at Galeria Dawid Radziszewski / WARSAW (Poland)
14.11.2014 – 20.12.2014
I've never been too much interested in ancestors. I heard from my mother that one of my great-greatgrandfather's name was Sebastian and he was born out of wedlock. Count Tołoczko was supposed to be his alleged father. Therefore, I have some admixture of earl's, obviously blue, blood. I was equally little interested in my paternal part of the family. Of course I knew my grandmother, who was socialist / positivist teacher in the suburbs of Józefów Biłgorajski (she used to make daily dictations for me and my brother during summer holidays). I knew my grandfather better. He was a partisan of the Home Army. When they were smashing a gendarmerie station, a German bullet burnt his cheek and hit his comrade. My grandfather willingly shared the heroic stories of the war. However, I did not understand from where arisen the resentment and irritation present on the faces of my father Marian and my aunt Ala, when during family gatherings grandpa jumped out with a rifle, tore through the thicket or on horseback rushed with a message to the troops of Peasants' Battalions. I have lived with this small puzzle for quite a few years. Only recently, guided by the need to explain the psychological and emotional complexities in the bosom of my family, I started to penetrate the subject more consciously. Where does the strange behavior of my father towards my grandfather came from and why did he explain anything to me so rarely and never expressed feelings? Is it really because of his great modesty and noble self-restraint? The naive image of the father crumbled quite recently, when my dad insisted that I was a hypochondriac even when the results of the research clearly stated the presence of a parasitic infection. He suggested that I should go to a psychologist or, even better, a psychiatric. I realized that our relationship is illusory and that I was stuck in some nightmarish unconsciousness for years. As I am sort of restless, maybe it's the admixture of blue blood, I became interested in the past and I started to ask grandpa questions not only about the time of war but also the postwar period. It turned out that here some minor inaccuracies may appear. According to the most recent version of the events, grandfather did not actually serve in the militia after the war! He did not walk with a gun and did not catch the thieves. In the militia he was only on paper at the behest of the Home Army command, which recommended that kind of behavior to protect its soldiers from deportation to Siberia. Why did he lie, why did he tell me false stories?... At that moment, my doubt about my father's moral backbone started to connect with a concern about my brother's moral backbone. The story of how through the intercession of a neighbor from the village, he was released from UB (Security Service) was suspicious by itself. (Maybe it was a coincidence, or maybe a collaboration).
And then BANG! How could I not pay attention to this? MARIAN BUCZEK - my father who was born before the death of Stalin was named after a great communist - Marian Buczek. And grandpa for many years held a post in the municipal plant in Józefów Biłgorajski. He was a member of The Polish United Workers' Party. This subject, of course, did not exist and was never mentioned. Maybe it was an accident and my father was named so because he was supposed to be a girl - Marysia. Maybe grandparents did not know about Marian Buczek- the communist because they came from a small village?
Of course, I may be wrong in my assumptions, but it seems to me quite clear that just from here, from this shameful cowardice of my ancestors, from this totally ridiculous and irrelevant great mystery, have arisen various emotional strangeness, complexities and fears that have incredible power to shape the fate of the whole family! (Exactly as the great psychoanalysts suggests).
If only I would have thought about the presence of this "shameful secret" a few years ago? How differently my fate could roll? I would have looked differently at the guerrilla ceremony in Osuchy, the cap with an eagle, stitched stars. How less seriously would I look in the face of my formidable father from childhood?
A postcard with a photo of the ship "Marian Buczek" I bought on Allegro, and by the way I bought another card, with an amiable ship "Fafik" from Świnoujście. How different the life of the family could be if it's name was Fafik? - I thought.
Text by Sebastian Buczek
What is a reproduction if the record disappears? It is an object suspended between the virtual and the real and not belonging to any of these orders it haunts both of them. Sebastian Buczek is an artist who is also difficult to settle. Stories about his achievements focus on the material side of his activity.
They treat about disks made of beeswax and chocolate, which have a very limited life, and each play is done with the awareness that at the same time it is an act of erasing the sound information stored on them. Another important element of Buczek's legend is Jan, mechanically actuated dummy that accompanies him in concerts and other actions. Buczek is constantly looking for new means deposited on the borderlands. His invention refers us much to the hunter of new technologies embedded in contemporary digital culture, as to the lone inventor. The first archetype is determined by the way of thinking about the media as a carrier of immaterial and abstract ideas. The second one refers to the tools that even if they were ever invented, they never came into general use, as they did not match the current needs of society. Buczek is interested in the noise produced by these imperfect machines that are not capable of illusionistic reproduction. Noise, if it comes up in contemporary art practice, is mostly an expression of nostalgia for the media, in which the compression was visible and audible. In noise Buczek sees something more. It is an aesthetic strategy, which comes from the challenge of reproduction. It shapes phantoms, reflections of reality, which turns out to be far more interesting than the output information. Double, print, copy, extrude - are the notions that can be used to describe his objects. All are appropriate, with the little problem that in themselves they already contain an emotional charge that embeds them in a position inferior to the original. However, the source is hidden. Buczek's art stems from the specific and radical use of acoustic sound – a puzzling effect that separates sound from its source. Buczek sees acoustic properties also in objects. He is looking for a new way to relate activities for which the objects are created and their material structure. By this means they are in constant semantic and subtle motion and "range", suspended between the abstract and the concrete.
Credits: Dawid Radziszewski Gallery