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- Author Konrad Smoleński
- Date of production 2013
- Dimensions height: 24.5 cm , width: 16.3 cm, depth: 5 cm
- Author's designation none
- ID no. BS/1056
- Availability in stock
- Acquired date 2013
- Object copyright Bunkier Sztuki Gallery of Contemporary Art
- Digital images copyright CC BY-NC-ND 4.0 Attribution – NonCommercial – NoDerivatives 4.0
- Digitalisation RDW MIC, Virtual Małopolska project
Music, punk culture, and art are among the interests of Konrad Smoleński, in which the experience of sound occupies a special place. The audio-performances implemented by him, jointly with Daniel Szwed, take the form of an anarchic bombardment of intense sound. The attack is carried out by BNNT: masked artists arriving in a black van whose image is associated with terrorists.more
Music, punk culture, and art are among the interests of Konrad Smoleński, in which the experience of sound occupies a special place. The audio-performances implemented by him, jointly with Daniel Szwed, take the form of an anarchic bombardment of intense sound. The attack is carried out by BNNT: masked artists arriving in a black van whose image is associated with terrorists. During concerts, they use two instruments: a percussion set (Daniel Szwed) and a bomb-guitar: an object built by Smoleński and resembling a Tomahawk missile. The influence of the sound to the point of physical pain was the foundation of the installation created by the artist at the Venice Biennale, Everything Was Forever, Until It Was No More (2013). Bombing, programmed into these works, creates a situation of sound tangibility, sensing the sound in a bodily way and causing discomfort associated with its considerable intensity.
A similar state of sound oppression was created during the audio-performance, which took place in December 2013, in the space of the Bunkier Sztuki Gallery with the use of an object called, How to Make a Bomb. The object itself is a reconstruction of one of the prototype instruments created by Smoleński during his student days. It is made according to the principle Do It Yourself, the form resembles a book, the interior of which is made up of strips of audio tape forming quasi-verses on book pages. During the performance, Smoleński played this bizarre instrument with the help of a magnetic head, which was sliding over consecutive tape strips. The title of the object, sounding like a word entered into a search engine, reflects its amateur, garage-like character. At the same time, naming a musical instrument “a bomb” introduces a more disturbing context; it uses the ambivalence of the causative and destructive power of the explosive. This is not only odd DIY teenage episodes, manufacturing something out of nothing, but an ominous, anarchist situation, during which it has a chance to reveal the destructive power of sound.
Elaborated by Anna Lebensztejn, Bunkier Sztuki Gallery of Contemporary Art,
This work is licensed under a Creative Commons Attribution 3.0 Poland License.
Konrad Smoleński (born 1977) is a visual artist, photographer, and musician. In his creations, he uses various media, including video, installations, performance, and music. He is a graduate of the Academy of Fine Arts in Poznań (2002); he was an assistant at this university during the period 2002–2009. He belongs to the Poznań group of artists called Penerstwo. He has co-founded or co-created the following bands: Mama, Kristen, K.O.T., Sixa, BNNT. Over the years 1999–2002, he participated in the activities of Prus’s Pack (Stado Prusa). From 2003, he was an animator of the Pink Punk scene. He is a laureate of the Deutsche Bank Foundation and the Zachęta Foundation – National Art Gallery 2011. He is the author of individual exhibitions, including: Evil hidden black (Stereo Gallery, Poznań, 2009), The End of Radio (Pinchuk Art Centre, Kiev, 2012), T.R.H. (Łaźnia Centre of contemporary Art, Gdańsk, 2013), One Mind in a Million Heads (Volkspaleis, The Hague, 2014), SVOID. If the Universe Is Expanding, Are We Drifting Apart Too? (Kunsthalle Winterthur, 2014), Dizzy Spells (National Museum of Contemporary Art / Rocolectiv, Bucharest, 2016), Phantom Power (Polish Institute, Berlin, 2016). He has taken part in numerous group exhibitions, including: Voyage Sentimental (National Museum, Poznań, 2008), Summer Sunday (Zachęta — National Gallery of Art, Warsaw, 2010), They Do not Know Why, But They Keep Doing It (Waterside Contemporary, London, 2011), Learning From Warsaw (Kunstverein, Zurich, 2013), Freedom of Sound (Ludwig Museum, Budapest, 2012), As you can see. Polish art today (Museum of Modern Art, Warsaw, 2014), Wealth (Zachęta – National Gallery of Art, Warsaw, 2016), Silence of sounds (Contemporary Museum, Wrocław, 2016). In 2013, he represented Poland at the 55th Biennale in Venice with his exhibition, Everything Was Forever, Until It Was No More. He lives and works in Warsaw and in Bern.