The first decade of artistic work — 2007–2016 ( -> http://oskarchmiola.blogspot.com/?view=flipcard )
Currently — 2017 ->
Chmioła is currently working on the multidisciplinary project Au(c)tor. More:
http://chmiola.com/projekt-auctor/
June 2025 — online launch of agents creating illustrations for the book Art after AI. Art, Technology, Violence (2024–2025; published May 2025). Role: author.
“Art after AI. Art, Technology, Violence” analyses the impact of generative artificial intelligence on culture, creativity and artistic ethics, formulating four strategies of resistance: post-generativity, anti-generativity, post-agentivity and anti-agentivity. Its open structure — made available for public editing — also invites co-creation in the form of meetings, workshops and performative actions.
📘 Full text (first version published before public editing):
Zenodo — DOI: 10.5281/zenodo.15549935
📝 Public editing: https://docs.google.com/document/u/0/d/1ppKcv4pM_JnCLTphRLHIlxQ7rtjolHV-NTsWjvSgTw4/edit?tab=t.0&pli=1&authuser=0
April 2025 — ARcTic TALK. Role: performer.
Text in Polish: chmiola.com/arctic-talk-pl
Text in English: chmiola.com/arctic-talk-eng
Text in Italian: chmiola.com/arctic-talk-it
A 14-minute spoken performance carried out opposite Milan Cathedral in Piazza del Duomo on 4.04.2025. ARcTic TALK is a poetic-critical intervention in public space, combining reflection on the climate with an analysis of urban excess and the aestheticization of inequality. As an ice cube the size of a human heart melted, the artist spoke for those who remain unseen — between ice and clay, between community and the loss of place. The event was streamed live and made available in Italian and English translations.
March 2025 — Samodzielne Atomy — editions I, II and III (08.2023–02.2025; event concluding the second edition — March 2025). Role: curator. — curatorship and social-artistic coordination
Digital banner for the event concluding the first edition of the Samodzielne Atomy project
In February 2025, an event was held to conclude the second edition of Samodzielne Atomy, an initiative supporting the artistic and social participation of adults with autism and related mental disorders from Szczecin and the surrounding area. Oskar Chmioła served as coordinator of all three editions of the project and artistic curator of two final events, shaping their programme and visual concepts. The project continues in its third edition, developing a model of inclusive participation in culture.
July 2024 — Opus Tower (07.2024). Role: performer, artist invited to a group exhibition.
The performance and art installation entitled Opus Tower at the exhibition SACCADES AND COMPANY. Art after psycho-sociology at ICS Institute of Art Cybernetics, curated by Marek Rogulski.
Title: Opus Tower from the Au(c)tor cycle
Technique: (Psψcho)performance and ephemeral multimedia installation.
Duration: 23 minutes — both the psψchoperformance and the installation’s audio-video track (looped).
Materials: ladder, chair, tent, backpack, projector, laptop, props, crown, bisque, the Au(c)tor book, computer graphics on paper.
Photograph from the performance Opus Tower. Photo: Paweł Korbus
Photograph of the installation Opus Tower. Photo: the artist
In Jungian psychology, the term “opus” refers to the process of individuation, or personal development, in which an individual integrates their various psychic aspects, both conscious and unconscious. Opus literally means “work”, and in the context of Jungian psychology it refers to each individual’s life’s work: the process of discovering, accepting
and integrating all parts of one’s psyche. The psychoperformance Opus Tower is a symbolic act of integrating the human psyche, and the resulting art installation is an archetypal object symbolizing the process of individuation. In the context of the event’s title, Saccades and Company, this action can be interpreted as presenting an exploration of the human psyche (saccades) and the artefacts found within it, symbolizing the archetypes encountered (company).
From 2023 to the present — Inwigilakcja 2 (07.2023–present). Role: author — link: https://www.facebook.com/oskar.chmiola.inwigilakcja.
A mental performance on Facebook, in which I share the login and password for my Facebook profile.
“As of 01.07.2024, the ‘Oskar Chmiola’ account becomes part of an art project. Notice is given that from this date the account is made available to its audience, who become its creators. In 2014, during the 10th inSpiracje art festival, at the exhibition ‘Perfidia Perfearance IV’, Chmioła performed the performance triptych ‘nie-post-szerzenie’, whose final element was the action ‘InwigilAkcja’. Now, after 10 years, Chmioła repeats InwigilAkcja on an account prepared specifically for this purpose, because he uses the previous account for professional purposes. What is ‘inwigilakcja’? The password to this account has been made public! From now on, the project currently named ‘Oskar Chmiola (project)’ becomes a project of the audience themselves. Chmioła will never log into this account!
All activity on Facebook — shares, information, data, photographs, messages, comments, views, notes, films, likes and any other activity on this account — forms part of this project. Chmioła bears no responsibility for the consequences of this action, because he is not its owner; Facebook is.”
April 2024 — Music of Structures / Acoustic Journey (04.2024). Role: curator, director.
Two choreographic performances, Music of Structures and Acoustic Journey
as part of the event entitled Timeless Music in Different Dimensions — a concert and exhibition marking World Autism Awareness Day at the Mieczysław Karłowicz Philharmonic in Szczecin, co-curated by Chmioła, also including a presentation of the painting cycle Musical Landscapes, created by children during the Creativity Classes
I led. Curatorship and direction by Chmioła.
The performance Music of Structures concerned the role of structure in therapy and in the functioning of people
with autism and related mental disorders, expressed as a path
from the chaotic disorder of the world, through ordering and categorizing during therapy,
to a structure that makes the world familiar and creates a safe, stable living environment for people with special needs.
The performance Acoustic Journey was about the role of music in human life: music is present everywhere around us in everyday life, but to discover its true meaning one must embark on a journey. Then one can find the treasure that is music itself.
January 2024 — Samodzielne Atomy — first edition (01.2024). Role: curator, director.
— curator and coordinator of the project and its concluding event.
Presentation of a cycle of visual artworks created by young people and adults during the Creativity Classes led by the Applicant as part of the Samodzielne Atomy project, at the project’s concluding event, the Samodzielne Atomy concert and exhibition at the Creative Sectors Incubator in Szczecin, co-curated by Chmioła. Curatorship and direction by Chmioła.
From 01.08.2023 to 15.12.2023, the ATO MY Association carried out an innovative project aimed at therapeutic and educational activation of adults with autism spectrum disorders (ASD), particularly autism, in Szczecin and the surrounding area. The project is currently being implemented in its second edition on a tenfold larger scale.
October 2023 — Music of Everyday Life (10.2023). Role: curator, director.
The musical-kinetic performance Music of Everyday Life during the event Between Sounds, marking World Music Day and the Polish National Day of People with Developmental Aphasia, with the participation of therapists and people with ASD, P.P. Dzwoneczek, Szczecin; presentation of a cycle of visual artworks created by children, young people and adults during the Creativity Classes led by Chmioła. Curatorship and direction
Music of Everyday Life is a performance showing the musical aspect of everyday reality and drawing attention to the volume of sensory stimuli reaching the brain in daily life. It is an attempt to illustrate how children with autism, Asperger’s, ADHD, developmental aphasia and related disorders process sensory stimuli, and the influence of noise on their everyday functioning.
July 2023 — Role Control versus Role (07.2023). Role: artist presented in a group exhibition.
4 objects by Chmioła at the exhibition ART AFTER PSYCHO-SOCIOLOGY — ROLE CONTROL vs ROLE — opening / exhibition / event at ICS Institute of Art Cybernetics, curated by Marek Rogulski.
Works presented at the exhibition:
1. “Au(c)tor. A Diagrammatic Schema”, 2023, colour print on A0 paper.
Diagrammatic schema: The Bodily Topology of Creativity — Auctor’s Topomorphy / Opus Map.
The schema shows the stages of IndywiduAkcja experienced by Auctor in the creative process. The process proceeds in a spiral, which makes it appear looped. The image depicts one such cycle. IndywiduAkcja is a conscious reference to C. G. Jung’s concept and an emphasis on the active nature of this process. The diagram is an attempt to visually assemble and systematize human entanglement in a psychosociological configuration of forces, whose various forms and dimensions create a matrix resembling the human body. Every human being, and therefore every artist, lives in this realm of Opus, full of colliding influences from different philosophies, religions, science, art, psychology and sociology. The artist is therefore an Auktor (from the Latin auctor — agent, creator, first, authority, “one who does”, “who strengthens”, “brings about action”…) — an active agent.
2. “Au(c)tor. A Poem on the Asymptote”, 2023, printed on 20 A4 sheets.
The poem is a metaphorical parable of the artist’s inner journey, in which he confronts dark beings in order to find a treasure. Based on familiar dramatic strategies, this story leads the reader through the diverse structure of human fears and passions. The figures encountered along the way are archetypes personifying human states of mind, memories and dreams, which suppress, inhibit, beguile, enslave and correct Auktor’s actions. Within this spatial topography, Auktor is alone. He descends into the deepest darkness of himself to obtain the tools that will allow him to transcend his limitations. This entire process is an unending asymptote whose meaning lies in the very persistence of an eternal “being in relation to”.
3. “Au(c)tor. A Sketch for IndywiduAkcja”, 2023, Psψchoperformance for the camera, approximately 17 minutes.
A still from the film Au(c)tor. A Sketch for IndywiduAkcja
At the exhibition it was shown on a 40-inch screen, adapted to the exhibition space, but it can also be displayed so that the viewer can stand within the projection and the animated map shown on the left can cover their body.
Psψchoperformance (that is, performance transforming psychic energy) presents the first stage of IndywiduAkcja (a processual series of psψchoperformances intended to bring about the artist’s inner transformation), in which Auktor (the artist as metaperformer) prepares for a journey intended to change his limited perception of himself and the world. The film shows the artist drawing an “inner map” on his own body and reading its geographical (in a humanistic sense) names. The accompanying sound further emphasizes the character of the individual places evoked by the performer.
4. “Au(c)tor — Self-Portrait”, acrylic on canvas, 60×90 cm, 2023.
“Au(c)tor — Self-Portrait”, acrylic on canvas, 60×90 cm, 2023. Photo: the artist
The painting was the starting point for creating the performative fiction film entitled “Au(c)tor”. The film’s plot tells the story of Chmioła as he tries to create his own self-portrait (intended to express the role and significance of the artist), reconciling his private life
with his professional and artistic life. First, after publicly presenting his painted self-portrait, he experiences failure and, dissatisfied with it, sets out on an inner journey in search of the truth about himself, supported by the person closest to him. Ultimately, he succeeds in finding precious values and preparing an exhibition showing not only a new self-portrait but also other works expressing discoveries
of universal significance. Yet it is only the exhibition’s audience who reveal to me the most important meaning, in which every author finds fulfilment.
May 2023 — Auctor performance — A Person Stepping out of a Picture (05.2023). Role: performer, author.
The performance Auctor during the 11th edition of WIOSNA MUZ, Wolin–Grodno, at the opening of Cezary Dubiel’s photography exhibition.
Photographs from the performance A Person Stepping out of a Picture.
Photo: Cultural Centre in Wolin. The performance was a live interpretation of Cezary Dubiel’s photographs during the photographer’s exhibition opening. Oskar Chmioła performed these interpretations immediately beside individual photographs.
2023 — Geometric Concert (04.2023). Role: curator and director
The choreographic performance Geometric Concert as part of the event entitled Music in Different Dimensions, a concert and exhibition marking World Autism Awareness Day at the Mieczysław Karłowicz Philharmonic in Szczecin, co-curated by Chmioła, also including a presentation of the painting cycle Musical Landscapes, created by children during the Creativity Classes I led. Curatorship and direction by Chmioła.
Geometric Concert showed the role of geometry in therapy for people with autism spectrum disorders. The performance also presented an original art-therapy method called Perfoterapia by Oskar Chmioła, in which performance art is used in many different ways in therapeutic work.
2022 — direction and facilitation: the collective musical-kinetic performance Between Strings, as part of the Between Strings Concert marking World Music Day and the Polish National Day of People with Developmental Aphasia, with the participation of therapists and people with ASD, P.P. Dzwoneczek, Szczecin,
2022 — curatorship and direction: the A TO MY project (Exhibition and Happening) marking World Autism Awareness Day, with the participation of therapists and people with ASD, in collaboration with the National Museum in Szczecin and P.P. Dzwoneczek, (Solidarity Square) Szczecin,
Link to the exhibition tour: https://fb.watch/j1alqMbOpj/
2021 — direction and facilitation: the collective sensory performance Garden of Calm marking European Autism Day, with the participation of therapists and children with autism spectrum disorders, the A TO MY Association and P.P. Srebrny Dzwoneczek, Szczecin,
2021 — the collective performance Between Strings with the participation of children with autism spectrum disorders, INKU Szczecin,
2020 — online premiere of the project “Breeze — the first performative film”, Goyki 3 Art Inkubator, Sopot
2020 — performance and video installation “Źrednica Świętowita” during Wiosna Muz, Grodno Centre for International Cooperation.
2020 — direction and performance: stage and online premiere of the performative production “No Exit” based on the play by J. P. Sartre, Stara Rzeźnia Euroregion Culture Centre, Szczecin
Unfortunately, the documentation of this event has been lost. I am publishing documentation of an earlier version of this event, in which Kamila Kamińska and Tomasz Kubik participated. Documentation: Karolina Gołębiewska:
2020 — the text “The Artist as Politician”, as part of the event “The Artist as Politician”, Gallery of Youth Rebellion
, Warsaw
2020 — “The Mill”, direction and facilitation of a collective performance of the SpaceTime Performance type as part of the event “OFF at the Mill”, Przecław 3D, Przecław
2020 — Performative Cinema Manifesto, Sopot
http://chmiola.com/manifest-kina-performatywnego/
2020 — the artivist climate protest “The Last Ball”, Grunwaldzki Square, Szczecin
2019 — a performative guided tour along the Brick Gothic route in Gdańsk funded by the City of Gdańsk through a Cultural Scholarship
2019 — the performance “Memory” as part of SpaceTime Performance, during the Come Witch Us festival at the Szczecin Culture Incubator
2019 — the performance “Above Mainstream” during the meeting Warsaw School of the 21st Century at the Youth Gallery, as part of Warsaw’s Night of Museums
2019 — the Psychoperformans “Desire” during the collective presentation “Water, Desire” held during Wiosna Muz at the Centre for International Cooperation in Grodno
https://www.centrum-grodno.pl/kultura/wiosna-muz/wiosna-muz-2019/
2019 — the exhibition and happening “Blue World” manifesting autism culture, Stanisław Staszic Pomeranian Library and the Pomeranian Dukes’ Castle, organized by the A TO MY Association and the network of therapeutic P.P. Dzwoneczek preschools, Szczecin
http://atomyautyzm.com.pl/informacje/niebieski-swiat/#more-1121
2018 — the exhibition “Sensory Space”
http://atomyautyzm.com.pl/projekty/przestrzen-sensoryczna/przestrzen-sensoryczna/#more-930
https://www.facebook.com/pg/atomyautyzm/photos/?tab=album&album_id=547961255725044
— 2018 — direction and facilitation: No Exit -> https://youtu.be/1DbnxFkT9kQ
— 2018 — From Drama to Dance -> https://www.youtube.com/watch?v=-w4VVPtyCZQ
— 09.05.2017 The Most Important Problem of the Contemporary World— > https://www.youtube.com/watch?v=ICoVvTJTqyA
— 27.07.2017–31.12.2017 the Reality project: ( -> REALITY — A PERFORMANCE CYCLE ON CONTEMPORARY CHALLENGES )
A project carried out through an artistic scholarship from the Marshal of the West Pomeranian Voivodeship. 9 performance art presentations (8 in Szczecin and one in Stargard).
Who Am I?
The first performance in Oskar Chmioła’s Reality cycle, KANA Theatre, 27.07.2017
Reality is a project in which I raised the classical questions of philosophy through visual means. I used conceptual art, new media and performance to do so.
The first question is: Who am I? This question can be understood both generally (who is a human being?) and personally (who is Oskar Chmioła?). Balancing on the boundaries of myself, I will try to inspire further dialogue.
First I told the story of “how I came to be here”, saying who I am without speaking. I presented the anthropology of an encounter with myself, seeking signs through which I came to know myself. Without the phrases I use every day, I created a sacred space and asked the audience to be willing to spend some time within it.
Halfway through (at 20.45), an open discussion using the language of visual art was to begin, with the working title Anthropotropy. This was to be an STP encounter (*Space Time Performance, author’s note). Here everyone was to be able to express themselves: through words, sounds, movements, images, atmospheres, smells or tastes, or whatever anyone, with whomever, might be capable of presenting and might wish, if they chose, to share with the participants.
___________________
*According to the STP idea (https://www.facebook.com/spacetimeperformance/), every participant is treated as an impartial spectator for as long as they fulfil the role of spectator. If, however, a participant enacts another intention, they become a performer. During STP encounters, art touches us through its immediacy, and dialectics becomes as multidimensional as the day. One may therefore often be surprised by how close and enriching art can be when it remains in dialogue with our subjectivity. The multiplicity of languages in which one can speak and still be understood is such that it is always worth opening the stream of consciousness in an act of collective weaving. STP can also be understood as the inverse of theatre: no single script, intersubjectivism; the spectator is an actor playing the spectator’s role, so an actor is someone who plays a role, whereas here everyone has their own suitcase, etc.
WHAT IS GOODNESS?
Performance Tourism against the Backdrop of Brick Gothic in Stargard
I invited people on an artistic tour of Brick Gothic in Stargard through the prism of the predicate “Goodness”. At each stop I spoke about a selected aspect of “Goodness”, associating it with that particular place. I told this without saying a word about them, simply creating various situations and making gestures to convey the significance of these places as cultural assets. I tried to capture their essence in this way, to emphasize their actual importance. Does the goodness contained in bricks have real significance for us? Is goodness, like classical values, not a relic of the past, like a historical curiosity? Entering the city’s local fabric during a major event and towards the end of the summer holidays, I asked these questions and invited people to an artistic discussion by the Water Tower immediately after the tour ended.
Each of the 16 performances lasted from 0.30 to 10 minutes.
26.08.2017, from 13.00 to 16.00.
John Paul II Monument -> Water Tower
On the day of the event, the website http://turystykaperformerska.pl/gotyk-ceglany-w-stargardzie/ (the website no longer operates) published collected information about the individual monuments against whose backdrop the performances took place. The website also described the order and course of the tour, making it possible to join along the way or leave it.
The initiative was carried out in partnership with the Stargard Cultural Centre during COOLtural Holidays in Stargard, so visitors could also immediately see the fair and several other regional attractions.
WHAT IS THE MEANING OF EVERYTHING?
Meaning
Opera at the Castle, Szczecin, 08.09.2017
The performance “Meaning” is a brief exemplification of the possible consequences of slowness. It tells of a person who, while performing the routine activity of hanging out laundry, suddenly reflects, stops and begins to think about the meaning of existence. This leads him to the conclusion that “life is a courtyard”, a friendly place with which one can do whatever one wishes. He therefore decides to release his own sense of meaning. “Meaning” is an installation made from furniture and everyday objects, built before the audience’s eyes. This multimedia performance involves constructing the atmosphere of a home, which is then deconstructed. In this way, the artist suggests that there can be many meanings, and they may be non-obvious, quiet, slow, hidden, different and incomprehensible, because meaning constitutes the essence of human freedom. Each person’s meaning belongs to them. Meanings are equivalent and exist in parallel. Reality is a polyphony of meanings. The installation thus created demonstrates this polyphony through the multitude of possible interpretations. This multitude is deliberately brought about by giving the sculpture a title which, like a performative utterance, suggests that something will happen. In this case, it is a kind of promise of discovering the essence of Meaning through encountering the installation “Meaning”. The performance “Meaning” was first performed on 8 September 2017 at the Opera at the Pomeranian Dukes’ Castle in Szczecin, through an artistic scholarship from the Marshal of the West Pomeranian Voivodeship. It can be presented as video documentation of that event, or performed again in any exhibition space. The performance will then produce a spatial multimedia installation (three-, two- or single-channel, depending on the venue and possibilities). That realization will differ from the one shown in the documentation from the Opera at the Castle, but its general premises and course will remain unchanged. The performance “Meaning” unfolds as a process. It begins with the decision that this performance will be carried out. The author then searches for the furniture and everyday objects he needs. He finds them in courtyards and housing estates, discarded in haste, belonging to no one, stripped of meaning and slowly deteriorating. They are often entirely usable, complete and undamaged objects, but outdated and unfashionable or simply no longer needed. The author plans to build meaning from these particular things. He draws sketches, measures the space, uses these things and composes his spatiotemporal presentation. Only then is the creative act fully accomplished, giving them a new meaning. The activity of deconstructing a home is inspired by Kurt Schwitters’s idea of Merzbau and can be understood as an expression of rebellion against established norms, social roles and meanings. It may, finally, be a manifestation of the freedom to uncompromising self-determination, to living in accordance with one’s own sensitivity and to being different. The performance Meaning proceeds slowly, using slowness to facilitate the discovery of individual meaning. The performance Meaning is a story about freedom as independence from imposed frameworks and meanings. It treats the home as a metaphor for the human interior. The symbolic rebuilding of the home is intended as therapy serving to reconstruct the consciousness of the author and the audience. The use of a ladder as the structural axis is intended to open a space for interpreting the performance “Meaning” as a reflection on the idée fixe of reaching the final rung of knowledge about Meaning. Is there any point in asking about meaning when a sense of meaning is synonymous with happiness and knowledge? Is meaning what a person strives towards, or perhaps what they flee from? Do differences between people sharpen awareness of the meaning of reality as a whole? How important is discovering individual meaning to understanding general meaning? The author consistently pursues his strange activity, and a bizarre tangle of furniture attached to a tall ladder slowly emerges. This apparent meaninglessness, enacted deliberately, inspires a search for real meaning. A digression on the fact that although meaning is polysemic and does not exist a priori, it must nevertheless possess some essence. Focusing on it intensifies human concentration on updating one’s own status quo and universal human values. This makes us conscious creators of Meaning, and therefore of reality.
DOES JUSTICE EXIST?
Justice
the fourth performance in Oskar Chmioła’s Reality cycle
14.10.2017
The event was divided into three parts: a preparatory part called “Countdown”, an enactment part called “Justice”, and a dialogical part called “Etykanie”. The performance Countdown took place at a point on the square directly above Robert Kuśmirowski’s art installation death room / Solitary Cell (in front of the Monument to the Victims of December 1970). The other actions were carried out in various locations across the entire Square.
In the performance Justice, I tried to show the essence of justice through simple metaphors and symbols, referring to the events of December 1970. I touched on specific, sensitive and difficult topics, but tried to make my artistic statement universal and its meaning at least intuitively understandable to everyone. I therefore invited everyone, regardless of age, beliefs or culture (including people with disabilities, regardless of the degree or type of disability).
Is there justice in the world? Does it exist in itself, as an idea? Is observing it every person’s moral duty? How can we weigh what is just in a world of many competing reasons? Is it an agreement through which humans differ from animals? Is just governance possible? Can power be just? Should a state’s legislative, executive and judicial bodies be separated? Can a just distribution of goods be imagined? What would the world be like without social divisions and differences? Who is a Just Person? And who can judge what is Just at all?
With the support of the Dzwoneczek Inclusive Preschool Centre and the “A TO MY” Association, the performance used alternative communication through aided AAC Pictograms (http://www.piktogramy.com.pl/piktogramy/). As an employee of the centre and a Board Member of the Association, and with professional support from specialists with several decades of experience, I was able to guarantee that the performance was friendly to people on the autism spectrum.
The performance Justice was intended to encourage meditation on these and similar questions. Its entire construction provoked and inspired a performance-based statement about justice immediately afterwards. Anyone could bring their own materials and concept and present them publicly during Etykanie. During the collective performance, interaction was possible but not compulsory.
WHAT IS IDENTITY?
Identity
a performance evening in the small courtyard of the Pomeranian Dukes’ Castle in Szczecin, 04.11.2017
The undertaking posed a question about the essence of identity. What is this identity? Does it form like a snowball? Does it emerge where antagonisms meet? Is it a stigma? Or perhaps a paradigm? Is identity something to be fulfilled like a social injunction, or something to be discovered like a metasocial challenge? What does it mean to be the creator of one’s own identity? Or is identity simply a component of what and how a person loves?
It was an attempt to inspire people to seek out and redefine their own cultural, national, social, spiritual, political, sexual, racial, familial, local, global and collective identity. Is identity not a value that speaks of our level of consciousness as individuals? Should a person fulfil the role of an individual identified with the social group and culture in which they grew up? Should a person rebel against imposed norms identified with their group and culture as factors limiting their freedom? Is a person identified with the Past, or rather with the Future? If with both, can they, as the Present, choose either without going to extremes? Is identity a taste or an axiom? Can identity be a factor that opens us to others? To what extent can one identify without becoming the same?
The performance was presented during the “Performance Evening” curated by Oskar Chmioła. Four presentations by different artists took place that evening; besides Oskar Chmioła:
Bożena Galant — “the raspberry thicket”
She was born in Szczecin in 1957. A graduate in mathematics from the University of Szczecin. In 2017 she completed her studies in painting at the Academy of Art, obtaining a master’s degree in art. In her works she searches for colours, light and shadows, examining their interrelationships. Her output also includes several films addressing social issues and customs. In 2014 she received a scholarship at Muthesius Kunsthochschule in Kiel, Germany. In 2016, the Germans realized and financed her project Magic Mirrors.
Kamil Malecki — “a circus in a suitcase. Work in progress”
Clown, juggler, performer. An advocate of animal-free circus. In his performances he combines himself and his skills to develop a thread connecting him with the audience.
He graduated from Gdańsk University of Technology and is studying Mechanics and Mechanical Engineering at the West Pomeranian University of Technology.
Tomasz Kubik — “15-minute sound”.
a sociologist by profession, a musician and clown by passion. His recent observations on the concept of sadness led him to the performance “15-minute sound”.
WHAT IS IDENTITY?
Identity
a performance evening in the small courtyard of the Pomeranian Dukes’ Castle in Szczecin, 04.11.2017
WHAT IS DEATH?
The performance Death
26.11.2016, 16.00–16.30 (provisional date) —
the sixth performance by Oskar Chmioła and the artists invited to participate: Adrianna Janowska Moniuszko (performance/theatre), Tomasz Kubik (performance/sound), Maciej Korpuliński (performance/dance), and perhaps two or three other artists.
ON THE IMPORTANCE OF THE UNKNOWN IN HUMAN LIFE
Death — a collective performance
The performance told a story about three aspects of death: fear of and fascination with it, its absoluteness and universality, and its mystery and infinity.
Adrianna Janowska Moniuszko — performance/theatre, Tomasz Kubik — performance/music, Maciej Korpuliński — performance/dance, Oskar Chmioła — performance/site-specific
During the situation, several questions about death were posed. The artists used their respective techniques to work within the theme of death. Each presented their own performance in relation to the shared space and the upright piano.
Death was represented in different ways. It was also awaited, explored, overcome, enlarged and penetrated. An old upright piano was treated as a symbol of passing.
The audience could also watch everything from the Theatre’s steps.
This was the sixth performance in Oskar Chmioła’s Reality cycle.
Death
can anything be said about death
without entering its abyss of no return
does reality not die with dreaming
what would the last breath or word be
what intention
can its meaning truly be known
is life after this world possible
can one stand before Death with hope
can one touch it through knowing?
O.Ch.
WHAT IS BEAUTY?
A statement about beauty as a value that allows us to reach the inner nature of phenomena, touch the invisible, look into the essence of things and encounter universal values.
An art installation was placed in the main hall of the National Museum (Wały Chrobrego 3), and video art was projected onto its
spherical vault.
Oskar Chmioła (image) and Valerii Burianenko (sound), in
the performance Beauty, presented a multimedia artistic action. It was a kind of dialogue between two artists based on the symbol of entering the interior of images. It was an excellent
opportunity to contemplate the history of art to the sounds of clarinet and alto saxophone.
Valerii Burianenko
the saxophone performer on the soundtracks of the Polish short film “Every Year” and the Russian series “Code of Honour”. Formerly an artist of the Kirovohrad Philharmonic.
WHAT IS LOVE?
An inclusive performance for people on the autism spectrum and their families
Niedziałkowskiego 21, 10.XII.2017, at 13.00,
Free admission
Maria Podeszewska-Mateńko: performance/music
Marina Tkachenko-Hetmańczyk: workshop facilitation
Oskar Chmioła: performance/image
The performance Love involved creating an image to the sounds of music. The image included AAC pictograms that viewers could place in the appropriate locations. Created jointly by everyone present, the image was a metaphor for love as a value that connects and unites. Music and image complemented one another, creating a shared story about love.
This was the 8th performance in Oskar Chmioła’s Reality cycle, carried out through a scholarship from the Marshal of the West Pomeranian Voivodeship.
WHAT IS TRUTH?
The performance Truth
16.12.2017, 14.00–14.30
Auditorium of the Stanisław Staszic Pomeranian Library in Szczecin
What is truth? Is it generally accepted axioms and norms, or something more? Is truth a fact, an utterance or perhaps an event? Is truth performative?
Do individual, deductive and absolute truth have anything in common?
Is there some essence inherent in every kind of truth?
Do we need to know truth for any purpose, and could we live without it?
Is it something real, or rather indefinable and unknowable.
What happens to a person (their heart and mind) who strives towards it, and what happens to such a society?
What is real and true, and what merely seems so to us?
Do the rules of the game called life bring us closer to it, move us further away, or keep us at a distance from it?
Should we strive towards it, or rather “walk in its light”?
In the performance “Truth”, a social experiment took the form of a game. Anyone interested could attempt to find truth, or simply watch.
This was the final performance in Oskar Chmioła’s Reality cycle. The undertaking was carried out through an artistic scholarship from the Marshal of the West Pomeranian Voivodeship.
The project is being carried out through an artistic scholarship from the Marshal of the West Pomeranian Voivodeship.
2018 — the performance Layers during an event devoted to mental illnesses and disorders, organized by the Więź Association at the 13 MUZ Cultural Centre in Szczecin
video for the performance: https://www.youtube.com/watch?v=-w4VVPtyCZQ
— 01.04.2017 World Autism Awareness Day (-> https://www.youtube.com/watch?v=bMWed5M3ZYA&t=337s )
— 27.06.2014 Inwigilakcja ( -> http://old.inspiracje.art.pl/inspiracje.art.pl/index.php/inSPIRACJE-2014/Program-festiwalu-inSPIRACJE/index.html)
An action in the field of mental art, in which the author makes his Facebook profile available — the action is ongoing -> https://www.facebook.com/oskar.chmiola.inwigilakcja.
