Painters (2007)

DV, 17'

In Radziszewski’s film Painters, the artist’s camera languidly follows a group of young men renovating the exterior of a communist-era housing estate. The artist’s gaze is homoerotic and voyeuristic, but he also points to the ironies of the heroic ‘Polish worker’ both of communist times and in his more recent incarnation on the building sites of western Europe. The film also makes inference to the traditionally lowly position of the painter artist in Poland, a position which has changed to one of almost iconic celebrity, and points a self-referential camera onto the artist himself, whose drawings and murals appear regularly on the walls of public spaces in Poland.
The film has additional resonance in the fact that the artist makes the objects of his erotic desires and his voyeurism not the art world and not the subjects sanctioned by conservative Polish society, but muscular semi-naked young men. As the critic and gallerist Lukasz Gorycza puts it, "Like a typical voyeur, he draws unmediated satisfaction from what he will see, but also from the fact that the view he reveals is not characteristic of how one sees in the local culture. In this way, the act of erotic affirmation, incorporated into Radziszewski’s artistic view, shows its constructive, culture-forming role."