Wodiczko, Krzysztof

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Born in 1943 in Poland, I received an M.F.A. in industrial design from the Academy of Fine Arts in Warsaw in 1968. 1 immigrated to Canada in 1977 and to the United States in 1983. 1 am now a professor and director of M.I.T.'s Center for Advanced Visual Studies. I am known for two seemingly different yet strongly related kinds of public projects: instrumentations and projections. In both cases I propose design as intervention, as supplement to the already meaning-saturated urban environment, in order to heal the numbness that threatens the health of democratic progress by disrupting it and inserting the voices of "other" city inhabitants who have been silenced and marginalized.


Recent Submissions

Now showing 1 - 3 of 3
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    2006 Rockefeller New Media Foundation Proposal
    Wodiczko, Krysztof (2009-06-23T16:20:06Z)
    The proposed project would involve approximately four prominent sculptural monuments--urban statues in Boston and approximately twelve people whose postures and voice will be projected (juxtaposed) as a motion image upon them.
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    Rockefeller New Media Foundation --Supplementary Material
    Wodiczko, Krzysztof (2006-12-18T20:41:16Z)
    10 slides: 1-2: Bunker Hill Monument Projection, Bunker Hill, Massachusetts. 1998. 3-4: City Hall Tower Projection, Krakow, Poland, 1996. 5: Lenin Monument, Lenninplatz, East Berlin, 1990. 6: Hirshhorn Museum, Washington D.C., 1988. 7: AEgis, 1998-1999. 8: Porte-Parole (Mouth Piece), 1993-1994. 9-10: Alien Staff, 1992-1996.
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    2004 Rockefeller New Media Foundation Proposal
    Wodiczko, Krzysztof (2006-12-15T15:25:36Z)
    This project seeks to examine and develop the technical and artistic means to 'embody' public statues, though the technique of statue projection and animation. This will be possible through especially designed lightweight attachments to the statues, which will support the necessary video- and sound-projection equipment. Images of a statue-animator's face, features or hands will be projected onto the statue's own face, features or hands. The animator's voice, also transmitted to the statue, will thus create a speaking statue, a new communication medium. Unlike the public media we are accustomed to, the animator, animating herself, will publicly engage the other users present, speaking out on any subject they might be concerned about. The animated statue will thus become a vocal - evocative and provocative - agonist, encouraging both onlookers and other participants to respond and develop their own dialogue in real time. Response and dialogue will be possible thanks to the microphones available on the ground that allow the passers-by and any other potential interlocutors to address, interrupt, and question the animated statue while standing before it. A video mini-camera at the statue's head or shoulder will permit the animator to see and hear those speaking to the statue. A particular interlocutor from the crowd may be encouraged to replace the animator, the process continuing in turn as the discussion evolves.