BLANKA DOMAGALSKA

ColorFields

A collaboration between Blanka Domagalska and Steve Boyer

The participants download an application to their mobile device, which activates once a person physically crosses over a geographical border delineated by longitude and latitude.  Within that area the device is taken over by code displaying waves of colors on the phone screen and playing sounds.  Each device acts as a pixel of a larger image that is mapped out onto the geographical area.  As people wander through the space, the device rotates through different permutations of the overall image in time and space.  A crowd of people with activated devices creates a meta-display of color waves and in extreme an image with a musical score.  The larger event is picked up by a camera from up above and broadcasted at other locations such as the Internet or a video projection.  The video coalesces the disparate parts into a coherent read in order to communicate it to the audience/participants.

Exhibitions:

Performance at the Glow Festival in Santa Monica, CA, September 2013

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I am Legion

A demonic feed generator

I am Legion is a demon designed to propagate itself through Twitter feeds grabbing posts according to its ‘program.’  The demon makes alliances with the Twitter software via a pact, the API and incorporates the human users, who in turn have pacts with Twitter and are part of the Twitter-becoming.   The demonic collective appears as a feed generator selecting tweets based on common words. The sorcerer-user becomes incorporated as a component in I am Legion-becoming performing the function of the initiator. The demon does not engage dialectically but instead, it seeks to include everything in its order of existence via pacts.  The price one pays for entering into that alliance is letting go of the illusion of oneself as a subject.

Exhibitions:

Computer Art Congress 3, Paris 8, CiTu, Le 104, Paris, France, November 2012

Ionian Center for Arts and Culture, Cephalonia, Greece, May 2012

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The Imaginary 20th Century

A collaboration between Blanka Domagalska, Margo Bistis and Norman M. Klein.

A historical science-fiction novel, The Imaginary 20th Century operates as a gigantic interactive data field with 2,200 images and an original sound composition. The story involves the picaresque adventures of a woman who, in 1901, selects four men to seduce her, each with a vision of the coming century. We navigate through the suitors’ worlds, follow the woman (Carrie) on her travels, witness what she and her lovers forgot to notice; and experience the tastes and sounds of the period from 1893 to 1926. It is a whimsical meta-journey that requires a printed book and an online interface. The co-directors are Margo Bistis and Norman M. Klein.

 

 

Exhibitions:

Budoucnost Budoucnosti, DOX Centre for Contemporary Art, Prague, Czech Republic, 2010

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Me Myslef and I

A social networking website

The explosion of social networking websites allows us a new way to relate to each other. Such is the conventional wisdom. If technology is our mirror, what sort of a face is looking back at us from the surface of the Internet? MeMyselfAndI is a virtual place where the subjective self went supernova. This appropriating gesture gives birth to semi autonomous entities: the profiles alienated from their source and struggling for their own boundaries.

Exhibitions:

Presence in the Mindfield, CR 12, Centro Cultural de Belem, Lisbon, Portugal, 2011

Making the Digital Sense, Computer Art Congress, Tecnologico de Monterrey, Mexico City, Mexico, 2008

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A Place

One channel video projection with sound

Each event usually happens in a particular time and place and as it finishes it yields space for another occurrence to take place. Why so? Why this stringing of events? In this video, time collapses on itself to reveal a multitude of activity native to this one place happening simultaneously. A bare lot takes on different identities as it fills with activity. While none of these activities defines the place, they all create a composite identity that defies categorization.

Exhibitions:

Fall Show, JMCA, Los Angeles, CA, 2007

10 Meter Dash

One channel video on a monitor with sound

Races traditionally are designed to bring forth the athletically superior individual. In this scenario, the contestants begin and finish the race together not because of their equal physical strength but rather despite the obvious discrepancy. Humorously, the technology aids one of them during the race. In a barely perceptible way one of the contestants is slowed down so the races conclude with a tie over and over again.

Exhibitions:

Unit B Gallery, Chicago, IL, 2004

So Close, So Far Away

One channel video projection with two sound sources: ambient and headsets

The planes featured in this installation are objects far away in the sky emitting a low familiar hum that permeates the space. This lulling sound is contrasted with the roar of plane engines at a close proximity available in the headsets (if the viewer chooses to put them on). The violent perception transports the viewer miles up into the sky right next to the machine. The sensory turns into purely psychological. One performs an impossible leap in his/her mind to compensate for the jarring switch.

Exhibitions:

Mary and Leigh Block Museum of Art, Evanston, IL, 2003

The Pond

One channel video projection with sound

This space is designed to encompass the viewer with the sense of an outside space. Over time an internal logic is revealed. The circular narrative is implied by the sound of approaching steps and occasional reflection of a person in the pond. The main characters though are the viewers. While suspending their disbelief, they can never become a valid part of this environment. If one were to look into the pond, one would see only their silhouette. This shadow of a human in technology is what interests me.

Exhibitions:

Mary and Leigh Block Museum of Art, Evanston, IL, 2003

The View From the 20th Floor

One channel video on a monitor with sound

The vast blurry view presented in this video implies a detached outward gaze. Only once a light is turned on, it becomes apparent that the focal point is fixed on the glass surface between the camera and the view. In that instance, a new space containing a room interior unfolds towards and past the viewer. This revelation lasts a moment and folds back once the light switch is hit again. The memory of the incident alters our secondary perception of the view and expands the imagined space implied by the video.

Exhibitions:

Galerie Perspectives, Paris, France, 2004

Mary and Leigh Block Museum of Art, Evanston, IL, 2003