Selection of Works Malgorzata Calusinska

Masseninsuffizienz
massinsufficiency
Material:
100 building props, 40 m
2
space; 2014
"Massen sozialer und physischer Materien als Indikatoren fr strukturelle Brche."
Masses of social and physical matter as indicators for structural fraction.
Ausstellungsansicht, 28.02.2014
Horizontal projection of the space Gold & Beton in the Ebertplatzpassage in Cologne City.
Prop-distribution (disconnected network), based on the rootsystem of trees. Sketches of Network linkage
centralized decentralized distributed
dissoziative Aufflligkeit
not translated
Already tested Set-up on the 9.9.2012 in San Sperate; Sardinien/Sardegna
Passenger: Silvia Aradis
Driver: Malgorzata Calusinska
Material:
1 stethoscop
1 endarkened passengercabin (molton)
amplifiers
2 headphones
1 automobile
Performance Set-up specifications:
Passenger and driver both listen to the heartbeat of the passender through headphones. The passenger sits in
the endarkened passengercabin (his/her visual field of conciousness is completely disabled). While driving the
heartbeat of the driver slowly synchronizes with the passengers heartbeat (medical fact).
No verbal communication allowed.
Situation in the prepared car.
https://www.youtube.com/watch?v=iFfb_zZwebY
Postintuitive Zustnde verleiten gern zu hochtrabenden Erklrungen; dabei wird die neue, die nchste
Herausforderung versumt.
Beweis mglicher Singularitten
Some evidence of possible singularities
Das lat. Substantiv Evidentia wird mit Anschaulichkeit bersetzt
Eine nackte Singularitt ist in der allgemeinen Relativittstheorie eine gravitative Singularitt, also ein hypo-
thetischer Punkt der Raumzeit mit strkster, mglicherweise unendlicher Krmmung, die jedoch im Unterschied
zu einem schwarzen Loch nicht von einem Ereignishorizont umgeben ist.
Ich bin in der berzahl
I am superior in number
Geste 1
gesture 1
This performance-video is a connotation studie
on the gesture shown on the left.
7:21 minutes; 2013
Selection of texts underlaying the video as morse-code-sound:
warten bis was passiert
man wartet im grunde nicht. das alles ist ein prozess und hierdurch wieder ein zustand.
ein zustand aus zerstreuten einzelheiten, die immer kleiner werden.
kein grund etwas anders zu machen, sollte man warten.
denn es ndert sich nichts, was auch immer man verndert.
so gesehen ist alles vllig egal.
ja, gut und aaa kann man antworten und man kann auch einfach nur nicken oder kacken, man kann ficken...
.-- .- .-. - . -. / -... .. ... / .-- .- ... / .--. .- ... ... .. . .-. - / -- .- -. / .-- .- .-. - . - / .. -- / --. .-. ..- -. -.. . / -. .. -.-. .... - .-
.-.- / -.. .- ... / .- .-.. .-.. . ... / .. ... - / . .. -. / .--. .-. --- --.. . ... ... / ..- -. -.. / .... .. . .-. -.. ..- .-. -.-. .... / .-- .. . -.. . .-.
/ . .. -. / --.. ..- ... - .- -. -.. .-.-.- / . .. -. / --.. ..- ... - .- -. -.. / .- ..- ... / --.. . .-. ... - .-. . ..- - . -. / . .. -. --.. . .-.. .... . ..
- . -. --..-- / -.. .. . / .. -- -- . .-. / -.- .-.. . .. -. . .-. / .-- . .-. -.. . -. .-.-.- / -.- . .. -. / --. .-. ..- -. -.. / . - .-- .- ... / .- -. -..
. .-. ... / --.. ..- / -- .- -.-. .... . -. --..-- / ... --- .-.. .-.. - . / -- .- -. / .-- .- .-. - . -. .-.-.- / -.. . -. -. / . ... / -. -.. . .-. - / ...
.. -.-. .... / -. .. -.-. .... - ... --..-- / .-- .- ... / .- ..- -.-. .... / .. -- -- . .-. / -- .- -. / ...- . .-. -. -.. . .-. - .-.-.- / ... --- / --. .
... . .... . -. / .. ... - / .- .-.. .-.. . ... / ...- .-.. .-.. .. --. / . --. .- .-.. .-.-.- / .--- .- --..-- / --. ..- - / ..- -. -.. / .- .- .- / -.- .-
-. -. / -- .- -. / .- -. - .-- --- .-. - . -. / ..- -. -.. / -- .- -. / -.- .- -. -. / .- ..- -.-. .... / . .. -. ..-. .- -.-. .... / -. ..- .-. / -.- .. -
.-. -.- . -. / --- -.. . .-. / -.- .- -.-. -.- . -. --..-- / -- .- -. / -.- .- -. -. / ..-. .. -.-. -.- . -. .-.-.- .-.-.- .-.-.-
warten
wenn es so ganz ziellos ist, entspricht es wahrscheinlich am ehesten unserer natur.
.-- .- .-. - . -. / .-- . -. -. / . ... / ... --- / --. .- -. --.. / --.. .. . .-.. .-.. --- ... / .. ... - --..-- / . -. - ... .--. .-. .. -.-. .... - / .
... / .-- .- .... .-. ... -.-. .... . .. -. .-.. .. -.-. .... / .- -- / . .... . ... - . -. / ..- -. ... . .-. . .-. / -. .- - ..- .-. .-.-.-
niemals warten
-. .. . -- .- .-.. ... / .-- .- .-. - . -.
warten
warten darauf, dass es nicht passiert.
.-- .- .-. - . -. / .-- .- .-. - . -. / -.. .- .-. .- ..- ..-. --..-- / -.. .- ... ... / . ... / -. .. -.-. .... - / .--. .- ... ... .. . .-. - .-.-.-
warten
wer wartet ist scheisse und kann nicht gerettet werden
.-- .- .-. - . -. / .-- . .-. / .-- .- .-. - . - / .. ... - / ... -.-. .... . .. ... ... . / ..- -. -.. / -.- .- -. -. / -. .. -.-. .... - / --. . .-. . - - .
- / .-- . .-. -.. . -.
During the video presentation the following text fragments are being read by 4 persons standing randomly
distributed in the space.
Person 1 Hier lag die Wimper der heutigen Nacht. Die habe ich ohne Belegung frei gelassen.
Person 2 Die De- und Rekontextualisierung verliert sich in einer Schleife aus Konnotation.
Person 3 Es gibt Tendenzen, sich aus dem Zeitgeist herauszulsen.
Person 4 Das fhrt zu nichts!
Person 3 Wie hoch ist die Wahrscheinlichkeit von etwas Existentem?
Person 1 Ich habe das poetische verloren und es interessiert noch nicht einmal mich.
Person 2 Das macht nichts. In den letzten 200 Jahren hat sich die Weltbevlkerung verachtfacht.
Person 4 Pathos und Eitelkeit Ihre Nhe ist schier eine Kongruenz.
Person 2 Keine Hexerei, nur Manipulation.
Person 1 Die Geste als krpereigenes Wesen verliert ihre Kommunikationsbestrebungen.
Person 4 Die Hand fhrt den Geist.
Person 3 Die Geste ist ein raum-zeitlich bedingtes Modulationssystem.
Person 2 Erstaunlich, wie beruhigt man ist, wenn etwas einen Umriss aufweist.
Person 4 Wir verbergen nicht, wir Idioten. Denn da ist Nichts!
Person 1 Hier lag die Wimper der heutigen Nacht. Die habe ich ohne Belegung frei gelassen.
Wlder und Wlfe
Woods and Wolves
(drawings)
Ortung
location
(drawings)
Kein Titel
no title
(drawings)
Going straight forward, using an iron bar to stick it ten times into the ground after every 4 steps. One can call this a
method. One might say that this is more effective and objective than using once a wooden bar which makes another
sound if it hits an object underground the other time useing a plastic bar, walking around chaotically (left and right) and
disregarding the 4-step-rule. But why do we designate this as ineffective or subjective? Because it is not verifiable.
But if you would record the chaotic running around and ground-sticking so someone could walk the exact same
chaotic way; would this be more objective?
In a way of course. Through the layer of intersubjectivity it would lead to objectivity.
Useing intersubjectivity documentation becomes a tool for objectivity. The traceability of a documentation leads to
a kind of declaration. Declaring that something works intersubjectively in order to objectifie it, nothing else but a good
argumentation as transporting-method is needed.
If a certain number of people constitutes the transport as conclusive evidence, objectivity is being created.
In this case it is not even important to to constitute conclusive evidence; it is more a question of belief.
Baselessness is premised on our powerlessness towards faith.
All our ideas of reality are build upon this baselessness.
We can detect it but it is in our nature. Paradoxically its in the nature of understanding.
Its in the nature of truth which should make it a constant companion in all our actions.
Its linked to everything.
But we forget quick and entirely.
And even the solipsist is a solipsist for no reason at all.
freihandlungen
not translated
Boneconnections
Notation
Sketches made in an automatical mood comparable to automatical writing are being transformed
into a classical notation system.
Short pieces for singers.
freihandlungen
not translated
sketch-transformations http://www.youtube.com/watch?v=-lBIOrJGsTk&feature=youtu.be
fineliner on paper, 10 cm x 20 cm, fineliner on paper, 10 cm x 20 cm,
sketches transformed into notation for singers; 2012/2013 sketches transformed into notation for singers; 2012/2013
Albdruck
not translated
(installation)
Birdcage (hight 120 cm, diameter 70 cm),
mp3-player with the soundloop of
a panting dog, loudspeaker hidden
in the cage; 2011/2012
DOK
DOK
(2 drawings)
3 sketches; 11 x 18 cm;
pencil on translucent plasic film;
2011
The Incompleteness Theorem by Kurt Friedrich Gdel in 1931
1. If the system is consistent, it cannot be complete.
2. The consistency of the axioms cannot be proven within the system.
Normalverteilung
Normaldistribution
https://www.youtube.com/watch?v=iFfb_zZwebY
Normalverteilung
Normaldistribution
(installation 2010 in the Bunkeranlage Kln Mlheim)
Material:
top floor: 3 tons of sand (Testra; grain sice 0,20,7 mm), tub with funnel,
2 employees filling the tub with sand every half an hour (for 72 hours)
middle floor: 3 tons of sand (Testra; grain sice 0,20,7 mm), 4 loudspeakers, 1 contactmicrophon,
ground floor: 4 support pillars
Out of a little hole in the ceiling trinkles a thin sandjet onto the ground.
At the point where it hits the ground a contactmicrophon is fixed which records the sand-sound.
It is simultaniously amplified and thrown back into the room through 4 loudspeakers.
Three tons of Sand trinkle within 72 hours into the room building a pile
of a diameter of 300 cm and a hight of about 110 cm.
The installation was accessible 72 hours.
sandpile
4 support pillars
sandjet
funnel-device in
the top-floor
2 emploies filling up the
funnel-device
permanently during
72 hours
drilling-hole in the
bunker cieling
(diameter of 0,5 cm )
contactmicrophone
which records the
sand-sound. It is
simultaniously amplified
and thrown back into
the room (4 speakers)
3 Tonnen Sand verpackt
in Plastikscken
Lateral cut of the Bunkeranlage in Kln Mlheim,
in der Normalverteilung im August 2010 stattfand
Each loudspeaker is equipped with a motion capture device which autonomously reacts in different ways to the
surroundig. These devices varie the volume of each loudspeaker. You hear spoken texts (examples beneath; not
translated).
All texts are based on the following sentense:
"In Ansammlungen von Individuen zersetzt sich meine Hulle."
My cover disintegrates in gatherings of individuals.
2 textexamples (not translated)
Oxidieren am Freitag. Reagieren auch am Freitag. Der Wackelkontakt bringt das Reagieren eigentlich erst zum
Riechen. Riechende Wunden durch Scheren zugefugt sind freitags die nackte Ansicht des Freitags. Ziehharmo-
nika als Wesen des freitglichen Oxidierens. Freitage sind eine Sucht, die oxidiert mit der Ziehharmonika, oxidie-
rende Sucht, die eine Schere aus Ansichten wird. Freitags ist sie rot, die Ansicht uber das Manifest zum
Wackelkontakt. Eine Ansicht aus faschistischem rot. Ein Faschist des Wackelkontakts beginnt zu oxidieren in
einen Widerstand. Roboter riechen diese Ansicht des Oxidierens an Freitagen. Oxidierende Roboter, die mit
Scheren eine Ansicht von Wunden schaffen.Wunden die selbst die Ansicht sind.
Verdammtes Nichts, grinsendes Nichts. verstu mmelt grinsend feige. Feige, finstre Simulationen des Nichts aus
Wahn und Seuchen. Nichts ist die Differenz des Nichts. Verdammen wir das Nichts, das Gift. verdammen die
Differenz, verdammen das Gift. Simulationen der Seuchen des Nichts. Dieser Tumor der Seuchen soll euch
verstu mmeln. Seuchen, die schwebend dem Tumor innewohnen. Schwebend verstu mmeln und verdammen sie
den Stein der Fulnis feige. Seuchen verdammen das Nichts. Seuchen, die Fulnis der Simulation von Seuchen
scheinen. finstre, finstre Seuchen.
Fast sieben eine Prothesie
almost 7 a prothesis/poetry
(installation)
Egal, wie eng das Netz ist, die Rume bleiben, auch wenn sie kleiner zu werden
scheinen. Sie werden es nicht. Sie entgleiten der Materie der Sprache; ihrer Materialitt.
No matter how narrow the net is, the spaces inbetween do not disappear, even if
they seem to shrink. They slip out of the grip of language; vanish from its matter.
Pole, 7 magic arms, 7 ultrasonic sound
sensors, 7 arduino-boards,
7 loudspeakers, 7 mp3-players; diameter
max. 120 cm; Pole max. hight 370 cm;
2010
Formlos fuer P.
shapeless for P.
(drawings)
Ink on paper, 19 cm x 14 cm, 8 drawings; 2010;
Streuungsexperiment
spreading experiment
(photography)
4 bw-photographs, 21 cm x 30 cm
time exposure of centipedes; 2009
Vulkanwartung
not translated
(video)
Videostill; 2009
Buddler
Digger
(videoloop)
Videostill, 2009
Kurz im Sinne von Lang
short in the sence of long
(videoinstallation; 2009)
The videoinstallation Kurz im Sinne von Lang (2009) is based on a quotation
by Friedrich Nietzsche [...] Und wenn Du lange in einen Abgrund blickst, blickt
der Abgrund auch in dich hinein. As spoken sentense compressed to a third of
a second it underlines the video. The quotation is not understandable any more.
As asemantcal acoustic pulse it underlies a cardrive on a dark road. The camera
is reduced to an instrument of visualising vision-loss. The pictures consist of the
illuminated spots of the car-lights.
Angular synchronicity; order and resulting event; matter; process-based entanglement.
One can define language and physical reality as entanled entities. The word body
and the physical body itself do not have anything in common besides our agreement
that a body is called body.
The one system contains an element which has a congruency with an element of the
other system. The congruency observed beyond our agreement is no congruency.
It is not even no congruency; there is nothing at all.
Quantum entanglement is a physical phenomenon that occurs when pairs (or groups) of particles are generated or
interact in ways such that the quantum state of each member must subsequently be described relative to the other.
Wikipedia
solide Tendenzen
solid tendencies
1
1
1
1
10
20
10
stone
photo
sketch
sound (-track)
video-performance
sketch
steal-construction
Until now every video-performance was made on a free space, without obstacles like buildings, fences etc.,
in order to ojectiviable framework.
For the next performances I would like to use city-space and gps-devices.
Solide Tendenzen
solid tendencies
Work in progress; 2009-2013
Transmedia-work in process.
120 r
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underlying angular dimensions:
wherever you stand, your position is zero
Video-Data-sketches
Photo of the stone;
Roque de los
Muchachos,
La Palma (volcanic
ocean island); 2009
sketch; 2009
First Video-perfor-
mance; participant:
Malgorzata
Calusinska; 2009
Solide Tendenzen
solid tendencies
Performance Set-up specificaions
Starting Point is the same for every participant.
Commands:
- put on the headphones
- turn on the gps-system
- start the mp3-player (the voice gives you an angular- and a direction-commannd)
- try to turn and walk the commands as exactly as possible (wherever you stand, your position is zero!!!)
- choose the distances as you like (if you want, you can pause the player and walk straight ahead for several
minutes; but do not rewind)
Participant: Johanna; https://www.youtube.com/watch?v=MRQzkFooB1Y
solid tendencies walk on Sardegna
on the area of an old coal-mine;
Video-Stills; 2012
Nonscale angular sketches; 2012/2013
Rescaled Rectangularity-sketches; 21,0 cm x 29,7 cm; 2012/2013
Illustration of pi (Random Walk) by David Bailey from the Lawrence Berkeley National Laboratory
Wire-constructions (following the
triangularity of the angular sketches;
copper-wire (0,5 mm); hight 80 cm,
diameter 60 cm; 2013
Gruppensterben
Groupextinction
(series of 40 pictures)
Paper, pigment;
120 cm x 80 cm,
(Series of 40 pictures,
different sizes); 2009
Baselessness is premised
on our powerlessness
towards faith.
All our ideas of reality
are build upon this
baselessness.
We can detect it but it is
in our nature. Paradoxically
its in the nature of
understanding.
Its in the nature of truth
which should make it
a constant companion
in all our actions.
Its linked to everything.
But we forget quick
and entirely.
And even the solipsist is a
solipsist for no reason at all.
Diagrammatik
diagrammar
(paintings)
Pigment on foil (8 pieces), hight 120 cm width differing; 2009
D 17
D 17
Chalk on paper, 21 cm x 30 cm; 2009
H 11
H 11
Coal on paper, 21 cm x 30 cm; 2009
Through the Headphones you hear a person counting form 1 to 3496 on three tracks
which have a delay of milliseconds.
Totzeit
Deadtime
(installation)
3 plexiglassboards 100 cm x 100 cm, dryed liquid latex,
blister packaging material, mp3-player, headphones; 2009
The dead time is the time after each
event during which thesystem is not able
to record another event if it happens.
kein Titel
no title
(drawings)
latex on paper; 21 cm x 30 cm; 2008
KP
KP
(installation)
7 plexiglassboards 50 cm x 50 cm,
coffeegrounds of one week (from about 14 peoole),
gelatin, nylonstrings; plexiglasboards hanging in a
distance of 50 cm to each other; 2008
Auffaltung
Unfolding
(performances)
Silicon, asphalt; performances
in various cities in 2009-2013
SPS
SPS
(paintings)
40 cm x 60 cm; 10 paintings,
Grape, strawberry, bilberry on rough linen; 20082013
10 portraits (painted with fruit-mousse) were watched and documented for about 5 years.
The mould took over the hole place.
The middle part of a photo exposure device (lenses) is driven by an engine.
A movement is taking place. The change of direction is caused by the rejection of magnets.
The switcher of an multi-outlet power strip is powered on and of by an analog translation.
This switcher controls the electric power supply of a blow-dryer which pulls air into a garbage
bag placed under the machine.The air leaks out immediatly.
/AUFRECHT/E/R/HALTUNG/
not translated
(machine)
Mixed media,180 cm x 35 cm x 100 cm; 2007/08
Replication accurate to dimension, thermosensitive, used faxmaterial, casting resin, transparent tape; 2007/08
Kein Titel
no title
(5 Objekte)