Łukasz Skąpski studied painting in Cracow and lives there. He makes photography, video films, installations, objects, etc. Throughout the 90-ties light and motion (almost imperceptible changing) were subjects (and materials) of his work. The Devices series, one of his best recognized works, conceptually and symbolically pertains to this area. Perfectly made optical instruments were designed to “facilitate spiritual experience” and should be interpreted as a critic of “new society” values. His latest works move more openly towards social or political issues, expressing his civic concerns. In 2001 he co-founded Azorro Supergroup, which has played a significant role in Polish artistic life being “institutional critic” with quite an ironic view of the art-world practices. Simultanously he made video dealing mainly with social and political matters.
Color snapped off the object, it tears itself off its hitherto meaning – whatever that could be – and enters onto the Internet page. It is not connected with any limited field, as it pulls out from frames and insolently spills onto the whole site. It disturbs us while we are reading. What is more – it can make it impossible to see anything apart from it, so its surface covers the whole screen. What is that? What is …
And it is freedom!
Emancipated color appears and disappears – changing place as it tones itself independently to our will. It plays with the reader of the site.
Who let it do that? Lukasz Skapski did. Why?! Because emancipation is beautiful. Anyway he has alway envied artists who allowed colors to run freely on surfaces of canvas, colorful glass, or plexiglass plates.
Emancipation is beautiful!
The Red Line, 12:07, 2007-2012, b&w, color
Language: English with English subtitles
The red line is a subway line in Stockholm, Sweden. It connects the richest garden-like living areas in the north of the city with the poorest tower-block living areas in the south. These southern living quarters like Norsborg were built for working class, now inhabited practically exclusively by immigrants, who are at present the working class in Sweden.
In the film we travel from the first station in the north to the last station in the south, listening to passengers telling about their living quarters. We never leave the subway system, we never see the actual areas under which we travel. What changes are the passengers and their stories, and this way we can observe social stratification of Stockholm.