Michał Brzeziński, born in 1975, artist combining their software-video activities with biological material systems, futurologist of culture. His roots of the artistic activitiy have ground in music subcultures and video art. His wide, theory based, artistic and curatorial activity had animated theoretical discourse touching video-identity problem in the years 2000 to 2010 in Poland. Curator working with galleries such as the Museum of Art in Łódź, Center for Contemporary Art Łaźnia Łaźnia in Gdańsk Gdańsk . Referring to the conceptual art and mediated experience of recent art transforms art itself and englobe into video art, formulated the strategy describes this process as Fake Art, arising from the antimaterialistic theory of art as communication. Graduate (2003) of film studies at the Media and Audiovisual Culture Department at the University of Łodź. MA thesis entitled Subject, Body, Identity. A Contribution to Cybercultural Anthropology completed in 2003 (prof. Ryszard Kluszczynski).
His early (2000 - 2010) work combines the tradition of video art and experimental cinema and is a reflection on the phenomenon of divided identity in the new media. In order to define video art and describe its functioning in society, he introduces the notions of VIRUS-VIDEO or VIDEO-IDENTITY. To him, in its time video was the only appropriate language of the new media and this was the base for recent FAKE ART concept. Nature of video as well as cinema and all stream and tape media is the time. Time in his multi-layer structures is redefinition of "light theory" of artistic film. The art definition and the private vision of aesthetic, also like the paradigm of contemporary art is for him The Distance. The idea of fake and distance regarding to Robakowski's point of view in work "My Videomasochism", as deny for the idea of reality in Body Art. His researches of video language are based on editing process seen through structuralism and generativism. Language theory of video leads him to idea of The Fake as main idea of video image, and explains way of creating identity of new media through the video. For them Fake art is expanded versiom conceptualism where art is not only the concept, or text but also audio-visual fenomenological experience of 'thing as it is', where is no way to know 'thing in itself'. Kind of his procesual statement are works like: Warszawa 2003 (2003), AV60 (2005), INFLUENCE  (2007), MODERN POST MORTEM (2008).
The recent re-definition of art issues in context of bio-art and same life in the gallery, for Brzezinski is based on idea of 'affect' (unconcious impuls from the animal or plant body) that creates new, the fourth element in recent art. First is based on 'effect' (mimetic intentional visualisation) and second on 'defect' (glitch - misinterpretation of the signals). Digital media creates as third element situation described by Brzezinski in fenomenon of 'd-effect', as the combination between 'effect' and 'defect'. All media art in this description is bouncing between the corners effect, defect, d-effect, affect.
Recently Brzezinski art touches the problem of transspecies communication and the changing definition of life in the context of information systems, and the changing definition of a human kind transformed by the recent technology from biotechnology, and the increasing prevalence of transgenic organisms and various human body integration with computerized machines from different simple devices (smatrphone) subject to the convergence of extended brain functions such as memory, numeracy, to the knowledge of foreign languages, or medical grounds, up to the senses such as sight, hearing (monitoring, interception) to advanced nanotechnology equipment to support the immune system, and performing various operations for the army (Smartdust). Works of art exploring the territory posthumanistic ideas in a critical way and without a utopian vision of the future, often refer to the category of FAKE as a subversive artistic methods. By free use of tactics FAKE questions are asked about the status of the cognitive sciences based on media-mediated experience – and therefore a blurring of the boundaries between knowledge and creativity.
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