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Karina Smigla-Bobinski is an Open-Media artist and works with analogue and digital media on the field of proprioceptive art. Her themes move between science, intuition, expression and cognition.
She creates and collaborates on projects ranging from painting, kinetic sculptures, interactive installations, art interventions, mixed reality objects, multimedia physical theatre performances and online projects. Her works contain the method of their making, they are direct art, which foregrounds the material, movement through time and impact on results. Her artistic research also includes interworking with science, as well as theoretical work on the interplay between society, technology and the resulting cultural techniques, e.
Obviously at some point he would act in a less passive way as a director, but what he intended with his five long months of observation exercise was to develop listening to his actors.
An exercise of ample generosity, but also of a delicate intelligence, he intended passively not to cut, knowing that his observation fascinated by the expression of those bodies would give them the spontaneity of a genuine act. Not to interfere, not to direct, not to limit the actors to the banal act of his own conceptions.
What Grotowski did was to open space with his observation. There is something in ADA, by the German-Polish artist Karina Smigla-Bobinski, that produces listening, something that opens space for spontaneous bodies. ADA observes. The work, already acclaimed and presented in more than 45 countries, is currently in the Pop Air exhibition at La Grande Halle de La Villette. An inflatable globe floating in a white room, with equally separated charcoal pins on its surface that scratch the walls, floor, ceiling and its own manipulators in black as it is moved.