The bioelectric affects are forming a subjective dictionary that allows us to search for life and communicate with it. When the plant remains in a “record and stimulate” mode, its reactions to words are stored in a database. When the plant “decides” to shift to a “read and translate” mode, its activity is measured, and the database “starts looking for” similar patterns of response: The related words are taken back in the form of a text. The texts are then published on the blog and in social media portals throughout the exposition of the. The bonsai tree runs its fanpage on Facebook under the name “Body Language – WRO Art Biennale 2015“.
Michał Brzeziński (PL), born 1975, a Polish artist and theoretician combining his software-video activities with biological material systems. Futurologist of culture. His roots of the artistic activitiy have ground in music subcultures and video art. His wide, theory-based, artistic and curatorial activity had animated theoretical discourse touching video identity problem in the years 2000–2010 in Poland. Curator working with galleries such as the Museum of Art in Łódź, Center for Contemporary Art Łaźnia in Gdańsk, and Contemporary Art Center Bunkier Sztuki in Kraków. Referring to the conceptual art and mediated experience of recent art, he formulated the strategy described as Fake Art. His works were shown in numerous galleries, including Bunkier Sztuki in Kraków, Arsenał Gallery in Białystok, CSW Łaźnia, Muzeum Sztuki w Łodzi, Manhattan Gallery in Łódź, Fot Art Los Angeles Center For Digital Art, Museum of Bat Yam, BWA in Kielce, BWA in Sanok, Platan Gallery in Budapest, Orensanz Museum in New York, Humboldt Berlin, FEST I NOVA in Georgia, Kino Siska (Video In Progress–Lublana). He exhibited at numerous festivals in Poland, such as Łódź Biennale (2006), Poznań Photo Biennale (2008), Festival ISPIRACJE in Szczecin (2008), PRZECIĄG Festival (Szczecin, 2009) and WRO Media Art Biennale (Wrocław, 2013).