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The artist successfully managed to depict the unexpected similarity between things that are considered ugly or beautiful, thus foregrounding the aesthetic value of phenomena generally regarded as repulsive. The stains explained nothing about what had happened in the room, whether it was an act of domestic or sexual violence, whether these showed up as the result of defloration or menstruation. She exposes patterns that govern multiple film productions. Bogna Burska is a versatile visual artist: Her debut works were blood-coloured paintings, with paint spread all over them by hand. The artist provoked the audience into a brutal confrontation with violence without implying who was the oppressor or the victim. In her works, she uses well-known scenes from both arthouse and Hollywood films to build new worlds and manipulate them into labyrinths of space and time.

She also analyzes visions of individual directors, captures recurrent motifs, copied situations, and scenes that contribute to the sphere of collective memory of the audience, sated with cinema images, quotes, and film afterimages. The room is glamorous, the bed is topped with silk linen, and on top of the dressing table we see perfume bottles and jewellery boxes. Burska borrowed this title from Jorge Luis Borges’ review of a non-existent book The Conversation with the man called Al-Mu’tasin , whose protagonist tries to find a perfect human in the reflections of other people. The artist arranged the photos in a grid, where the rectangular photos were formed into larger rectangles. We could imagine that that other world exists and what we see are just scraps, which are seemingly unconnected to one another, however if you look closely enough, everything comes together. In , the artist began creating film works that included found footage, and were based on the artist’s own selection and editing of excerpts from films — mainly ones that were widely popular and recognizable. The structure of the next three films from that series — Wind , A Heart So White , and God is Vain — was based on mirror pairings of two visually analogous motifs, which however had differing, or perhaps even opposite, meanings.

Arachne, installation at Neuer Berliner Kunstverein and video, Inthe artist began creating film works that included found footage, and were based on the artist’s own selection and editing of excerpts from films — mainly ones that were widely popular and recognizable.

By juggling quotations and manipulating the contexts in her collage-films, the artist continues to engage in a game of repetitions, as well as constructs new themes and searches for new meanings. They also try to find themselves in other people, here — in the symmetry of homosexual couples, since vda couples may be perceived as mirroring images.

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She also introduces them, thus revealing the mythology of film, firmly grounded in the contemporary culture. The artist split her series A Game with the Shifting Mirrors into three thematic parts: Her found footage films illustrate that idea very well: The artist also manages to reveal striking similarities between various roles of such actors as Jeremy Irons in Piece of Jade or Al Pacino in Shooting Star.

She exposes patterns that govern multiple film productions. AM, May All images were published courtesy of the artist.

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For her, gorror is a medium that fuels mass imagination. She picked out scenes in which a similar joke is told, however in two different versions. This was yet another of her works based on the symbolism of blood, which gains new meanings in this kind of sacral space. In Found FootageBurska focused on meanings and images injected into a hunkier consciousness without their knowledge and showed how film fiction is astonishingly close to the reality outside of it.

The room is glamorous, the bed is topped with silk linen, and on top of the dressing table we see perfume bottles and jewellery boxes.

The artist claims to investigate the relationship between the language of film, its image, and influence on viewer’s imagination. Burska staged a house interior inside the gallery space — she set up a parents’ room, and one for a child — a little girl whose portrait decorated a wall.

The stained glasses, smeared with blood, called to mind agony and suffering, but could also be read in a political context.

Burska exposes the mechanisms that bunkie the film reality, in which scenes or gestures, once created, are perpetually reproduced and inserted into all sorts of pictures. Induring an exhibition of works by students from the workshop of Leon Tarasewicz at the Centre for Contemporary Arts in WarsawBurska constructed a corridor almost entirely covered in blood.

In Shooting Starthe artist uses various film plots to create a consistent image of the main protagonist as enacted by Al Pacino, even bunier he plays people from various social environments. In this piece, Burska fuses scenes involving love and hatred, loving and killing, selected out of films by Coppola, Herzog, and Jordan. She lives and works in Warsaw. We could imagine that that other world exists and what we see are just scraps, which are seemingly unconnected to one another, however if you look closely enough, everything comes together.

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In A Game with the Shifting Mirrorsshe carries out an in-depth analysis of film reality, which relies on specific topoi, and shows how the world of film fiction affects its audiences and their perception of their surroundings.

She also created paintings on glass and resin casts e. The artist searches through various films, with all sorts of aesthetic styles and narratives, for similar motifs and scenes.

Blood ran down the white walls and through three pairs of male and female hands stuck to them. She is one of the founders of the Warsaw-based artists’ activist group WWA. On a visual level, these two can be almost identical: Her output tends to be described as a combination of critical art and aesthetic issues. With the use of three bunker roles by Irons, Burska manages to create a coherent plot, especially that it turns out that in all three the actor has a very similar way of playing a lover.

That is where all cinema narratives take place and form a uniform reality. The blood may be interpreted here as a symbol of cursed legacy weighing on all three Margarets; the fluid was presented in the video in an extremely aesthetic manner, which is typical of the artist.

The artist successfully managed to depict the unexpected similarity between things that are considered ugly or beautiful, thus foregrounding the aesthetic value of phenomena generally regarded as repulsive. Untitled no 1acrylic on canvas, part of diploma project Induring dda exhibition of works by students from the workshop of Leon Tarasewicz at the Centre for Contemporary Arts in WarsawBurska constructed a corridor almost entirely covered in blood.

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In Burska’s works, the colour red symbolizes blood, which can have multiple meanings: Wind revolves around the act of flying: It is as if we looked through single holes or windows, which inevitably would limit our field of vision.

She was born in in Warsaw. She also analyzes visions of individual directors, captures recurrent motifs, copied situations, and scenes that contribute to the sphere of collective memory of the audience, sated with cinema images, quotes, and film afterimages. The artist provoked the audience into a brutal confrontation with violence without implying who was the oppressor or the victim.