WRO on-site
WRO online
thematic path
Jul 6-12, 2020


WRO on-site
WRO online
thematic path
Jul 6-12, 2020


Abandoning linear narratives mediated by the modern novel and defying the hegemony of cinema as the image-transmitting medium, the Cinematographic Reversal brings together seven artworks in which the video texture is not only a matter of vision.

Zbigniew Kupisz (PL) Idle Line Inspired
An elevator trip at the WRO Art Center can be taken in the company of Zbigniew Kupisz’s site-specific installation Idle Line Inspired. Kupisz explicitly references the experimentations of Józef Robakowski, whose original Idle Line was a three-minute-long video and a component of Video-Cinema-Machine, a complex installation of 1992 which combined ten meters’ worth of the film tape, a projector, and a metal rack. The WRO Line imitates a frame from Robakowski’s piece and transfers a cinematic image into reality.

Frank den Oudsten (NL) Platos Schatten / Floating Identities
Platos Schatten is an object-exhibition which blurs the lines dividing the exhibit, the museum, the narrative, and the database. An erudite work of art, the piece seeks to develop a new strategy of museum design and to construct a model for displaying visual materials as the foundation of the audience’s perception.

Julien Maire (FR) Demi-Pas
Spun out of stitching together video, photography, and performance, Demi-Pas is a species of media archaeology. Once-used devices and lenses technologically transport the audience decades back, making the past present and mutating into visual time capsules from the time when our ways of seeing were anchored in mechanical, rather than digital, optics.

Hector Rodriquez (ES) THEOREM 8
Hector Rodriquez searches for timeless structures in cinematic images (e.g., Alphaville by Jean-Luc Godard), and algorithmically explores the composition of frames in which conventionalized movement becomes one of legitimized filmic idioms.

Zbigniew Rybczyński (PL) Tango
Rybczyński’s Oscar-winning animation, which was once screened on the façade of Berlin’s Collegium Hungaricum, can be construed today as a late-capitalist dream come true. Actions are repeatedly reproduced in indistinguishable cycles, whose ritualistic effect helps get a hold of reality, without actually making any sense. The entrapment projected by Zbig is seen in the lack of contact between performers.

Dawid Marcinkowski (PL) Sufferrosa
By producing Black Mirror: Bandesnatch in 2018, Netflix turned the choose-your-own-adventure novel into a moving picture. In 2011, Dawid Marcinkowski showed Sufferosa, Poland’s first interactive movie at the WRO Biennale. Using their Flash-supported browsers, viewers enter the film noir-inspired space and atmosphere, which they can manipulate as they choose. While constrained by the three possible endings, they remain in the grip of the narrative which empowers them to interfere with its structure.

Shota Yamauchi (JP) DETOUR
Shota Yamauchi made a thriller movie without actually stirring outside his garage, In his reinterpretation of the road-movie genre, the artist designs synthetic landscapes. Yamauchi’s scenery embodies the rupture between image and recording.


Zbigniew Kupisz (PL)
Idle Line Inspired
based on The Idle Line (1992) of Józef Robakowski
documentation of the site-specific kinetic installation
WRO Art Center, 2019

Frank den Oudsten (NL)
Platos Schatten / Floating Identities
MultiMediale 4, Karlsruhe, 1995
MultiMediale 5, Karlsruhe, 1997

Julien Maire (FR)
projection performance
Wrocław Contomporary Theatre
scene at the attics
11th May, 2005
11th Media Art Biennale WRO 05

Hector Rodriquez (ES)
documentation of the installation
University Library in Wrocław
16th Media Art Biennale WRO 2015 Test Exposure

Zbigniew Rybczyński (PL)
video screenig at Collegium Hungaricum Berlin
as part of the exhibition “State of Images: The media pioneers Zbigniew Rybczyński and Gábor Bódy”
at Akademie der Künste in Berlin
Nov 28-30, 2011

Dawid Marcinkowski (PL)
project presentation
11 May 2011
14th Media Art Biennale WRO 2011
project access:

Shota Yamauchi (JP)
documentation of the installation
National Museum’s Four Domes Pavilion
18th Media Art Biennale WRO 2019 CZYNNIK LUDZKI | HUMAN ASPECT