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Ryszard Wasko is one of those artists whose creative attitude was shaped
in the 1970s. His work was a part of that decade and helped to form
Polish art in the following years. The unconventionality and radicality
of his works is still a challenge to modern art historians because they
demand equally unconventional methods of interpretation. A scholar
analyzing artistic events in Poland of the last twenty five years, who
might try to describe and interpret Wasko’s work by placing it in the
space marked by any of the artistic genre categories, would have to
admit quickly that such an attempt is completely futile. Wasko’s works
are not limited to any of the artistic genres he uses because they
easily cross the borders between them: And his individual realizations,
even if they remain – due to the materials used and some general genre
manifestations – within a certain kind of art, they still cannot be
explained by referring to the characteristics of that branch of art
which is realized in them. On the contrary, quite often the fundamental
principles which make up the structure of the artifacts come from a
different branch of art than the one in which the works were actually
created and where we would be inclined to place them. This suggestion
leads to the hypothesis that the character of Ryszard Wasko’s work in
general, as well as the character of his individual works, is often
defined by inter-generic, inter-media relations. Those works set in
motion a whole net of inter-textual relations on the level of general
structural and ontological determinants, and on the level of different
types of perception and rules of interpretation. In other words, in
order to grasp a work which belongs to a certain artistic genre in its
specificity, one should refer to its non-specific features which are
characteristic for another kind of art. Another hypothesis in regard to
his work may state that if a work by Ryszard Wasko belongs to a
different kind of art than film, it is precisely film which plays the
role of the "inter-text” with regard to the work. In such a case, one
might also want to examine how the process of inter-textual references
is realized with regard to films.