Violetta Kutlubasis-Krajewska and Piotr Krajewski
Violetta Kutlubasis-Krajewska graduated with an M.S. in Theory of Culture from Wroclaw University, and completed a series of postgraduate studies at the State Film, Television and Theatre School, Lodz, Poland. Since 1991 she has been writing and producing numerous television programmes on new media art and communication for Channel 2, Polish State TV. In 1988 she co-founded Open Studio Ltd., an independent institution producing television programmes on media art and culture; organising presentations on contemporary media art; distributing the works of Polish media artists; and providing artists with information on international collaborations. Together with Piotr Krajewski, she co-founded and WRO International Media Art Biennale, Poland's most important artistic and research event in electronic art. She has been programming director of art events, exhibitions, conferences and symposiums including Screens (2001), an international symposium on media development at WRO 01, 9th International Media Art Biennale; Mediation/Medialisation (2000), a conference as part of the city of Wroclaw's millennium celebrations; 17'Meridian (2000), an exhibition of interactive installations; End of the Tape, (1999) at WRO 99 International Media Art Biennale; Media Expression (1998), an International Media and Performance Forum; Geo/Info Territory (1997), a symposium on media art in the information and globalisation age at WRO 97 International Media Art Biennale.
Piotr Krajewski graduated with an M.S. from the University of Wroclaw. Co-founder of Open Studio Co-operative (1988), an independent organisation devoted to media art and artistic communication. Co-founder of WRO Foundation (1998), artistic director of WRO International Media Art Biennale and curator of numerous art events and exhibitions. Commissioner of art programmes for Channel 2, Polish State TV and author of several publications in art magazines and international exhibition catalogues. Visiting fellow at Wroclaw University in Theory of Culture, Arts Link fellow at the Art Institute of Chicago (1999), Goethe Institute scholarship (2001). Jury panel member of international media art events, including Berlin (Germany), Kiev (Ukraine), Split (Croatia), Warsaw (Poland), Moscow (Russia), Lucerne (Switzerland), Minsk (Belorussia). Founding member of
European Culture Backbone (1999), and Member of AICA, the International Association of Art Critics.
Abstract
The character of what we have become accustomed to call media art has changed significantly during WRO's existence, just as everyday life has. Therefore it is normal that during these years the structure of presentation and the artistic phenomena we present have also changed and evolved. What has remained unchanged is our effort to create a cognitive distance, a sort of critical perspective upon media art; we have done this through our choice of the general themes for particular events, through the selection of works and setting a final biennale's program, as well as through symposiums, which are always present as part of program.
Projects that we have completed within the structure of WRO are obviously numerous and very versatile, taking note of the 13 years of WRO's existence. WRO as a biennale is of course of the most important part and most of the projects we carry out are rooted in it. Their characters is very diverse, recent examples are internet performance with real time feedback, a concert of a group performing with Gameboy consoles, and a project i-club residents based on the phenomenon of clubbing. We succeeded also in one of our most complex undertakings, such like performance of Jaron Lanier's compositions written specially for WRO, as a concert of virtual instruments and chamber orchestra. Very crucial for us was our collaboration with the 2nd National TV Channel, thanks to which the topic of new media art was quite often and quite thoroughly presented on TV.
