>>>>>>>>>>>>>>>>>>>>>>>>>> MULTIMEDIA ARTIST KNS WORKS - ELECTRICAL DELIGHTS Konrad Smoleński works easily in many different areas of art, mostly in video, installations and performance. Although it seems hard to find common ground in that variety of works, the element that unites them is unstoppable energy of the artist, energy that fulfills in his almost physical engagement and in requirements that he puts on the audience. In his films Smoleński is distinguished by his predilection to manipulate the picture and by attention that he pays to the audio part. Often he starts with found footage, taken from an existing film or original home videos, he also uses his own films taken with 8 or 16 mm camera. All of his films have rich soundtrack, usually made by separate music compositions. Each video shows deep awareness of medium, its substance and virtuosity of artist. Smoleński in opposition to him being labeled as sophisticated aesthete, takes also actions close to crafts. He savagely enters galleries with Watch It (2004-2007) and Shepherd (2004). Those works show essentials of Smoleński's ideas and his tendency to send brief but ambiguous messages. Sound is another sphere of uncompromising exploration of the artist. Usually it is electro-mechanical noise taken as extreme (but also everyday) civilization experience. Bomb (2003), series of shows "Niuniuni plays on a dog", project "Brown Note". Konrad Smoleński's art involves also a trenchant sense of humor - he plays with viewers expectations, artistic conventions and sensual habits. The artist mixes orders, includes foreign elements into stiff structures and confronts different perspectives. His sarcastic attitude is characterized by clear-cut goal and strategy selection and by precise strikes. Smoleński enjoys both anarchic destruction and mastery of refine details, what place him and his audience in front of dangerous entertainment.

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MULTIMEDIA ARTIST

KNS WORKS - ELECTRICAL DELIGHTS

Konrad Smoleński works easily in many different areas of art, mostly in video, installations and performance. Although it seems hard to find common ground in that variety of works, the element that unites them is unstoppable energy of the artist, energy that fulfills in his almost physical engagement and in requirements that he puts on the audience.

In his films Smoleński is distinguished by his predilection to manipulate the picture and by attention that he pays to the audio part. Often he starts with found footage, taken from an existing film or original home videos, he also uses his own films taken with 8 or 16 mm camera. All of his films have rich soundtrack, usually made by separate music compositions. Each video shows deep awareness of medium, its substance and virtuosity of artist.

Smoleński in opposition to him being labeled as sophisticated aesthete, takes also actions close to crafts. He savagely enters galleries with Watch It (2004-2007) and Shepherd (2004). Those works show essentials of Smoleński's ideas and his tendency to send brief but ambiguous messages.

Sound is another sphere of uncompromising exploration of the artist. Usually it is electro-mechanical noise taken as extreme (but also everyday) civilization experience. Bomb (2003), series of shows "Niuniuni plays on a dog", project "Brown Note".

Konrad Smoleński's art involves also a trenchant sense of humor - he plays with viewers expectations, artistic conventions and sensual habits.

The artist mixes orders, includes foreign elements into stiff structures and confronts different perspectives.

His sarcastic attitude is characterized by clear-cut goal and strategy selection and by precise strikes.

Smoleński enjoys both anarchic destruction and mastery of refine details, what place him and his audience in front of dangerous entertainment.

- Michał Lasota