In Impulsators, Robakowski rejects the narrative film form and the representational function in the spirit of his radical manifestations against the illusory character of traditional film in the 1970s, such as e.g. Test, Test II. Like Impulsators, those non-camera films came into being as a result...
From 'The Workshop of the Film Form'. // In I'm Going Robakowski attempted an iconoclastic representation of the human body. He initiated a situation in which the materiality of film engaged in a dialogue with the materiality of the human body. Over the course of the film, the growing fatigue of...
ince the 1970s, Robakowski has been experimenting with the category of the author, transferring the authorship of his works onto the film camera. Implementing the strategy of biological-mechanical records, Robakowski continues his experiments, carried out since the 1970s, consisting in the...
From the heaps of rusted scrap metal, a metal, fully functional figure shapes up, trying to get out of there to reach the horizon. He is aiming high. Puppet animation directed by Jerzy Kotowski.
Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and...
A simple video performance mocking the so called "butchers of art", some Polish performers that used to devastate their bodies during the performances.
A young married couple and their everyday hardships. Unemployed Wojtek decides to sell grilled chicken from a street stall. His wife Agata is a film student making a documentary on her husband.
The film is an experimental documentary form, made using the stop-motion method. It is a single shot in total plan, showing an aerial view of the Balucki Market in Lodz. The realization method involved recording two frames every five seconds without changing the camera setting. From 'The Workshop...
A highly expressive cry from the author of the manifesto, uttered while his head emerges from the water: "I should like to tell you all that art is energy!"
A fictional telephone conversation between the filmmaker and his mother on her birthday. A performative reflection on the relationship between public and private spheres in which the maker turns his back to the camera, simultaneously shielding himself, and engages the viewer in the (im)possibility...
"...We came to the conclusion that the event recorded on the film does not have to be logically interpreted or named, because its meaning or even nonsense is justified by the fact that this phenomenon took place in a state of war."
