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- Author Wojciech Doroszuk
- Date of production 2007
- Dimensions height: photgraph: 70 cm, width: photgraph: 100 cm
- Duration “Volkshochschule City West”, Berlin: 11'05"'; “Sumela Restaurant”: 6'30"; „Cosy-Wasch”, video, 5'40"; “2006/07”, video, left channel: 8'23", right channel: 6'23"; “Flight”: 14'
- Author's designation none
- ID no. BS/935
- Availability in stock
- Object copyright Bunkier Sztuki Gallery of Contemporary Art
- Digital images copyright © all rights reserved, Bunkier Sztuki Gallery of Contemporary Art
- Digitalisation Bunkier Sztuki Gallery of Contemporary Art
A project by Wojciech Doroszuk called Reisefieber concerns the problem of economic migration. During his stay in Berlin, the artist played the role of a newcomer from the East and was employed in the service sectors which are usually entrusted to emigrants. Based on his experience, five films and photography have been created, that form a multi-layered story of everyday, ordinary life in a foreign country, including both paid work and leisure activities, for example, participation in mass events organized in the city space. In each situation, the hero is shown as a stereotypical stranger, deprived of the will and the possibility of joining indigenous members of the community.more
A project by Wojciech Doroszuk called Reisefieber concerns the problem of economic migration. During his stay in Berlin, the artist played the role of a newcomer from the East and was employed in the service sectors which are usually entrusted to emigrants. Based on his experience, five films and photography have been created, that form a multi-layered story of everyday, ordinary life in a foreign country, including both paid work and leisure activities, for example, participation in mass events organized in the city space. In each situation, the hero is shown as a stereotypical stranger, deprived of the will and the possibility of joining indigenous members of the community. His video portraits are saturated with a sense of uncertainty, loneliness, and fear. The only exception is the film introducing the viewer into the history of an emigrant: a journey recorded from the window of a plane, amidst the clouds, leads him into the unknown and seems to give hope. However, it dissolves at the moment when the landing of the plane begins and the urban landscape of Berlin emerges from the clouds, disappointingly converging with the views of Polish cities that the hero leaves behind. They are far from the mysterious land of new visions and possibilities.
How real and up-to-date is the image of the migrant created by Doroszuk? We live today in the era of globalization, in which the fluidity of places of residence is associated with the lightness of life, with success rather than with failure. Anna Dezeuze in the text Years of lightness. Lata lekkości. Sztuka w epoce bezcielesnego kapitału [Art in the age of disembodied capital] emphasizes that it is necessary to distinguish between those for whom “movement is life” (modern elite, managers, lawyers, marketing specialists, etc.) and those for whom “life is movement” (emigrants, outlaws, refugees). The former live according to the logic that contemporary movable capital imposes, while the latter are excluded from its circulation. The hero of Reisefieber disrupts, through his attitude, the image of an individual, common in consumer culture, who is forced to be happy and active. He performs the simplest, least ambitious activities, such as car washing or helping in kitchen. He is sad, demotivated, lonely. We do not want to identify with such a person. The times when young people were leaving Poland in search of any earning potential, which often meant hard and poorly paid work, are already behind us – we are closer to the image of educated and successful elite, which usually is as deceiving as the image of a poor emigrant.
The work of Wojciech Doroszuk, however, has not lost its relevance. Currently, when more and more emigrants from Ukraine, Belarus, and the Caucasus are coming to Poland, we can see the situation of his hero in our own surroundings. Wandering in search of opportunities for a better life is not usually voluntary, regardless of its time and place. The titular word Reisefieber describes the accompanying state of anxiety, which, in the case of forced migration, most often does not end with the journey, but can last for years: it is a state of permanent postponement of the fullness and meaning of life for an indefinite period. In this expectation and existential suspension, however, migrants build lasting relationships, create local communities, build solidarity, and support each other, attempting to tame the foreign environment. One of Doroszuk’s stories is devoted to a group of foreigners learning German. It shows cooperative activities that unites people above the categories of race and nationality. Despite this, it does not allow them to get rid of the label “different”, “foreign”, which is even more conspicuous today, in an era of growing nationalism.
According to Dezeuze, contemporary artistic practices have the opportunity to create a space for dialogue between divided communities, in which an opportunity arises for shaping new policies, models of action, and rules for coexistence. Doroszuk strives to provide this kind of asylum and social laboratory, giving an insight into the experiences and emotions of excluded people. One can find them not only in the story about the fear of journey into the unknown contained in Reisefieber, but also in his other video works, such as Raspberry Days (2008), Birkac Yer (2007), Lunch I. Lunch II and Picnic (2005), Party (2006) and whether El Dorado (2006).
Elaborated by Vera Zalutskaya (Bunkier Sztuki Gallery of Contemporary Art),
This work is licensed under a Creative Commons Attribution 3.0 Poland License.
Wojciech Doroszuk (born 1980) is a visual artist, author of video films, and a photographer. He is a graduate of the Painting Department of the Academy of Fine Arts in Kraków (2006). He is the holder of a scholarship of the Minister of Culture (2005–2006) and a laureate of the Geppert competition (2007). He was nominated for the Deutsche Bank Spojrzenia Award (2009). He is interested in problems of exclusion, xenophobia, and death, as well as issues of communication, language, and translation. In his work, he uses the form of a documentary or para-documentary. His realistic film footage is characterized by a rigorous selection of motifs, frames, and colours. Its image aesthetics often come into dissonance with the subject matter taken up by the artist. He is the author of individual exhibitions, including: Reisefieber (as part of the Transkultura project, Bunkier Sztuki Gallery of Contemporary Art, Kraków, 2007), Raspberry (HIT Gallery, Bratislava, 2008), Special Features (BWA Awangarda, Wrocław, 2009), Pierwszy dzień lata [The first day of summer] (lokal_30, Warsaw, 2010), Festin (Joseph Tang Galleries, Paris, 2013), Secret Cinema: Wojtek Doroszuk (Fondation Ricard, Paris, 2014), Bliż [Closer] (Arsenał Gallery, Białystok, 2016). His works were presented as part of group exhibitions, such as: Nie ma sorry [There is no sorry] (Museum of Contemporary Art, Warsaw, 2008), DEgeneration / REgeneration (Marina Abramovic Institute, San Francisco, 2009), Rückblick (Polish Institute, Berlin, 2010),Between Ideology and Identity (LABOR, Budapest, 2011), Self Staging (as part of the Young Art Biennale, Magician Space, Beijing, 2012), Mikroutopie codzienności [Microutpias of everyday life] (CSW Znaki Czasu, Toruń, 2013), 4. International Biennale of Young Art (National Centre for Contemporary Art, Moscow, 2014), Towards a critical institution (Arsenał City Gallery, Poznań, 2014), Artis’Film Biennale (Institute of Contemporary Arts, London, 2014), Procedures for the Head. Polish Art Today (Kunsthalle, Bratislava, 2015), Musrara Mix Festival 16. (The Naggar School of Art, Jerusalem, 2016). He lives and works in Rouen, France.
 A. Dezeuze, The light years: contemporary art in the age of weightless capital, 9.06.2011, traduction: B. Bauer, online: http://www.metamute.org/editorial/articles/light-years-contemporary-art-age-weightless-capital# (access: 19.07.2019).