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If I want to say anything I use words which are usually taken from a different context. In general they keep their original meanings, but in particular they acquire new sense because of their contextual change. These words are more or less suitable to point our some aspects of my interest, but often it is difficult or almost impossible to find the right words to express what should really be expressed. They are too simple or too complex, too pathetic or too obvious, too precise or too enigmatic. In fact they are mostly wrong and confusing, nevertheless I still have to use them.

In my work I use images, objects and sounds which are usually also taken from a different context. Like words some of them still keep their original meanings, some others get new meanings because of the change of their context. However, in both cases there are often small 'gaps' between all these images, objects and sounds and their original or given meanings, as well as between the meanings and all possible sense I want them to generate. These small 'in-between-gaps' affect the work as much as - for example- quotation marks affect the meaning and sense of a sentence. Since they are almost invisible everything looks the same, but nothing is the same anymore. First, because all elements of the work are losing their identity, second, because all fiducial points are dissipating. Therefore the structure of relations and dependences among the elements of the work as well as its logical structure become corrupted.

Corruption involves the inner system of value of the work, but it is not destructive for the work itself. It is more a kind of clearance which gives access to unexpected insights into another logic and different system of values that transforms meanings and sense.

All these changes are not spectacular. On the contrary, they take very discreet course. I am not able to control them. As a matter of fact I do not even know when, where and how they happen. The less I do understand them, the more 'real' they seem to be.

Jaroslaw Kozlowski
Nov 89

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Biography
Born Srem, Poland 1945, Lives and works in Polznan Studied Academy of Fine Arts, Posnan Selected Solo Exhibitions 2005 Wyliczanka, Galeria AT, Poznan, Poland 1999 Backspace: European Standards Matt's Gallery, London; Standardy europejskie ­ wersja polska, Galeria AT, Poznan, Poland 1995 In Yellow, Matt's Gallery, London 1986 The Academy, Matt's Gallery, London 1982 Easy Drawings, Matt's Gallery, London 1980 Caledonian Road Series, Matt's Gallery, London Selected Group Exhibitions 2006 …und so hat Konzept noch nie Pferd bedeutet, Generali Foundation, Vienna; In Poland, That is Where? The Centre for Contemporary Art, Warsaw 2005 Egocentric, Immoral, Outmoded, Zacheta-National Gallery of Art, Warsaw; Greetings from Berlin, Emerson Gallery, Berlin 2004 Collected Views from East or West, Generali Foundation , Vienna; Alphabet, Ksia ,z´ka I co dalej 5, Galeria AT, Poznan, Poland 2003 Galeria AT 1982-2003, Galeria Miejska Arsenal Poznan 2002 Czarnobiale, Galeria AT, Poznan, Poland 2000 Visual Art – Simple Live, Edith-Ruß-Haus für Medienkunst, Oldenburg; Negocjatorzy sztuki. Wobec rzeczywistos ´ci, LAZNIA-Centre for Contemporary Art, Gdansk Ksia z'ka I co dalej 2, Galeria AT, Poznan, Poland 1999 Chronos and Kairos, die Zeit in der zeitgenössischen Kunst, Kunsthalle Fridericianum, Kassel; Conceptual Reflexion in Polish Art – Experiences of Discourse: 1965-1975, The Centre for Contemporary Art, Warsaw 1995 Soft Protection: The Great Britain and Northern Ireland Version Matt's Gallery, London 1990 In Yellow Matt's Gallery, London; Ksia ,z´ka I co dalej 1, Biblioteka Raczyn´skich Poznan

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