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- Author Jakub Woynarowski
- Date of production 2013
- Dimensions height: variable, width: variable
- Author's designation none
- ID no. BS/1026
- 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
Outopos is an interactive diagram, that works only in the form of a website. Its hypertext structure is based on a series of graphics, text, and animation. In its design, the diagram is a conceptual grid, which creates a variable, visual essay, on the subject of utopia as the perfect non-existent place, “non-place” (outopos). The virtual space, where the work is located, is particularly suited to contemporary reflection on the topic of utopia, fitting into the framework of the construction of the new world.more
Jakub Woynarowski’s work is the result of a combination of theory and visual practice. The artist deals with ideas and phenomena occupying the margins of official narratives, mainly those shrouded in a mystery. He searches for inspiration in conspiracy theories, alchemy, masonic movements, and quasi-religious phenomena. He is especially fascinated by mysterious artefacts and ways of depicting secret knowledge systems, which often find a way into his works. The language of signs and symbols has mainly been developed by the artist in the form of drawings as essays and visual atlases, which are characterized by a restricted range of colours, limited to black, white, and red, conforming with the theories of alchemy, and the shapes of basic geometric figures that govern his compositions. Woynarowski also practices a kind of archaeology of artistic avant-garde movements, seeking evidence for the existence of associations between ancient art and that of the 20th century. He reaches for the works of modern classics and inspirations from the distant past, which he combines into new, often surprising, configurations. For the artist, the crevices and cracks of history, found in artistic research, have become the motivation for creating alternative stories. Woynarowski’s actions are also connected with institutional critiques and post-humanist philosophy in an individualized form. Visual input, from the borderline of science and art, appears in his works – such as a diagram or infographics – with the help of which the artist has created condensed messages, taking place simultaneously on many levels. The project Outopos is one of the more extensive narratives of this kind.
Outopos is an interactive diagram, that works only in the form of a website. Its hypertext structure is based on a series of graphics, text, and animation. In its design, the diagram is a conceptual grid, which creates a variable, visual essay, on the subject of utopia as the perfect non-existent place, “non-place” (outopos). The virtual space, where the work is located, is particularly suited to contemporary reflection on the topic of utopia, fitting into the framework of the construction of the new world. Internet hyperreality, functioning according to the principle of a giant diagram network, is also the best embodiment of the contemporary technological utopia, the idea of which is aptly described by the famous Simple Net Art Diagram, by the American MTAA duo, pointing to the fact that the Internet does not “exist”, but rather “happens” between users. The field of meanings, subjected to consideration in the diagram path, defines the configurations of evolving or oppositional concepts, such as: chaos-construction-order-deconstruction-chaos; centre, periphery and directions of escape; utopias and dystopias; virtual and real couples; transgression and regression; philosophy and physiology; problem and solution. Language operations touch upon such ideas as panopticon and the Tower of Babel, to offer a view of the utopia depicted and understood in the context of absurdity, illusion, inspiration, compromise, hope, risk, art, and power.
An important feature of the diagram is continuous change and unpredictability. A user entering the digital space penetrates its multi-layered tissue and influences the shape of the work, by finding numerous references and relations between concepts. The hypertextual artistic structure offers the recipient an opportunity to independently make choices and determine in which direction he or she passes to other issues. Depending on the decisions made, different card sequences appear at the same time, and the pattern organizing them modifies itself too. Infinite possibilities of interpretation draw the recipient into creating their own associations and individual utopian projects. This project, like the shape of the diagram, will never take its final form.
Elaborated by Joanna Terpińska, Bunkier Sztuki Gallery of Contemporary Art,
This work is licensed under a Creative Commons Attribution 3.0 Poland License.
Jakub Woynarowski (born 1982) is an intermedia artist, designer, and independent curator. He is the creator of experimental comics, graphic novels, atlases and visual essays, films, animations, and installations. He graduated from the Faculty of Graphic Arts (2007) and also from the Interfaculty Laboratory of Intermedia, Academy of Fine Arts in Kraków. He is a lecturer at the Narrative Drawing Workshop at his alma mater. He is a laureate of the “Polityka” Passport in 2015 and the winner of awards in the field of comics and design, including the Grand Prix of the National Competition of Books and Art Albums (2011) and the Grand Prix of the 18. International Festival of Comics in Łódź (2007). He is the author of individual exhibitions such as: Hikikomori (Lublin Society for the Encouragement of Fine Arts, Lublin, 2009), Wernalina (The Receptacle of culture, Kraków, 2011), Ha-ha (Bunkier Sztuki Gallery of Contemporary Art, Kraków, 2012), In the air, on land and sea (Regional Museum, Stalowa Wola, 2012), Nigredo (BWA Gallery, Katowice, 2013), Corpus Delicti (Ujazdowski Castle Centre for Contemporary Art, Warsaw, 2013), Saturnia Regna (BWA Warsaw, 2014), Impossible figures (Polish Pavilion, the 14. International Architecture Exhibition, Venice, 2014), Fiat Lux (as part of the Quadratum Nigrum collective, Bunkier Sztuki Gallery of Contemporary Art, Kraków, 2015), Somnium (MeetFactory, Prague, 2015). He has been a participant in collective exhibitions, including: Sensualia (Starmach Gallery, Kraków, 2008), Comic book. Urban legends (MOCAK, Kraków, 2012), Jeff Koons’Gloves (CSW Kronika, Bytom, 2012), CSW Wawel Castle (the 4. ArtBoom Festival, Kraków, 2012), Impossibility vs. Self-Censorship (Intermediae, Centre for Contemporary Creation Matadero, Madrid, 2013), It will work! Collection 2013 (Bunkier Sztuki Gallery of Contemporary Art, Kraków, 2013), Czech pope! (MeetFactory, Prague, 2014), As you can see. Polish art today (Museum of Modern Art, Warsaw, 2014), Devils! (Galeria Biała, Lublin, 2015), Artists from Kraków, Generation 1980–1990 (MOCAK, Kraków, 2015), Procedures for the Head. Polish Art Today (Kunsthalle Bratislava, 2015), La Memoria Finalmente (Galleria civica di Modena, 2016). He is the creator or co-creator of curatorial projects such as: Body in the library (BWA Dizajn Gallery, Wroclaw, 2010), Quadratum Nigrum (Receptacle of Culture, Kraków, 2010), Maciej Sieńczyk, “Polisario” (ON Gallery, Poznań, 2011), White cubes / Black holes (AS Gallery, Kraków, 2011), CSW Wawel Castle (The 4. ArtBoom Festival, Kraków, 2012), Catalogue of accidents (Zderzak Gallery, Kraków, 2013), Bohdan Butenko, A book is made just like a sweater (Bunkier Sztuki Gallery of Contemporary Art, Conrad Festival, Kraków, 2013), Ripples (Bunkier Sztuki Gallery of Contemporary Art, 2014). He is a member of the think tank Restart and the Quadratum Nigrum collective; he lives and works in Kraków.