PERFORMENSY wybrane 

selected  PERFORMANCES

1978 THE DIALOGUE, video-performance (with participation of Ryszard Jasiewicz and the audience), Warsaw Technology University

1979 ONTOLOGICAL SIGN, multimedia performance, Sigma Students' Club, Warszawa

1979 ONTOLOGICAL SIGN II, multimedia performance, Academie voor Art & Design AKI, Enschede, Holandia

1979 ONTOLOGICAL SIGN multimedia performance (voice: Stuart Brisley), Works and Words, De Appel, Amsterdam

1981 EUROPE, ART AND FEAR, performance & post-performance installation, Cres Studio, Groningen

1981 NO (with participation of Jerzy Onuch), Pracownia Dziekanka, Warszawa

1981 RESISTANCE, London Video Arts at Air Gallery, London

1981 RESISTANCE, London Video Arts at Air Gallery, London

1982 NO FUTURE performance (with participation of Zbyszek Olkiewicz and Grzegorz Piątkowski), Wnuk Studio, Warszawa, fot. Jan Pieniążek

1984 LESSON OF NON-ATTACHMENT performance (with participation of Joanna Stańko) Penland School of Crafts, Penland, North Carolina

1984 THE LAST DANCE performance (with participation of Mary Rehak), Penland Hill, North Carolina

1986 participation in THE GARDEN, Black Market group performance (Zygmunt PioTrowski, Boris Nieslony, Jürgen Fritz, Tomáš Ruller) Jabłonna Palace Garden, near Warszawa

1986 STIIL performance (with Joanna Stańko) Stodoła Students' Club, Warszawa, fot. Krzysztof Furmanek

1986 WHISPER TALK EMPTY CHAIR chain-performance (with active participation of the audience, i.a. Dominique Mazeaud, Joanna Stańko, Piotr Rypson, Roman Rewakowicz, Janusz Messner, Przemysław Kwiek), Pracownia Dziekanka, Warszawa

1987 STATE OF INTERMEDIACY, performance with a group of workshop students (Jay Brame, Dan Branick, Randy Esslinger, Jeanne Francis, Kate Glazer, Deborah Hede, Deborah Hellerstein, Adrianne Jennings, John Liebrand, Robin Pilbrown, Katharine Schutta, Barbara Steppe) and with participation of Werner Herterich and Meg Huston, Chicago Stock Exchange Trading Room

1987 CONCERT FOR SAXOPHONE, FOUR SPOTLIGHTS AND MIRRORS, with participation of Marek Nędziński (saxophone), Marek Majewski, Zbyszek Olkiewicz, Tomek Świtalski (big mirrors) and the audience (small mirrors), MARCHEWKA / CARROT International Alternative Music Festival, Gwardia Hall, Warszawa

1987 DAWN street performance (with participation of Marek Majewski, Agata Saraczyńska, Joanna Stańko and stray dog), 2nd BIENNIAL OF NEW ART, Zielona Góra

1987 MEMORY OR ANTICIPATION?, post-performance installation, 2nd BIENNIAL OF NEW ART, Zielona Góra

2002 CO-REPETITONS, group performance with Zygmunt Piotrowski and Janusz Bałdyga, BWA Gallery, Zielona Góra

2005 DOUBLE MIRROR, Kordegarda Gallery, Warszawa, fot. M.Tym

2014 WOUNDED MUSIC, sound performance (hommage a Andrzej Bieżan), XX1 Gallery, Warszawa (fot. Dana Milik)

VENOM, FNAS Performance Show, Galeria DAP, Warszawa 2016 03 31, fot J.Rylke

ANTICIPATION OR MEMORY?, performance, 

earthenware pitcher / water / photograph of a 1987 post-performance installationon, XX1 Gallery, Warszawa 2016 04 21, for J.Rylke

2016 DO DOMU / HOMEBOUND, 6 Land Art Festiwal nad Bugiem, Bubel Stary,

fot. Jowita Mormul

JAK WYTŁUMACZYĆ OBRAZY Z 1973 ROKU?

performance z Przemysławem Kwiekiem i Janem Stanisławem Wojciechowskim w namiocie rozbitym na trawniku Centrum Sztuki Galeria EL. Użyłem tego samego namiotu, w którym koczowałem w zapuszczonym ogrodzie Galerii EL w roku 1973 i dwóch artystów aktywnych w Galerii EL w tym roku. Zaprosiłem ich do namiotu, gdzie pokazywałem im obrazy z Galerii EL z roku 1973. Publiczność widziała tylko nasze cienie na ścianach namiotu i słyszała niewyraźne dźwięki naszej rozmowy. Linki: jaskinia platońska i akcja Beuysa How to Explain Pictures to a Dead Hare?

HOW TO EXPLAIN PICTURES FROM 1973?

performance with Przemysław Kwiek and Jan Stanisław Wojciechowski in a tent pitched on Art Center EL Gallery lawn. I used the same tent in which I dwelled in a neglected EL Gallery' s garden in 1973 and two artists who were active in the Gallery in 1973. I invited them into the tent where I showed them pictures from 1973 EL Gallery. The audience saw only our shadows on the tent walls and heard  vague sounds of our conversation. Links: Plato's Cave and Beuys action How to Explain Pictures to a Dead Hare?