KOZERA
Biography

As Zbyszek Krzewiński observes, Marek Kozera’s “province as a sculptor is SPATIAL CREATION – this is much more than 3D printing. An ARTEFACT hardly to be discerned by an outside observer – as an artist, Kozera expresses himself through unconstrained ‘painting of space’, which assumes the form of a peculiar motion, resembling the strokes of a painter’s brush, contained within the formula of technologically advanced movement of matter. It should be underlined that the artist employs a NEW GENERATION 3D PRINTING (Stratasys j750), a multi-material technology offering a UNIQUE possibility of transposing spatial creations in the virtual world onto a visualization in the real world, while using the very same hues, colours, structure and expected contact with the matter of the created object.

For me, it is a combination (mosaic) of traditional or antique sculpture (the crocodile and the head) with the virtual world (the scan), and the poetry of its painterliness (Kozera’s unique spatial gesture), which is by no means random, gratuitous or devoid of context. On the contrary, the traditional, now lacklustre sculpture clashed with his colourful spatial gesture acquires a new significance in the virtual world, leaving a memory of that “journey”, a keepsake in the shape of 3D print.

It is as if one swallowed the red pill and entered the Matrix, in which things which for centuries have seemed impossible to change can now be freely transformed. After that virtual adventure nothing will ever be the same; once awake, the only proof that it was not a dream is the solid, multi-material 3D print. Just as Morpheus in the Matrix, Kozera unobtrusively offers the user a choice between the blue and the red pill: you do not have to change anything in the traditional surroundings, but perhaps, like Alice in Wonderland, you may wish to see what is down the rabbit hole and change what has apparently been unchangeable for ages?”

Marek Kozera

Since 2004, first at the “3D Technology Park” and subsequently at the “Kozera Foundation” (as of 2017), the artist has been running a unique programme of lectures, workshop and brief courses concerned with exploration of various aspects of culture and contemporary art. These are available to individuals and institutions which contribute to the development of contemporary art and design in Greater Poland.

3D

In 2017, Kozera began to print electronic 3D templates utilizing the Stratasys j750 technology; the latter designation, j750, served him as a name for the printed images.

Kozera also worked as assistant to Michelangelo Pistoletto at the Akademie der Bildenden Künste in Vienna (1991–1998), from which he had previously graduated (1981-1990, degree obtained in 1990). The first solo exhibition of Kozera's pictorial works was held in 1995 (Die russische…, Hotel Hilton, Vienna, April 20th, 1995). Draft

At the time, the artist conceived an authorial formula of public debate with well-known and highly regarded figures in art, economics, sociology and politics (featuring such names as Leszek Balcerowicz, Sabine Breitwieser, Robert Fleck, Rainer Fuchs, Boris Groys, Henrik Kreutz, Ursula Krinzinger, Peter Pakesch, Michelangelo Pistoletto, August Ruhs, Klaus Albrecht Schröder, Siegfried Sellitsch, Andreas Spiegel, Slavoj Žižek). Among other things, Kozera made use of:

- imagery from live debates and events seen from a variety of perspectives.

Christine Marks, conducting a sociological observation based on video recordings of a discussion held at the Theater im Marstall, wrote as follows: “The viewers take part in the discussion, watch it attentively and respond aloud to what is said, if only for the fact that being local residents they can express their approval or dissent loudly and ostentatiously, for instance by leaving the room” (see Christine Marks, Das Beobachtungs -Verfahren SYMLOG in der Praxis, Deutscher Universitäts-Verlag, Wiesbaden 2000, p. 123, Beobachtung von Videoaufzeichnungen, Diskussion im „Theater im Marstall”),

- fleeting moments.

Using his works, he draws on „vagueness” as a trait which determines their status (see Andreas Spiegl: Die Politik des Unentscheidbaren, Vienna, 1999, p. 4., Description of works by Marek Kozera). This was noted by Judith Fischer, who asked „How does the leanguage and rhetoric of economy meet the language of art?" (see Judith Fischer, excerpt from a television interview, museum in progress, Program 2 TVP S.A.,1994; description of work by Marek Kozera).

Draft
THUS FAR, FIVE EDITIONS HAVE TAKEN PLACE:

OPOLE
May 18th, 1992, City of Opole – a New Approach. Art and Economy; the scientific aspect of the project was supervised by historian Anna Potocka from the Gallery of Contemporary Art; Gallery of Contemporary Art in collaboration with the Polish Radio Opole;

Opole

VIENNA
June 13th, 1993, project supervised scientifically by dr Rainer Fuchs from the Mumok Museum in Vienna. Dr Fuchs also acted as moderator in the course of the debate, Meisterschule Pistoletto, Akademie der Bildenden Künste;

Wiedeń

VIENNA
April 29th – May 8th, 1997, project supervised scientifically by dr Ursula Trummer, sociologist from the University of Vienna, Let’s Play a Change, Habitus Abito Abitare, Semperdepot Atelierhaus at the Akademie der Bildenden Künste, in collaboration with Centro per l’Arte Contemporanea Luigi Pecci in Prato, TVP S.A Channel 2;

Wiedeń

VIENNA
December 16th, 1998, project supervised scientifically by sociologist Christina Lammer, who also moderated the discussion, held at the Hotel Imperial (cooperating institutions: Depot Museumsquartier, Meisterschule Pistoletto at the Akademie der Bildenden Künste), TVP S.A. Channel 2;




MUNICH
February 14th-26th, 1994, The Value of Conscience, jointly with Michelangelo Pistoletto, project supervised scientifically by dr Jacek Brzeziński of Kreditanstalt Bank in Vienna. Dr Brzeziński was also the moderator of the debate, Tempo Tag Theater, Marstall.

Monachium

“Each debate set out from the presentation of a theoretical issue which the discussants subsequently addressed. Their colloquies were recorded, and the documentation served to make films to be later broadcast on television.”

(see Andreas Spiegl, in: Die Politik des Unentscheidbaren, p. 1)

During the 1992 event in Opole, the discussion was captured on audio tape, aired later during a radio show with audience phone-ins. At the 1993 edition in Vienna, the participants were recorded and photographed. This audiovisual record yielded material for a collage which, together with the tables, chairs and the entire setting of the debate, became a part of an installation presented at an authorial solo exhibition in the interiors of Meisterschule Pistoletto, Akademie der Bildenden Künste in Vienna (14th-18th June, 1993).