Karolina Kucia

ARTIST & RESEARCHER

TEXTS

Framed by a robot: Filming with a robotic cinematographic device

Between 2020 and 2023 I made a short film WE BITES US (17’ 25”), a hybrid between live action and animation. The cinematography used in the live-action scenes combines two different points of view: that of a cinematographer and that of an autonomous mobile robot equipped with a camera. At times, the robot is controlled by a wearable “prosthesis”, a glove with gyroscopic sensors attached to an actor’s body. There is an element of juxtaposition in the film that shows the tension between a code of cinematic narrative and an unfamiliar “alien” perspective. This paradoxical cinematic apparatus is a techno-feminist gesture to see technological innovation neither as a grand futurist dream nor as a seductively sleek toy for the rich, neither as freedom nor as subjugation.
The film WE BITES US is the main element of the second artistic component of my dissertation: Monstrous Agencies – Resisting Precarisation within the Organisation of Collaboration and Authorship. The research oscillates around parasitic and monstrous relationships with the aim of recognising interdependence. It looks for a way to recombine the power structure of a working environment, conditions, and format, including the human and non-human agencies involved.

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WHAT IF… “WE” GO BAD? Monstrous Organizing of Arts

Who is that “we”, you may ask. Me and you? What are you assuming?
There are two “we” in this text I am going to address.
The first “we” is the artist scene, or so-called art world with all its inhabitants, that is artists, art organizers and all those who’s work in to make art happen.
Then there is “we” simply as the pronoun that it is, referring to a form collectivity that is acting together. The potential “we”, let’s say, as if “we” could have shared motion, goal or agency.

So what if both of that imaginative “us” are just bad. Let’s imagine the art scene is a bad scene; the art world is a bad world, the artists as bad artists and organizers that aren’t good either. Pick your grade: bad, worse or the worst, and imagine that “we” got it wrong, both of that “we” – what “we” are and how “we” are.

Now – Bad, what would it mean to be bad? It would mean not to be good, for once. Not good, not better and not the best. Phew, wouldn’t you at least a bit feel relieved stating so. Maybe it is just me. Ok. Yes. But don’t you also feel tired of constant necessity to affirm both the value of art and collectivity… It seems like with a current state of art funding and a valuing of the artistic profession in society; we just cannot afford not to affirm it. Like it would be a form of betrayal to do bad art or to say how bad is it. What if we could afford admitting there is bad art, and bad artists and artworld without immediately looking for yet affirmative argument for their right to exist? Because there is other level of bad, really bad: there is not enough money for the representants of our profession whether they are good or bad. Well, one could even say, there is no profession, only the professionals.
Let’s go through these badnesses one by one.

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Situated Knowledge, Transmissions of Practice and Parasitic Endeavors 

This paper presents an exchange between four practitioners from distinct disciplines of site dance, performance art, philosophy, and experimental writing and pedagogy. It presents responses to provocations that position these practices as containers of Situated Knowledge. Drawing on practical inquiry it illustrates particular practices and approaches to the transmission and reception of practical knowledge, and employs the notion of ‘parasitic endeavor’ as a lens to facilitate discussion of how disciplinary specific practices and emerging knowledges might traverse from one discipline to another. The practitioners include Jessica Foley, Karolina Kucia, Helen Palmer and Vicky Hunter.

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Glossary: Finance and Affection

In the workshop »Finance as a Place for Creation,« which took place at Akademie Schloss Solitude in November 2015, the group investigated the relationship of performing arts and economy – and what the arts can do for understanding the economic system. By thinking finance and economy in a broader sense, they aimed at developing new ways of owning, financing, and doing things together: Generating new ways of creating opportunities, new ways of acting on them, speculating, hedging, and arbitrating together, and a different access to operating systems.

This glossary assembles essential notions of economic language as well as terms of artistic practice. By mixing and intertwining the different perspectives, new meanings emerge which make you look at the affective and performative side of economy. Just as artistic performances are based on concepts of value, exchange, and debt.

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A Disaster Dinner

How can moments of imbalance be understood in relation to the body and how can they be used as a group dynamic to create social situations? With the aim of making sculptures dealing with the notion of balance by means of using an inclined plane, a group of students from Möricke-Gymnasium in Ludwigsburg worked together with five Solitude fellows from the fields of performing arts, architecture, and economy/economics to understand the question of how moments of balance and imbalance can be experienced. Sketches, notes, comments and pictures collected and produced before and during the workshop document the work of the fellows with the students.

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