Jacek Doroszenko is an artist active in the area of visual and sound arts. The core of his practice is to treat sound phenomena as a legitimate material of a field of visual art. Artist’s practice engages with the contemporary soundscape to select and rephrase the notion of noise as unwanted element. He uses a wide array of processes including installation, field recording, video, music score concepts and drawing, depending on context. He is beneficiary of many Artist-in-Residence programs, including: Atelierhaus Salzamt in Linz (Austria 2016), The Island-resignified in Lefkada (Greece 2015), Kunstnarhuset Messen in Ålvik (Norway 2015), Hangar in Barcelona (Spain 2014). Jacek Doroszenko presented his works, projects and performed in numerous venues, among others: Matadero Contemporary Art Center in Madrid, Casoria Contemporary Art Museum in Napoli, Centre of Contemporary Art in Torun, Historic Centre of Athens, Goldcorp Centre for the Arts in Vancouver, The Starak Family Foundation in Warsaw, Kasia Michalski Gallery in Warsaw, Institut für Alles Mögliche in Berlin, Fait Gallery in Brno, The Herbert Art Gallery & Museum in Coventry, Palace of Culture and Science in Warsaw, Krakauer Haus in Nürnberg, FIESP Cultural Center in Sao Paulo and many others. He lives and works in Warsaw, Poland.
The project has been produced through a framework of Artist-in-Residence program at Hangar in Barcelona, Spain. Inspired by location, experience and memory and motivated by the inversion of the traditional roles of photography and sound in the media and art worlds, Soundreaming emphasizes the importance of the acoustic environment on our memory and perception of place. The Soundreaming album contains a selection of compositions from the audio-visual project with the same title. In the project soundscapes replace photography as the dominant documentary element at the core of the artistic practice. The visual representation is directly inspired by the audio documentation of the locations featured in the archive. Moreover, this technique allows for the transparency of environmental sound to shape the audience’s perception of the artwork and in turn, allows the visual component of the composition more freedom to express itself. More information at: http://soundreaming.org
To help the memory, we usually focus on the things that make sound – a guitar, a telephone, a motor vehicle, whatever – rather than sounds themselves. And the things that make sound usually give sounds their name. In the West we generally have no words that name sounds specifically. There is no word for the sound made by a guitar or a telephone or a motor vehicle, so we have to refer to the object that produced the sound to give the sound a name. And, because of this, people do not talk about sounds, they talk about objects that make sounds; they talk about ‘things’ and, consequently, sounds cease to be sounds and they become things. - Robert Worby / composer & sound artist / BBC
AB070 | May 2017