Zdzisław Sosnowski
2021Druga strona
Zdzisław Sosnowski, Teresa Tyszkiewicz
Common movies Teresa Tyszkiewicz and Zdzislaw Sosnowski, such as the other side of the Permanent Position express interest in artists and create erotic situations appropriate iconosphere privacy. We see here a sensual story about the intimate relationship linking two loving people who improvised action-compositions develop a repertoire of visual equivalents experience of love and relationship. In their private zone gradually penetrate, but also a variety of media, like television or newspapers, enabling communication with the parallel reality of the political and aesthetic, which is also a source of the content processed by the Tyszkiewicz and Sosnowski - personal experience of eroticism is here confronted with clichés and poetics of erotic performances that permeated to Polish from the West.
The Other Side
Stałe zajęcie
Zdzisław Sosnowski, Teresa Tyszkiewicz
In the joint films Teresa Tyszkiewicz and Zdzislaw Sosnowski, such as the other side of the permanent occupation of the fullest expression of interest is Polish artists of the 70s eroticism. We see here a sensual story about the intimate relationship linking two loving people who improvised action-compositions develop a repertoire of visual equivalents experience of love and relationship. Sexual coloration of the presented situation further strengthen erotic marked props. The film is the image of negotiations between the private experience of eroticism and poetic cliches and erotic performances, which infiltrated into Polish from the West, when the Puritan country still was closed on erotic imagery. Artists do not make attempts to penetrate the mystery contained in close-up, but form a visual structure that expresses the joy of being together.
Permanent Position
The Luggage
Zdzisław Sosnowski
The Luggage comprises an array of intertwined scenes featuring activities with such props as a TV set, high-heeled shoes, mirror, torch. The film emanates physical tension, accentuated through dynamic editing and the aesthetics of compulsive repetition, characteristic of Sosnowski’s practice. It presents murky explorations, shaky scenes of convulsion, magic rituals with an undertone of eroticism.
The Luggage