|tomasz dobiszewski||news bio works texts exhibitions contact|
timing [video] 2008
...Even if the artist provides us with an image, the fact that we can see it is often not satisfying, does not answer emerging questions. The questions concerning what is happening, who the people caught by the camera are, from where and where to they are going. They appear when watching short films from the Timing (2008/2009) cycle. In fact it seems as if nothing import ant is happening, the camera incidentally registers a fragment of the beach and the sea or a hardly interesting fragment of the park. The space is divided in half by the line of the horizon. Suddenly there appears a figure with instantaneously attributed progress bar visible on the screen, measuring the figure's visibility. Some go from the right to left edge of the screen at a very slow rate; others, for instance cyclist, appear on the screen for quite a short while. A sea gull flies across the screen in no time at all. It is an amusing effect, quite grotesque, as it seems absurd to combine a computer detail with saved images of people who are not doing anything significant. The progress bar is a visual signalling device reflecting the progress of work performed by a machine. In fact, we do not know what is actually happening, what activities have been performed and what remains to be done. We often anxiously observe such progress bars on our screens rushing it “go on!”; unfortunately we are unable to speed the process up. We have no influence on the figures which appear in Tomek's work. Or perhaps we would like to speed up the action a bit when men in the boat obviously cannot fight the waves and pass the short distance in a lazy and chaotic manner? Timing, measuring of time, is associated with racing or running, and here we have to be patient. Here time is measured arbitrarily, within the display frame, cold, by a machine. It is also futile to await any sort of closure or sudden turn of events. Narration is accidental (the sea gull flying by makes the monotonous image far more interesting), neither the place where images were shot, nor who appears on the screen seems to matter, thus the films gain universal qualities. And even though the endless sea, horizon or man's loneliness can bring to mind some cultural references, or “literature”, lean towards some metaphor, eventually it is the progress bar that makes the image grotesque.
In English “timing” can mean synchronized time, fitting in a situation. Doing something at the right moment. Just right, though by accident. Coincidence, unpredictability, fragmentariness and qualities of mini-history without beginning nor end shown by the films. The artist amusingly draws our attention to what technology hides from us, at the same time indicating the limitations of a stable picture frame. We will not see nor learn about anything more than what we see. The image is exactly what it is. An integral being presented to us which we have to make close to us on our own. Even though Tomek seems to be doing everything to blur our perception or even discourage us from looking.....
W języku angielskim „timing” może też oznaczać zgranie w czasie, wpasowanie się w sytuację. Zrobienie czegoś we właściwym momencie. Akurat, choć przez przypadek. Koincydencja, nieprzewidywalność, urywkowość to cechy mini-historii bez początku i końca przedstawionych w tych filmach. Artysta w dowcipny sposób uwidacznia nam to, co technologia przed nami ukrywa, jednocześnie wskazując na ograniczenie, jakie daje nam ustawiony nieruchomo kadr. Nie zobaczymy ani nie dowiemy się nic więcej, niż to, co widać. Obraz jest po prostu tym, czym jest. Integralnym bytem, który został nam przedstawiony i który musimy sami sobie przybliżyć. Mimo że Tomek zdaje się robić wszystko, by nam utrudnić widzenie, albo nawet zniechęcić nas do patrzenia...