das Herz will mir zerspringen bei dieses Donners Ton –

Ich bin zu alt zum Kampfe und habe keinen Sohn.

Wilhelm Müller, Lieder der Griechen. 1821, Erstes Heft, Christian Georg Ackerman, Dessau 1822

Der kleine Hydriot

Ich war ein kleiner Knabe, stand fest kaum auf dem Bein,

Da nahm mich schon mein Vater mit in das Meer hinein,

Und lehrte leicht mich schwimmen an seiner sichern Hand,

Und in die Fluthen tauchen bis nieder auf den Sand.

Ein Silberstückchen warf er dreimal in's Meer hinab,

Und dreimal mußt' ich's holen, eh' er's zum Lohn mir gab.

Dann reicht' er mir ein Ruder, hieß in ein Boot mich gehn,

Er selber blieb zur Seite mir unverdrossen stehn,

Wies mir, wie man die Woge mit scharfem Schlage bricht,

Wie man die Wirbel meidet und mit der Brandung ficht.

Und von dem kleinen Kahne ging's flugs in's große Schiff,

Es trieben uns die Stürme um manches Felsenriff.

Ich saß auf hohem Maste, schaut' über Meer und Land,

Es schwebten Berg' und Thürme vorüber mit dem Strand.

Der Vater hieß mich merken auf jedes Vogels Flug,

Auf aller Winde Wehen, auf aller Wolken Zug;

Und bogen dann die Stürme den Mast bis in die Fluth,

Und spritzten dann die Wogen hoch über meinen Hut,

Da sah der Vater prüfend mir in das Angesicht –

Ich saß in meinem Korbe und rüttelte mich nicht –

Da sprach er, und die Wange ward ihm, wie Blut, so roth:

Glück zu, auf deinem Maste, du kleiner Hydriot! –

Und heute gab der Vater ein Schwert mir in die Hand,

Und weihte mich zum Kämpfer für Gott und Vaterland.

Er maß mich mit den Blicken vom Kopf bis zu den Zehn,

Mir war's, als thät' sein Auge hinab in's Herz mir sehn.

Ich hielt mein Schwert gen Himmel, und schaut' ihn sicher an,

Und däuchte mich zur Stunde nicht schlechter, als ein Mann.

Da sprach er, und die Wange ward ihm, wie Blut, so roth:

Glück zu, mit deinem Schwerte, du kleiner Hydriot!

Wilhelm Müller, Lieder der Griechen. 1821, Zweites Heft, Christian Georg Ackerman, Dessau 1822

Hydra

Hoher, steiler, fester Felsen, darauf Hellas' Freiheit ruht!

Seh ich deine Wolkengipfel, steigt mein Herz und wallt mein Blut.

Hoher, steiler, fester Felsen, den des Meeres Wog umbraust,

Über dessen kahlem Scheitel wild die Donnerwolke saust!

Aber in das Ungewitter streckst du kühn dein Haupt empor,

Und es wankt nicht von dem Schlage, dessen Schall betäubt das Ohr;

Und aus seinen tiefsten Höhlen schleudert das erboste Meer

Wogenberg' an deine Füße, doch sie stehen stark und hehr,

Schwanken nicht, so viel die Tanne schwankt im linden Abendhauch,

Und die Wogenungeheuer brechen sich zu Schaum und Rauch.

Hoher, steiler, fester Felsen, darauf Hellas' Freiheit ruht!

Hydra, hör ich deinen Namen, steigt mein Herz und wallt mein Blut;

Und mit deiner Segel Fluge schwebt ins weite Meer mein Geist,

Wo der Wind, wo jede Welle jubelnd deine Siege preist.

Ist Athen in Schutt zerfallen, liegt in Staub Amphions Stadt,

Weiß kein Enkel mehr zu sagen, wo das Haus gestanden hat,

Dessen Ziegel nach dem feigen Sohne warf der Mutter Hand,

Als er ohne Kranz und Wunde vor der Tür der Heldin stand:

Laßt die Türm und Mauern stürzen; was ihr baut, muß untergehn:

Ewig wird der Freiheit Felsen in dem freien Meere stehn!

Wilhelm Müller, Neue Lieder der Griechen, Sweites Heft, F. A. Brockhaus, Leipzig 1823

[17] => [captions_en] => [18] =>

WILHELM MÜLLER

[pivots_1_en] =>

WILHELM MÜLLER

[19] => [attachments_en] => [20] => [date_start] => [21] => [date_end] => [22] => [time_start] => [23] => [gallery] => [24] => [picture] => [25] => 2020-03-31 14:53:10 [created] => 2020-03-31 14:53:10 [26] => 2020-03-31 14:53:10 [updated] => 2020-03-31 14:53:10 [27] => 2020-05-12 08:33:38 [edited] => 2020-05-12 08:33:38 [28] => 38 [edited_by] => 38 [29] => 38 [created_by] => 38 [30] => 38 [updated_by] => 38 ) Array ( [0] => 5 [event_id] => 5 [1] => 1 [display] => 1 [2] => 26 [category_id] => 26 [3] => 0 [price] => 0 [4] => [venue_gr] => [5] => [duration_gr] => [6] => [venue_en] => [7] => [duration_en] => [8] => INTO THE ARTMOSPHERE (Ανοιχτό επιτόπιο εργαστήριο και Έκθεση) [title_gr] => INTO THE ARTMOSPHERE (Ανοιχτό επιτόπιο εργαστήριο και Έκθεση) [9] => [lead_gr] => [10] =>

To Into Artmosphere είναι ένα επιτόπιο εργαστήριο και διαδικτυακή έκθεση, κατά τη διάρκεια της Animart 2020, που διερευνά τον τρόπο άσκησης της οικολογικής νοημοσύνης και τη συμβολή της στην έμπνευση, τη δημιουργία και την παρουσίαση νέων ευφυών οικολογικών έργων τέχνης.

Μαζί με δύο τηλε-διασκέψεις, το εργαστήριο των έξι ημερών για την οικολογική πολιτισμική διάσταση της δημιουργικής εργασίας, είναι ανοιχτό στη συμμετοχή του κοινού.

Ο Αμερικανός Dr. Rich Blundell, μαζί με τον καλλιτέχνη Geert Vermeire και την ερευνήτρια φυτικών σπουδών (Plant Studies researcher) Simona Vermeire, θα διερευνήσουν το τι είναι η οικολογική ευφυΐα και πώς οι καλλιτέχνες μπορούν να τη βιώσουν, να την αξιοποιήσουν και να την εκφράσουν μέσα από το έργο τους.

Θα εξεταστεί επίσης η σχέση μεταξύ τέχνης και επιστήμης, της φύσης μέσω των νέων οικονομικών παραδειγμάτων, και θα διερευνηθεί ο οικολογικός ρόλος της τέχνης και των καλλιτεχνών στη σύγχρονη κουλτούρα.

Η όλη διαδικασία πραγματοποιείται στο φυσικό περιβάλλον της Ύδρας, με τη διαδικτυακή συμβολή του Rich Blundell, από την άλλη μεριά του Ατλαντικού, επιδιώκοντας τη δημιουργία και την έκθεση νέων ευφυών έργων οικολογικής τέχνης.

Το εργαστήριο είναι οργανωμένο γύρω από διάφορα τοπικά σημεία της Ύδρας (χωρίς θέμα, είδος, τάξη, μέσο ή πειθαρχία) και είναι ανοιχτό για καλλιτέχνες και δημιουργούς όλων των ειδικοτήτων, συμπεριλαμβανομένου του ευρύτερου κοινού.

Για τους επιλεγμένους καλλιτέχνες και δημιουργούς, θα ακολουθηθεί μια τρίμηνη δημιουργική κοινή πορεία, μέσα από online συναντήσεις με τους Rich Blundell, Geert Vermeire και Simona Vermeire, προκειμένου τα έργα που θα προκύψουν, να οριστικοποιηθούνε και με την τελική τους μορφή να εκτεθούνε, σε μια έκθεση στην Αθήνα, τον Νοέμβριο 2020.

Συνεργάτες:

− Oika (ΗΠΑ) είναι μια κοινότητα καλλιτεχνών, αφηγητών και δημιουργών, αφιερωμένων στην ανάδειξη της οικολογικής νοημοσύνης μέσω της δουλειάς τους, δημιουργώντας μια νέα κουλτούρα σε συμμαχία και ευθυγράμμιση με τη φύση. https://oika.com/

— Η Milena principle (Βέλγιο) είναι ένα παγκόσμιο δίκτυο καλλιτεχνών και εμπειρογνωμόνων από διάφορους τομείς και κλάδους που φέρνουν σε επαφή την επιστήμη, την οικολογία και τις τέχνες, ασχολούμενοι με μη συμβατικούς τρόπους και δημιουργώντας απροσδόκητες και νομαδικές συζητήσεις για την τέχνη και τον σύγχρονο κόσμο μας. http://www.themilena.com/

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Into the Artmosphere is a site-specific laboratory at an intermedia exhibition during Animart 2020, on how to practice ecological intelligence for creative inspiration and in creating and exhibiting new ecological intelligent artworks.
Along with two conferences, also a six days creative laboratory on the eco-cultural dimension of creative work is open for general public participation.

With scientist Dr. Rich Blundell, artist Geert Vermeire and Plant Studies researcher Simona Vermeire we'll delve into what ecological intelligence is, and how artists can experience, access and manifest it in their work. We’ll also consider the relationship between art and science, nature and new economic paradigms, and we explore the larger ecological role for art and artists in contemporary culture.
The process is taking place in the local habitat of the Hydra island, with a consecutive creative online trajectory for the creation and exhibition of new works of ecological intelligent art.
The laboratory is organized around local habitats (not a theme, genre, class, medium or discipline), and is open for artists and creatives of all disciplines, including the general public.
For self-selected artists and creatives follows a 3-month creative trajectory working on the realization of new artworks, intersected with online meetings with Rich Blundell, Geert Vermeire and Simona Vermeire, and leading to a finalized exhibition in Athens in November.

Partners:

— Oika (US) is a community of artists, storytellers, and media-makers dedicated to manifesting ecological intelligence through their work, creating a new culture in alliance and alignment with nature. https://oika.com/

— the Milena principle (Belgium) is a global network of artists and experts from various domains and disciplines, bringing together science, ecology, and arts, by working on unconventional ways and by establishing unexpected and nomadic debates on art and our contemporary world. http://www.themilena.com/

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POLISH SCHOOL OF ANIMATION – NEW WAY

Organizer:

Fundacja Promocji Kultury Artystycznej, Filmowej i Audiowizualnej Etiuda&Anima (27th International Film Festival Etiuda&Anima)
Address: ul. Morawskiego 5/220C, 30-102 Kraków, Poland
Tel.: +48 507 062 615
www.etiudaandanima.pl, www.fundacja.etiudaandanima.pl

Project coordinator: Katarzyna Surmacz
e-mail: biuro@etiudaandanima.pl

With the support of The Ministry of Culture and National Heritage of The Republic of Poland and the Polish Film Institute.

Sixty-two (62) years ago, thanks to the success of ”The House”, which won the prize in the experimental film competition at EXPO 58 in Brussels, Jan Lenica and Walerian Borowczyk initiated the world-renowned artistic phenomenon called ”Polish school of animation”. From the very beginning, one of the most important features of the school was its original, plastic character which, as time passed by, strengthened the conviction that the auteur artistic animation has more in common with the tradition of plastic arts than film. The following generations of Polish animated filmmakers reveal new facets of this unique visual adventure of the world cinema. The last set is animations made by Polish artists, women who are now the dominant majority and delight with their creativity, sensitivity, and talent.

1^st PROGRAMME (78’)
01. Dom / House, real./dir. Walerian Borowczyk, Jan Lenica, 1958, 11’
02. Labirynt / Labyrinth, real./dir. Jan Lenica, 1961, 14’ 15’’
03. Czerwone i czarne / Red and Black, real./dir. Witold Giersz, 1963, 6’ 30’’
04. Wszystko jest liczbą / Everything Is a Number, real./dir. Stefan Schabenbeck, 1966, 7’ 30’’
05. Hobby, real./dir. Daniel Szczechura, 1968, 7’
06. Apel / The Roll-Call, real./dir. Ryszard Czekała, 1970, 7’ 15”
07. Droga / Road, real./dir. Mirosław Kijowicz, 1971, 4’ 30’’
08. Refleksy / Reflection, real./dir. Jerzy Kucia, 1979, 6’
09. Tango, real./dir. Zbigniew Rybczyński, 1980, 8’
10. Solo na ugorze / Solo in a fallow Field, real./dir. Jerzy Kalina, 1981, 7’

2^nd PROGRAMME (83’)
01. Katedra / The Cathedral, real./dir. Tomasz Bagiński, 2002, 6’ 30’’
02. Śmierć na 5 / A - Grade Death, real./dir. Mariusz Wilczyński, 2002, 3’ 40’’
03. Zoopraxiscope, real./dir. Hieronim Neumann, 2005, 11’ 45’’
04. Ichthys, real./dir. Marek Skrobecki, 2005, 15’
05. Wywijas / Inside Out, real./dir. Andrzej Jobczyk, 2008, 5’ 30''
06. Laska / Stick, real./dir. Michał Socha, 2008, 5’
07. Ex Animo, real./dir. Wojciech Wojtkowski, 2013, 6’ 50’’
08. Łaźnia / Baths, real./dir. Tomek Ducki, 2013, 4’ 20’’
09. Hipopotamy / Hippos, real./dir. Piotr Dumała, 2014, 12’ 30’’
10. Lato 2014 / Summer 2014, real./dir. Wojciech Sobczyk, 2014, 12’ 20’’

3^rd PROGRAMME (84’)
01. Nieprawdopodobnie elastyczny człowiek / The Incredibly Elastic Man, real./dir. Karolina Specht, 2013, 5’
02. Pies Schroedingera / Schroedinger’s Dog, real./dir. Natalia Krawczuk, 2016, 8’ 50’’
03. O, Matko! / Oh Mother!, real./dir. Paulina Ziółkowska, 2017, 12’ 15’’
04. Rok / Year, real./dir. Małgorzata Bosek, 2018, 11’ 40’’
05. O Jezu! / Oh, God!, real./dir. Betina Bożek, 2018, 3’ 48’’
06. III, real./dir. Marta Pajek, 2018, 12’
07. Kwadratura koła / Squaring the Circle, real./dir. Karolina Specht, 2018, 4' 50''
08. Historia / Story, real./dir. Jola Bańkowska, 2018, 5’
09. Na zdrowie! / Bless You!, real./dir. Paulina Ziółkowska, 2018, 4’ 45’’
10. Portret Suzanne / Portrait of Suzanne, real./dir. Izabela Plucińska, 2019, 15’

1^stPROGRAMME - The Movies (78’)

01. Dom / House

dir. and script: Walerian Borowczyk, Jan Lenica, phot. Antoni Nurzyński, music: Włodzimierz Kotoński, Ligia Borowczyk, prod. Wytwórnia Filmów Dokumentalnych, Studio Filmowe „Kadr”, Poland 1958, 11’

It was House that finished collaboration between Walerian Borowczyk and Jan Lenica. Simultaneously, the film opened a door to an international career. House was inspired by the French avant-garde tradition of the 1920s. Different scenes, varied stylistically and thematically, take place inside the secession tenement house: an animate wig drinking milk, two men fighting, and a woman kissing a dummy’s head…

Walerian Borowczyk (1923 - 2006) was an author of posters, scriptwriter, director of the animation, and feature films. He has graduated from the Academy of Fine Arts in Krakow. He designed posters and satirical cartoons at the beginning of his career. He started the Polish School of Animation in the 1960s together with J. Lenica. Borowczyk emigrated to France in 1959 where he stayed and was recognized as an author of many animated films. Afterward, he started making artistic erotic films.

Jan Lenica (1928 - 2001) was the son of Alfred Lenica. Jan was a painter, author of posters, scriptwriter, and director of animated films. He started his career in animation together with Walerian Borowczyk, when they initiated the Polish School of Animation. After the end of their collaboration, Lenica emigrated to France where he continued his career in animation and teaching.

02. Labirynt / Labyrinth

dir. and script: Jan Lenica, phot. Antoni Nurzyński, music: Włodzimierz Kotoński, prod. Studio Miniatur Filmowych, Poland 1961, 14’ 15’’

A mysterious man with fake wings unexpectedly finds himself in a labyrinth of the unknown town. Dangerous, hybrid creatures inhabit this place. The man decides on a risky escape. Labirynth is a cutout animation.

03. Czerwone i czarne / Red and Black

dir. and script: Witold Giersz, Tadeusz Kowalski, Andrzej Lach, phot. Jan Tkaczyk, music: Waldemar Kazanecki, prod. Studio Miniatur Filmowych, Poland 1963, 6’ 30’’

Likewise in Little Western, Giersz uses a technique of painting figures directly on celluloid tapes without framing images. A battle between the bull and the bullfighter becomes a starting point for a witty and light animated play.

Witold Giersz (1927 -) is a scriptwriter and director of animated films. He is one of the most important artists of the Polish School of Animation. When he achieved success in the animation field, he decided to study a film directing in the film school in Łódź. He is a recognized and awarded artist who represents the animated painting style made directly on a celluloid tape.

04. Wszystko jest liczbą / Everything Is a Number

dir., script and phot. Stefan Schabenbeck, music: Zofia Stanczewa, prod. Studio Małych Form filmowych Se-Ma-For, Poland 1966, 7’ 30’’

The film was awarded for the best debut during the Oberhausen festival. A man in a ball falls down on the earth. He finds himself in the world dominated by numbers, equations, and geometrical figures. When others are merging into the crowd of the numbers One, the man decides to change into one of them. He finally wants to belong to the community.

Stefan Schabenbeck (1940 -) has graduated from the film school in Łódź. He is a scriptwriter, director of cartoons and puppet animation. He represents a philosophical trend (Neo-Pythagorism, particularly) in the second generation of the Polish School of Animation. He emigrated from Poland in 1970 after much success achieved in the 1960s. He has focused on the pedagogical work in film schools.

05. Hobby

dir. Daniel Szczechura, phot. Wacław Fedak, music: Eugeniusz Rudnik, prod. Studio Małych Form Filmowych Se-Ma-For, Poland 1968, 7’

The film was made in the year of the student revolt against totalitarian rule in 1968. Hobby links a drawn technique with a cutout technique. It is a grotesque story about female possessiveness, but simultaneously a metaphor of political enslavement and a fight for freedom. The film was awarded in Oberhausen.

Daniel Szczechura (1930 -) has graduated from the Warsaw University with a degree in Art History and graduated from the Cinematography Department of the film school in Łódź. He is a scriptwriter, director of animation and documentaries, and the professor of the Academy of Fine Arts in Warsaw for many years. Szczechura, connected with the circle of the Studencki Teatr Satyryków (the Student Theatre of Satirists) during his studies, became one of the most important artists of the Polish School of Animation in the 1960s. His animation has evolved from satirical animation to a philosophical one.

06. Apel / The Roll-Call

dir. Ryszard Czekała, prod. Studio Miniatur Filmowych, Poland 1970, 7’ 15”

It is one of the most stirring animated films in the history of animation. In a simple, but powerful way Czekała presents a horror that happened in concentration camps – prisoners’ dread, humiliation, and lost humanity. The everyday roll-call ends tragically because of prisoners’ “insubordination” in this black and white film. The Roll-Call crossed borders of what can be presented or not in animation. It is sometimes interpreted as a response to the trend of allegorical and philosophical films that dominated Polish animation in the 1960s.

Ryszard Czekała (1941 - 2010) had been graduated from the Academy of Fine Arts in Krakow. He was a scriptwriter, director of the animation, and feature films. Czekała was a student of K. Urbański and one of the most important artists of the second generation of the Polish School of Animation. After achieving international success in animation, he made his feature debut – Sophie.

07. Droga / Road

dir. Mirosław Kijowicz, script: Wojciech Krukowski, photo: Jan Tkaczyk, music: Bohdan Mazurek, prod. Studio Miniatur Filmowych, Poland 1971, 4’ 30’’

It is a philosophical parable about a man at the crossroads. He divides himself in two, as he cannot decide on the one way only. Each half follows its own path. When they meet again, they do not fit each other any longer. The journey changed them irreversibly.

Mirosław Kijowicz (1929 - 2001) had been graduated from Warsaw University with a degree in Art History and in painting from the Academy of Fine Arts in Warsaw. He was a scriptwriter, pedagogue, art critic, and director of the animation that combined different techniques. His animation represented the philosophical trend in the first generation of the Polish School of Animation.

08. Refleksy / Reflections

dir. Jerzy Kucia, script: Jerzy Kucia, Ewa Gołogórska, phot. Krzysztof Stawowczyk, music: Krzysztof Suchodolski, prod. Studio Filmów Animowanych, Poland 1979, 6’

It is an ironic reflection about life, rivalry, and pointless fight. An insect is going out from his cocoon with a lot of effort. Unexpectedly, another insect attacks him. A stiff fight is interrupted by a passing man who will leave only his footprints and embraced dead insects. The film received many awards, including the Golden Dragon at the Cracow Film Festival.

Jerzy Kucia (1942 -) has graduated from the Academy of Fine Arts in Krakow where has been a professor for many years now, holding the position of the director of the Animated Film Studio, too. He is a scriptwriter and director of animation that combines different techniques. Kucia is one of the most important artists of the second generation of the Polish School of Animation who communicates with his audience by means of animated inner experiences. He has organized and led the International Workshop of the Animated Film in Krakow for many years.

09. Tango

dir. Zbigniew Rybczyński, music: Janusz Hajdun, prod. Studio Małych Form Filmowych Se-Ma-For, Poland 1980, 8’

People enter the small room in turn. Firstly, one by one, then the sequences of rhythmical moves start looping and overlapping, but characters do not interfere with each other. It is accurate time compression within a limited space. Tango won the very first Oscar in the history of Polish cinema.

Zbigniew Rybczyński (1949 -) has graduated from the Film School in Łódź. He is a cinematographer, scriptwriter, and director of animated and experimental films. He left Poland after receiving Oscar for Tango. He went to the U.S. where he was acclaimed as the „pope of the video art”.

10. Solo na ugorze / Solo in a Fallow Field

dir. and script: Jerzy Kalina, phot. Jan Tkaczyk, music: Bohdan Mazurek, prod. Studio Miniatur Filmowych, Poland 1981, 7’

Kalina links traditional animation with a re-projection. To the rhythm of the popular folk song Ukochany Kraj, umiłowany Kraj (Beloved country, dear country) he creates an anti-ballade about the farmer’s hard life and difficult work. Monotonous and mechanical activities degrade a man.

Jerzy Kalina (1944 -) has graduated from the Academy of Fine Arts in Warsaw. He is a painter, sculptor, set designer, theatre and film director, and an author of documentaries and animated films made in different techniques. He is a versatile, committed artist who often presents important social and political issues in a sophisticated art form.

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2^nd PROGRAMME - The Movies (83’)

01. Katedra / The Cathedral

dir. and script: Tomasz Bagiński, music: Adam Rosiak, prod. Platige Image, Poland 2002, 6’ 30’’

Bagiński worked on The Cathedral by himself for three years. It is a dream-like story about a man, who finds the mysterious cathedral on the remote planet. The cathedral becomes alive when the first sunbeams fall on the building. The film is based on the short fantasy story written by Jacek Dukaj. It was nominated for the Oscar award.

Tomasz Bagiński (1976 -) is a self-taught person in the film field. He is a drawer, author of animation, and laureate of many festivals. Bagiński makes applied animation and films. He has been connected to the Platige Image for many years.

02. Śmierć na 5 / A - Grade Death
dir., script and phot. Mariusz Wilczyński, music: Grzegorz Ciechowski, Poland 2002, 3’ 40’’

It is an animation made for the last song of Grzegorz Ciechowski, the leader of the Republika band, who died in December 2001. It was to be the fragment of the 30-minute-long animation that Wilczyński planned with Ciechowski. Unfortunately, the artist’s sudden death interrupted the work. Wilczyński finished Death to five in March 2002 and he added a new ending.

Mariusz Wilczyński (1964 -) is a self-taught person in the film field. He has graduated from the Academy of Fine Arts in Łódź. He is a painter, stage designer, performer, pedagogue in the Film School in Łódź, and an author of the artist and applied animation. He usually makes his films by himself using characteristic, unreal narration based on the dream-like logic and connotations. He is well known as an author of the animation setting of TVP Kultura, a Polish television channel. Awarded many times, he became one of the most recognized “personas” of contemporary Polish animation. He had an individual exhibition in the MOMA in New York.

03. Zoopraxiscope
dir. and script: Hieronim Neumann, phot. Maciej Ćwiek, music Janusz Hajdun, prod. Studio Mansarda, Poland 2005, 11’ 45’’

The film is inspired by the invention of an English photographer and inventor, who design zoopraxiscope in 1879. It was found as a prototype of the cinematograph because it enabled to animate photographs and record consecutive move stages.

Hieronim Neumann (1948 -) has graduated from the Academy of Fine Arts in Poznań. He is a pedagogue, author of animation made in different techniques. At the beginning of his career, he was under the strong influence of Z. Rybczyński with whom he collaborated. He works on his own projects, as well as commissioned animation to the classical music masterpieces.

04. Ichthys
dir. Marek Skrobecki, script: Antoni Bańkowski, phot. Mikołaj Jaroszewicz, music: Wojciech Lemański, prod. Se-Ma-For, Wytwórnia Filmów Dokumentalnych i Fabularnych, Poland 2005, 15’

It is a puppet animation linked with an additional 3D computer technique. Ichthys is a metaphorical parable about human’s dreams, expectations, and grit. A young man comes to the restaurant in the sacred-like building. A waiter with a cherub-like face takes an order and goes away. The client is waiting patiently. Time is passing. When the waiter shows up again, the man cannot enjoy a meal evermore.

Marek Skrobecki (1951 -) has graduated from the Academy of Fine Arts and the film school in Łódź. He is a scriptwriter and director of animated films, including puppet animation mainly. He is the laureate of many international festivals. He collaborates with many other artists as for instance with Suzie Templeton on the Oscar winner Peter and the Wolf.

05. Wywijas / Inside Out
dir., script and phot. Andrzej Jobczyk, music: Sebastian Rogowski, prod. PWSFTviT, Poland 2008, 5’ 30’’

It is animation inspired by hyperbolic and multidimensional geometry. The definition of the „inside out” is a starting point for the film. A man wakes up in the morning and eats breakfast during which he starts bending, unbending, twisting all things around, including a house, a mug, a clock…

Andrzej Jobczyk (1985 -) is a student of animation and special effects in the Film School in Łódź. He works in animation, photography, and graphic fields.

06. Laska / Chick
dir. and script: Michał Socha, music: Meritum, prod. Platige Image, Poland 2008, 5’

It is a story full of nonsensical sense of humor about a fatal charm of the femme fatale told to rhythms of jazz band Meritum music. A woman is preparing herself for going out – she has a shower, makes her face up, and dresses. Finally, she meets a man in the nightclub. They drink, dance, and have sex. But when the man, charmed by her, goes out of the room, the unpleasant surprise will wait for him. The film was awarded in Annecy for an interesting usage of music.

Michał Socha (1981 -) has graduated from the Academy of Fine Arts in Warsaw. He works on animation and special effects. After making short animations The Concert (2006) and Odlot (2007) achieved international success with the film Chick.

07. Ex Animo
dir. and script: Wojciech Wojtkowski, music: Tomasz Opałka, prod. Fumi Studio, Poland 2013, 7’

An animated impression. Images conjured up by the animator form a two-dimensional reality of their own. Absurd and unrelated scenes describe the rules governing the world confined to a sheet of paper and animation technique. The relationships between the characters seem strangely familiar.

Wojciech Wojtkowski (1956 -) is a graphic artist, press illustrator, animator and storyboard artist, director of animated films, and actor. He is a co-author of numerous films for children (including animated series). He made his own artist films: Gra (The Game, 1988) and Ex Animo (2013) – a production that won awards at many festivals including Grand Prix of a Providence festival.

08. Łaźnia / Baths
dir. and script: Tomek Ducki, phot. Katarzyna Zolich, music: Jean Marc-Petsas, prod. Studio Miniatur filmowych, Peek and Boo, Poland 2013, 4’

Two elderly swimmers meet at the baths for their ritual swimming. This time, lured by the unusual light, they are diving deeper than usual. Animated reflection on time and limits of what is real.

Tomek Ducki was born in 1982 in Budapest. He is a Polish author of animated films and video clips, graphic artist and poster designer. He studied animation at MOME in Budapest and at Film and Television School in London. He achieved considerable successes at various festivals with his film Eletvonal (2007) and Łaźnia (Baths).

09. Hipopotamy / Hippos
dir. and script: Piotr Dumała, phot. Mateusz Michalak, music: Alexander Balanescu, prod. Fumi Studio, Poland 2014, 12’

A film based on observations of the behavior of hippos. A group of women and children swimming in the river is approached by some men. The most determined male gets close to one of the women. When she rejects him, there is a sudden outbreak of group aggression.

Piotr Dumała (1956 -) has graduated from the Academy of Fine Arts in Warsaw. He is a scriptwriter, director of animated and feature films, writer, actor, graphic artist, and pedagogue. He is the most important artist of the third generation of the Polish School of Animation. Dumała is interested in surrealism and prose of Fyodor Dostoyevsky or Franz Kafka and he tries to reflect the atmosphere of their novels in his films.

10. Lato 2014 / Summer 2014
dir. and script: Wojciech Sobczyk, music: Bartosz Chajdecki, prod. Stowarzyszenie Twórców Filmu Animowanego, Eksperymentalnego i Video Studio A, Poland 2014, 12’

Animated poetic treaty on violence regarded by the author as the main mover of the history filled with plagues and misery. Another great battle results in an apocalyptic landscape where a falling man is lost.

Wojciech Sobczyk (1974 -) is an animated film author, illustrator, photographer, and pedagogue. He has graduated from the department of animation of the Academy of Fine Arts in Kraków and professor Jerzy Kucia’s student. He works in the Animated Film Studio in Kraków; he is an author of animated films Drabina (A Ladder, 1997), Wiosna 1999 (Spring 1999, 2000), and Lato 2014 (Summer 2014) – nominated for the European Film Award in the Best Short Film category. Winner of the Grand Prix of the Animateca Festival 2015 in Ljubljana.

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3^rd PROGRAMME - The Movies (84’)

01. Nieprawdopodobnie elastyczny człowiek / The Incredibly Elastic Man
dir., script and phot. Karolina Specht, prod. PWSFTviT, Poland 2013, 5’

The story of a man born without shape. Constant deformations and being crammed into other people’s molds make him feel rebellious. Can one live completely detached from others, from reality? Who and what decides who we ultimately are?

Karolina Specht (1991 -) is a graduate of animation at the department of Photography & Television Production of Lodz Film School. Apart from award-winning The Incredibly Elastic Man, she also made animations: Don’t lose your head (2015), Beside Oneself (2016), Squaring the Circle (2018). Laureate of the Minister of Culture and National Heritage Award for her outstanding achievements granted to students of Polish artistic schools.

02. Pies Schroedingera / Schroedinger’s Dog
dir. and script: Natalia Krawczuk, music: W.A. Mozart, prod. PWSFTviT, Poland 2016, 8’ 50’’

A short story of a man, women, their dog, and a couch. Their common days are filled with boredom and taking naps, but things will change when their pet will suddenly disappear. How simple yet complicated our relationships can be and whether we can feel lonely despite living with someone else. Special Golden Żmij for best student short. ANIMA.PL competition – IFF Etiuda&Anima 2017.

Natalia Krawczuk – is a graduate of ethnology and cultural anthropology at the University of Warsaw, currently a student of animation in Lodz Film School. Author of Ping Pong, Captain, Fences, and the award-winning Schroedinger’s Dog.

03. O, Matko! / Oh Mother!
dir. and script: Paulina Ziółkowska, music: Tomasz Opałka, prod. Fumi Studio, Poland 2017, 12’ 15’’

Mother and son are changing places and roles constantly; at times the mother is an adult, sometimes the son matures and takes care of the suddenly childish mother. The arrangement works fine until the boy decides to escape from under the skirt of the overprotective mother and start an independent life. Golden Jabberwocky – Grand Prix ANIMA competition – IFF Etiuda&Anima 2017.

Paulina Ziółkowska (1988 -) has studied art history at the University of Wrocław and graphic arts at the Academy of Fine Arts in Wrocław, she is currently a student of animation in Lodz Film School. Her professional film Oh Mother was awarded numerous prizes at festivals in Poland and abroad.

04. Rok / Year
dir. and script: Małgorzata Bosek, music: Marcin Kuczewski, Sakhioba, prod. Serafiński Studio, Poland 2018, 11’ 40’’

A film made in memory of Marek Serafiński, an animation director, producer, and husband of the author. It is a graphic and sound memoir from paper waste, such as labels, price tags, tickets, etc, as well as boxes of cigarettes smoked by a nicotine addict over a period of six years and collected by one particular collector. It shows the magnitude of the smoker’s addiction, but also the determination and a kind of addiction of the collector, as well as passing of time in a strange symbiosis of the life that they shared together.

Małgorzata Bosek (1968 -) has graduated from the Academy of Fine Arts in Warsaw. She finished the animation course organized by the Film Miniatures Studio. She is an author of animation, a painter who collaborates with other artists. She had many individual exhibitions that presented her collages, tapestries, and other works.

05. O Jezu! / Oh, God!
real./dir. Betina Bożek, 2018, 3’ 48’’

The reality presented in the film "Oh God" might be described using such terms as inertia or chaos. The characters feature a lack of willingness to take any action, they are passive and indifferent, unable to create their own reality. The author presents a world that loses its original shapes, loses its identity. Groaning “oh God” as the main theme combines it all: grimace, sigh, and a quiet whisper of despair over our own impotence.

Betina Bożek was born in 1993 in Krakow. She is a graduate of the Academy of Fine Arts Jan Matejko in Krakow. A Laureate of international competitions, artistic scholarships, and film festivals. She is involved in illustration and animated film. She has so far realized five animated films: The Rumble, Kratoteka, Loneliness, Oh God, and The Land of Whim. She lives and works in Krakow.

06. III
dir. and script: Marta Pajek, music: Aleksandra Gryka, prod. Animoon, Poland 2018, 12’

A sudden meeting of a Man and a Woman begins a hypnotic act – a game of pleasure and discomfort.

Marta Pajek was born in 1982 in Kielce. She is a film director, graphic artist, and painter. A graduate of the Academy of Fine Arts in Krakow, she studied at the Animated Film Studio headed by Jerzy Kucia. She also participated in a traineeship under the tutorship of Priit Pärn at the Turku Arts Academy in Finland. She has directed short animations, such as After Apples (2004) and Behind the Wall (2005), and an award-winning film Sleepincord (2011). The latest part of her triptych Impossible Figures and Other Stories III was qualified for the short film competition at the Cannes 2018 festival.

07. Kwadratura koła / Squaring the Circle
dir., script, and phot. Karolina Specht, music: Paweł Cieślak, prod. PWSFTviT, Poland 2018, 4,50’’

At first glance, it seems that Square lives among the chaos and endless changes. Once, a new element sneaks into the pattern.

08. Historia / Story
dir. and script: Jola Bańkowska, music: Skillbard, prod: Studio Munka, Poland 2018, 5’

The story is a reflection of a modern man in an age of omnipresent technology. Looking through stories – a popular function in many social media platforms – we see people who are lonely, lost, or already indifferent about the reality surrounding them. The action takes place during one day and it’s told by short, often (auto)ironic scenes, where virtual world sinks to reality.

Jola Bańkowska (1992 -). She has won two Adobe Design Achievement Awards and, in 2016, received a scholarship for outstanding achievement from the Polish Ministry of Culture and National Heritage. She is currently living in London while also finishing her graduation film at the Academy of Fine Arts in Warsaw.

09. Na zdrowie! / Bless You!
dir. and script: Paulina Ziółkowska, music: Max Litvinov, prod. PWSFTviT, Poland 2018, 4’45’’

A sunny day. People are waiting at a bus stop. Suddenly, someone sneezes. Then someone else. And someone else. An epidemic breaks. In the chaos of sneezes, it turns out that it is the worst to fall ill with oneself.

Paulina Ziółkowska (1988 -) has studied art history at the University of Wrocław and graphic arts at the Academy of Fine Arts in Wrocław, she is currently a student of animation in Lodz Film School. Her professional film Oh Mother! was awarded numerous prizes at festivals in Poland and abroad.

10. Portret Suzanne / Portrait of Suzanne
dir. and script: Izabela Plucińska, music: Pascal Comelade, Arfaaz Kagalwala, prod. ClayTraces, Films de Force Majeure, Fundacja Las Sztuki, Poland/Germany/France 2019, 15’

In a small hotel, there is a man who tries to stop the hunger for love by eating excessively. But his longing for his love, Suzanne, will not be soothed by the plates full of meat cuts, vegetables, and fruit. When the protagonist goes to the town in search of food, he accidentally hurts himself in the foot, which unexpectedly transforms into Suzanne. Since then, they are to be inseparable. Still, this is just the beginning of a surreal story about loneliness, jealousy, and love. Every single detail of this grotesque plasticine adaptation of Roland Topor’s short story enchants the audience.

Izabela Plucińska was born in 1974 in Koszalin. She has studied at Lódz Art School and Film School until the year 2000 and took up studies at “Konrad Wolf” Film School in Potsdam - Babelsberg, Germany in 2003. She specialises in clay animation. Her filmography includes Jam Session (2005) - a winner of the Silver Bear at the Berlin International Film Festival, Esterhazy (2009), and Sexy Laundry (2015). Currently, she is a teacher at the Academy of Art in Szczecin, at the same time she is working at her own production company, ClayTraces in Berlin.