At a summer outdoor workshop in Żelazowa Wola, students of the Audio Sphere Studio (of the Faculty of Multimedia Communication at the University of Arts in Poznan) prepared proposals for discrete audiovisual interventions in the commemorative park; the process led the students to reflect not only on the subject of interventions and audiovisual language, but also on the current state of this special place.  Krystian Burda’s 1960/61 film The Road to Żelazowa Wola, which provided inspiration for the project, is an artistic attempt to  consider rhythm in nature and in art at an abstract level.  The young artists involved, confronted with the park for the first time, proposed interpolations/stepping in – trying to set borders and limits, to distinguish between what is alien and what is identical, to find common ground and the division between nature and culture.  They also sought a common rhythm, or remained in syncopation.

Content curators:  Maciej Janicki, Mariola Wojtkiewicz
Artistic curators:  Leszek Knaflewski, Daniel Koniusz


Hubert Wińczyk (1985) – sound artist, performer, improviser, creator of videos, curator.  A student of the University of Arts in Poznan in the Intermedia department.  A member of the group kakofoNIKT, he runs the Urinatorium project focused on searching for, analysing and transforming sounds.  He cooperates with the initative discipline!sounds investigating problems of audio ecology and processes of listening to/recording ambient sound.  He takes an interest in the acoustic by-products of human activity, alternative sound sources, manipulations of association, field recording, noise, and ritual trance.  He appears with Monika Wińczyk in the performance group Monster Hurricane Wihajster.  He has established contact with Ramses.


Hubert Wińczyk, Cykle naturalne. RAmzes po drodze z Saturna na Proximę odwiedza Żelazową Wolę / Natural Cycles. RAmses Visits Żelazowa Wola on the Way from Saturn to Proxima, audio installation  (sound environment), 2012, Pond behind the Monument


Contemplative electronic music for the speaker system installed in the park.  Audio tracks are emitted, built on cycles, loops, patches and audio waves.  Each work is dedicated to a different phase of the moon.  The recordings were made using analogue electronics (wave generators, synthesizers, feedback and filters) and digital audio treatment and mixing.  Best heard on the bench by the pond.  Patiently.

[Hubert Wińczyk]


The rectangular pond behind the monument (almost the first monument to the composer on Polish soil) is located at the east end of the park.  Apart from those forms which divide the park along straight axes (the main road, the pergola), it is one of just a few, but clear, spatial elements in a composition mainly featuring a variable, irregular plan.

Wińczyk’s intervention opened on 22 September – the autumnal equinox, when the moon was in its first quarter.  Each of the four audio tracks is associated with a different phase of the moon, and they are played according to the lunar calendar.  The abstract, rectangular shape of the pond breaks away from the irregularity of nature; in a similar way, the audio layer of Hubert Wińczyk’s intervention breaks away from the music of Chopin sounding through the speaker system installed throughout the park, during concerts and at other times. The sounds align themselves with, for example, the rhythm of the phases of the moon, or dissonate with the ambient sounds and light.  The movements/rhythms of nature were subordinated to the imagination of Franciszek Krzywda-Polkowski, who designed the modernist commemorative park in the period between the wars.  The intervention’s ‘organic-ness’ (interwoven, multi-faceted regularity, trance, contemplation) corresponds to ‘naturalness’, pulses like life, and at the same time runs up against the aesthetics of ‘empathy’ – in particular, Romantic sensitivity.  It can take us away from our surroundings, as the music of Chopin transported 19th century listeners away in contemplation.  Or, the listener/viewer can become attuned to it.  Its rhythm, breathed in deeply, remains in the memory.

[Maciej Janicki]


Hubert Wińczyk, Laboratorium Otchłani / Limbo Laboratory, audio installation, 2012, hydrophore building by the Utrata river


A small building whose purpose is not clear – it’s not a toilet, not a sauna.  Yet there’s a voice divorced from its source.  There’s no room for it.  Does it attract or repel?

[Hubert Wińczyk]


The subtlely surrealistic aspect of Wińczyk’s work installed at the edge of the park in the unimposing hydrophore building by the Utrata river acts as an event, as opposed to the repetitive duration of his Natural Cycles by the pond behind the monument.  The inaccessibility of the sound source evokes a kind of deprivation of sight and touch, which come up against a wall and are unable to penetrate, to fully discover.  The incompatibility of what is heard with what is seen (the voice of a girl in a space with heavy reverb, a buzzing hive), or the shifting of the visible by means of the audible (water bike/train) delicately evokes a feeling of strangeness.  The known – hidden, yet somehow different.

Next interventions from March to September 2013

[Maciej Janicki]