1, 2, 3, 4 (Light Cheeks)

ince the 1970s, Robakowski has been experimenting with the category of the author, transferring the authorship of his works onto the film camera. Implementing the strategy of biological-mechanical records, Robakowski continues his experiments, carried out since the 1970s, consisting in the transfer of the authorship of the film onto the film camera, as well as initiates relations between the mechanical medium and the human organism. On the one hand, it embraces collaboration, on the other, human struggle with the machine, extending from the “integration” of its logic and the attempts at its “anthropomorphisation”.

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Earth

Earth

2015

Apotheosis

Apotheosis

1972

Halibut

Halibut

2015

Emotion

Emotion

1966

When I Close My Eyes I See Everything

When I Close My Eyes I See Everything

2022

Portions of Light,  A Section

Portions of Light, A Section

2020

Galician Caress (of Clay)

Galician Caress (of Clay)

1995

Vibration of Granada

Vibration of Granada

1935

Fire in Castilla (Tactilvision from the Moor of the Fright)

Fire in Castilla (Tactilvision from the Moor of the Fright)

1961

Vortex

Vortex

2017

The Mad Songs of Fernanda Hussein

The Mad Songs of Fernanda Hussein

2001

Visual Training

1969

Spectator

1970

China Not China

China Not China

2018

Choreography for a Camera and Dancers

Choreography for a Camera and Dancers

1968

The End of Hunger

The End of Hunger

2008

The Hall of Lost Steps

The Hall of Lost Steps

1964

Sunstone

Sunstone

1979

Googolplex

1972

#Familiar #Touch #Lost #Figures

#Familiar #Touch #Lost #Figures

2020