Σελίδες

Artwork



"Hirshhorn Museum, Washington, D.C.," 1988
Public projection at the Hirshhorn Museum and Sculpture Garden, Washington, D.C.
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"What are our cities? Are they environments that are trying to say something to us? Are they environments in which we communicate with each other? Or are they perhaps the environments of things that we don’t see, of silences, of the voices which we don’t, or would rather not, hear. The places of all of those back alleys where perhaps the real public space is, where the experiences of which we should be speaking, where voices that we should be listening to, are hidden in the shadows of monuments and memorials."

 - Krzysztof Wodiczko


"The Tijuana Projection," 2001
Public projection at the Centro Cultural de Tijuana, Mexico (as part of In-Site 2000)
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"I make notes or sketches during the process of recording and editing to see how the body of the person will connect with the body of the monument or façade or sculpture. So I need to make sketches- over and over again- sketching the body of the building and trying to see the extreme cases where the movement of hands or head or both will be at risk to cross the boundary or outline of the architectural form. The technical reasons are obvious..."

 - Krzysztof Wodiczko


"The Tijuana Projection," 2001
Public projection at the Centro Cultural de Tijuana, Mexico (as part of In-Site 2000)
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"I have realized with time that there must be another reason why I’m occupying myself so much with those drawings. And that is to keep a certain distance from what I hear people say over and over again about the same traumatic experience, repeating in the process of filming and editing in order to actualize and complete the statement in the present time...Somehow the process of sketching keeps me sane. Because I cannot relive each time what I hear. It will trigger my own experiences and trauma, whether I remember them or not. So I need to have something in between."

 - Krzysztof Wodiczko



"Dis-Armor," 1999-2000
One laptop computer, three LCD screens, speaker with amplifier, microphone, augmented speech recognition software, three video cameras, electric engine, batteries and internal and external aluminum components. © Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"Sometimes I’m thinking of myself as what Derek Winnicott, the psychoanalyst, called a 'good enough mother,' someone who protects the process in which others can develop and create something in an atmosphere of trust, develop the ability to cope with life though often damaged and wounded by their experiences. Perhaps projects of the kind I’m working on help those who are ready to take advantage of them to make that leap."

 - Krzysztof Wodiczko



"Bunker Hill Monument, Boston," 1998
Public projection at Bunker Hill Monument, Boston, Massachusetts
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"[The building's surface is] a very important protective layer that separates the overly confessional aspect of the speech of those who animate the building and our overly empathetic approach towards the speakers. So that creates a distance which is important for thinking- for recognizing that between them and us there is a wall. Any attempt to identify with the person is a danger. To say, 'I understand what you went through,' is the most unacceptable response. The opposite may be more appropriate. 'I will never understand what you went through.'"

 - Krzysztof Wodiczko


"Bunker Hill Monument, Boston," 1998
Public projection at Bunker Hill Monument, Boston, Massachusetts
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"To some degree, we could say that most cities are populated by traumatized survivors and historic monuments that are witnessing conflicts and problems...I realized that there is one place in Boston where those two are extremely close to each other- that the Revolutionary War monument on Bunker Hill somehow connected with the daily struggle and battleground of Charlestown residents living in the shadow of that monument- where, on a weekly or monthly basis, someone was murdered, killed, or executed..."

 - Krzysztof Wodiczko


"The Hiroshima Projection," 1999
Public projection at the A-Bomb Dome, Hiroshima, Japan
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"I started working on my Hiroshima projection with the assumption that we were going to ‘reactualize’ the A-Bomb Dome monument (one of the few structures that survived the bombing- just underneath the hyper-center of the explosion) and reanimate it with the voices and gestures of present-day Hiroshima inhabitants from various generations...So all those generations somehow connect through this projection, not necessarily in agreement in terms of the way the bombing is important and the way the meaning of that bombing connects with their present experiences. The fallout of the bombing is physical and cultural, psychological." - Krzysztof Wodiczko


"The Hiroshima Projection," 1999
Public projection at the A-Bomb Dome, Hiroshima, Japan
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"The river is as much a witness as the A-Bomb Dome building reflected in the water...The river was where people jumped to their death because they thought that it would help them to cool their burns, but in fact it only contributed to a quicker death. Those are the events or scenes recalled by some of the memorial projection participants and artists who were speaking through the building, as if they were the building, looking at the river and seeing all of this again- the bodies floating, the people jumping in. At the same time, the river continues its flow as if nothing has happened. There is fresh water coming. The river is like a tragic witness- but also a hope- because it’s moving..." - Krzysztof Wodiczko.


"The Tijuana Projection," 2001
Public projection at the Centro Cultural de Tijuana, Mexico (as part of In-Site 2000)
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"Tijuana. It’s a border not only between Mexico and the United States, but also between Tijuana and the rest of Mexico...for many people who come from poor provinces such as Chiapas to try to advance their life by moving north. They cross the border before they reach Tijuana. That’s the border between the feudal village and work in the maquiladora factory as members of a new kind of industrial proletariat. They say they move from an old hell to a new hell. For many of them, that’s an advantage. Perhaps there is nothing worse than to stay in the same hell all their life long." - Krzysztof Wodiczko.


"The Tijuana Projection," 2001
Public projection at the Centro Cultural de Tijuana, Mexico (as part of In-Site 2000)
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"During the projection, you could sense the kind of electricity and pain among those who came to witness it. The position of the image was very special. Standing in front of the building we saw the face over our heads speaking to us (as if we were small children, tiny people looking at figures of authority), but also speaking to the larger world beyond. The speech was directed to the crowd, to the border, to San Diego...in the direction of the United States."

 - Krzysztof Wodiczko



"The Tijuana Projection," 2001
Public projection at the Centro Cultural de Tijuana, Mexico (as part of In-Site 2000)
© Krzysztof Wodiczko
Courtesy Galerie Lelong, New York
"These very young women (the overwhelming number are young women) work in ways we don’t even imagine. Their situation is incomparably worse than anything I have tried to understand before. But I seem to be working with people who manage to survive and heal themselves to the point where they can take advantage of my projects to make another leap towards reconnecting with society."

 - Krzysztof Wodiczko

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