Karol Radziszewski

参加作品

Mon chéri Soviétique
Producer
The film is made of hundreds of photographs telling a story of the last Soviet soldiers leaving Poland in 1990s. The focus of the work is the figure of a soldier — who is not fighting on the war front, but takes off his uniform in front of a camera. The author of "Mon chéri Soviétique" supplements photographs from the past with contemporary film material in which he reenacts past events.
Mon chéri Soviétique
Director
The film is made of hundreds of photographs telling a story of the last Soviet soldiers leaving Poland in 1990s. The focus of the work is the figure of a soldier — who is not fighting on the war front, but takes off his uniform in front of a camera. The author of "Mon chéri Soviétique" supplements photographs from the past with contemporary film material in which he reenacts past events.
Afterimages
Director
"Afterimages" is a short story about one plate from the archive of Ryszard Kisiel, the creator of "Filo" - one of the first gay zines in Central and Eastern Europe. The evoked negative from the end of the ‘80s is the starting point for both Kisiel's personal history and the portrait of the gay scene of the late PRL.
The Prince
Sound
Karol Radziszewski reconstructs Ryszard Cieślak’s biography on the basis of surviving fragments of performances, recordings of rehearsals, letters, and interviews. He hires a group of young men and tasks with attempting the famous final scene from The Constant Prince.
The Prince
Producer
Karol Radziszewski reconstructs Ryszard Cieślak’s biography on the basis of surviving fragments of performances, recordings of rehearsals, letters, and interviews. He hires a group of young men and tasks with attempting the famous final scene from The Constant Prince.
The Prince
Director
Karol Radziszewski reconstructs Ryszard Cieślak’s biography on the basis of surviving fragments of performances, recordings of rehearsals, letters, and interviews. He hires a group of young men and tasks with attempting the famous final scene from The Constant Prince.
America Is Not Ready for This
Director
The tradition of modernism and neo-avant-garde are faced in the project, in which Radziszewski is confronting both – Polish and Western – narratives of art history. Starting from the subversive work of Natalia LL, Radziszewski raises a series of questions on issues such as gender, feminist art, conceptual art, queer and East-West relations and their impact on the art world in the context of the Iron Curtain. America Is Not Ready For This is an open archive in search of parallels between the artistic experiences of Natalia LL and Radziszewski, as well as an attempt to examine the rules of the positioning of artists in the art world, both at that time and today.
Kisieland
Director
A documentary presenting Radziszewski's meeting with Ryszard Kisiel, a personality behind the first East-Central European gay-zine, Filo and 're-discovered' by the director. The backdrop of the film is Kisiel's hitherto hidden archive, consisting of dozens of color slides, documenting photo shoots organized by Kisiel and his friends in a private apartment. The photos taken in 1985 and 1986 may be considered a direct reaction to the Polish anti-gay militia campaign ('Hiacynt'), during which the Secret Police collected information about homosexuals in Poland using them later for blackmail.
Backstage
Director
Filmed inside an art gallery, Backstage is a collaboration between Radziszewski and a group of young men who responded to an ad soliciting their participation. During each casting session, Radziszewski questions his subjects on the topics of shame, exhibitionism and voyeurism. This work not only provides a reexamination of the art historical difference between appearing naked and posing nude but also examines how people rationalize being without clothes in an art venue versus a public space. To break down mental barriers and overcome embarrassment, Radziszewski asks his models to gradually take off their clothes over the course of the session, and to his surprise many are ready to engage willingly for the sake of art.