OUR LADY OF FILUTERIA: Communing With Urszula Kluz-Knopek

by Samantha Anne Scott

The End of Being had a tête-à-tête with Polish artist Urszula Kluz-Knopek over the snaky wires. Read on to get to know Kluz-Knopek.

What’s your mission as an artist?

My mission is to demoralize art and bring it down to the very bottom. Art can fuck with everything in every way imaginable. That is the ideal in the freedom of the abstract. It is all about “de-estheticising” art. It doesn’t matter if we are talking about praising the monstrosities or love for standardized, canon beauty. Its also about taking a bow, paying homage to all the everyday life extremities that are taken out of context.

 

A lot of your work explores menstruation and blood. Why?

To me, art is also the everyday struggle with e.g. making decisions. Menstruation is a proof of femininity and to me – only a way to talk about the human race. Filuteria is denying all the unthoughtful and dumb copying the society holds dear.

I get: nicely given pictures, neat sounds, joyfully shining flavors at the tip of the tongue. It is perfect. It is ideal. It is professional. And divine. Every thought and every object scents, shines and smiles at me.

Hey birdy – other birds say “how are you?”.
I’m fine,
I’m ok,
Hej birdy – I don’t stain my feathers, I don’t stain my head, I don’t have to do anything.

I never have to do anything so much, that my existence becomes doubtful.
Hey birdy – are you still there, or there’s only the cage ?
Hej, birdy?
I am?

Filuteria is an idea to oppose stereotyping of femininity, stereotyping of art. It is “digging” into every nook and cranny of intimacy, looking for the evidence of individuality, that individuality and originality is a true value while the etiquette, social norms and what we should or shouldn’t do is nonsense.

Filuteria is far from standardization or unification and therefore far from the content censoring but close to reaching the boundaries of self-exploring.

Filuteria is also a place for art and sharing art in the most idealistic way, hence the idea of exchanging art and giving up the commercial attitude: for money. Art is expensive and exclusive, its enemy is elitism and …… snobbish attitude, which is in fact very ignorant.

I am a bird living in a golden cage.
I have free will, free mind and the willing to possess.

What is your academic background?

I have a majors degree in informatics. I am an engineer, so I can think logically and analyze pretty well. On the other hand, I am attending the academy of arts, which teaches me abstract thinking and perception. It may seem as both these “sciences” are far from each other, but they aren’t that much different.

 

Who are your artistic influences?

I have no idea but I do enjoy thinking about any type of art while I’m eating. Especially when I’m having tenderloins in chanterelle sauce.

 

I noticed you’re a fan of Nero’s Day at Disneyland. What other music do you listen to when you’re working?

Every type of music is out there for us to listen to and work with. There is no bad music, there are just different types of music for different emotional states. I wouldn’t call myself a fan of anyone. There are just moments in which different artist are in my head – and it doesn’t matter to me if its arvo part or chainsaw sounds. Music to me is not what comes out of the speakers but what is created in the head while you listen to it.

 

Tell me about why you use meat in your art.

The use of meat has great importance. Dead tissue that turned into nourishment for bugs. It seems like new life to me, a new being. Decomposition, yet creation. Its like looking for your own immortality, trying to engrave your name in the memories of others and only through photo offprints, but through anything that comes with creating films or photographs or music (sound). Touching upon different forms of expression is an effort to break out of the “black box”. It’s getting familiar with the meat and overcoming the boundaries of performance art. It’s art in itself, where the process is more important than the result. It stands for a proof. The piece becomes a documentation, and documentation becomes the piece.

Tell me about your photography and design work.

It’s very difficult for me to talk about it, because I can’t always come up with all the adequate definitions and words. When anyone asks me what kind of an artist I am, I like to tell this story that I think is a metaphor for what kind of an artist I am and it depicts my attitude towards projects and art.

I’m 6 years old today, but usually about 70.  I’m looking for tickles in my head and an efficient whole filler in my heart. I would like to be called Karamazov-Squid, and have a tail (to feel pins and needles at the yellow color). I think that art, if it existed, could fuck everybody by means of every whole. But thanks to its “non-existence” as an abstraction, it can remain innocent. I like coming back, but I like leaving even more. I like the taste of sound, color and the tentacles of the divine jellyfish creating the world. That’s about me. Adija

Would you like to share anything else with TEOB readers?

To me, conversation is alike to art. Maneuvering through words and definitions is hard. When someone asks me these questions, I try to explain everything, explain myself. I’ve come to the conclusion that words are sometimes misleading. I want to talk about the human being and about the worth of the mankind. Femininity is a special and unique instance of humanity. I want to talk about everything – but can I? I try: the best conversations I’ve had – I’ve had through my work.

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