Miroslaw Rogala
Mirosław Rogala (born in 1954, in Poland) is an American-Polish Generative Media/ Interactive Artist. Miroslaw Rogala works in a broad range of generative media of an experimental and transformative nature. Primarily his work has involved Phygital/ analog and digital art, post-photography, computer music, interactive installations, and video theatre consisting of multi-layered, multi-channeled video displays that invite viewers to transform the space themselves.
He considers the closing gap between nature and urban life through the advent of new technologies. He finds a harmony in which the two interact and evolve into a cohesive new system that reflects our changing world.
His work has been exhibited/ in collections at worldwide institutions: the Museum of Contemporary Art, Chicago; the Zentrum für Kunst und Medientechnologie (ZKM) at Karlsruhe, Germany; Sao Paulo Biennale, Brazil; Lyon Biennale, France; The Brooklyn Museum; Anthology Film Archives; The Alternative Museum; Exit Art, New York, the Centre for Contemporary Art, Warsaw, Poland, and the Goodman Theatre, Chicago.
"Art Compensates for Mortality" - Miroslaw Rogala, 1986
Supervisors: Andrzej Strumillo and Roy Ascott
Phone: 1(312)684-7730
Address: 5801-G North Pulaski Road, #152
Chicago, IL 60646 USA
He considers the closing gap between nature and urban life through the advent of new technologies. He finds a harmony in which the two interact and evolve into a cohesive new system that reflects our changing world.
His work has been exhibited/ in collections at worldwide institutions: the Museum of Contemporary Art, Chicago; the Zentrum für Kunst und Medientechnologie (ZKM) at Karlsruhe, Germany; Sao Paulo Biennale, Brazil; Lyon Biennale, France; The Brooklyn Museum; Anthology Film Archives; The Alternative Museum; Exit Art, New York, the Centre for Contemporary Art, Warsaw, Poland, and the Goodman Theatre, Chicago.
"Art Compensates for Mortality" - Miroslaw Rogala, 1986
Supervisors: Andrzej Strumillo and Roy Ascott
Phone: 1(312)684-7730
Address: 5801-G North Pulaski Road, #152
Chicago, IL 60646 USA
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Videos by Miroslaw Rogala
George Lellis
August 8, 2017
The viewer walking through Miroslaw Rogala’s four-screen installation Gardens of Negotiation consciously or not experiences a series of quiet visual plosions. These involve not just the imagery, which seems to pull apart (explode) and come back together (implode) in Rogala’s digital treatments, but also the quad-fircation of the work onto four screens that can never all be viewed simultaneously, obliterating the sense of a single consciousness dominating the installation. Destroyed also is all sense of beginning, middle, and end, as the four non –synchronous video loops create endless permutations and combinations of the same sets of images. The work extends the thematic, eco-friendly concerns of Rogala’s multimedia performance piece Nature Is Leaving Us and the preoccupation with interactivity that charged his installation Lovers Leap. It is both a synthesis of Rogala’s previous work and a new step forward.
Papers by Miroslaw Rogala
This work, created between 1975-1979, is Miroslaw Rogala's pioneering pre-interactive
installation sculptural work. The focus of the display are the six light panels with neon
lights. The work invites the viewer-user --(v)user-- to touch "on" or "off" indicators that
control the light display. The sounds are produced using original sound generators from
1970. (It’s worth noting that in the ‘70s electronic elements were not available for purchase;
it was all custom designed). Once triggered, the sound continues to play. Each
panel has a transparent material that defuses the neon (tube) projected light and contains
15 small 6” neon tubes and configurations are evolving from panel to panel (similary to
a small series of paintings “Pulsating Green”, 1978). The sounds generated are electronic
and sometimes reminiscent of the forest and birds singing. This installation is a major
landmark for the artist by inventing and creating artwork that allows for at least six
(v)users with multiple manipulation interaction. This idea is further advanced in the
artist's work in the late 1990s which allows for multiple (v)user physical and virtual
interaction (e.g., Divided we Stand, Electronic Garden/ NatuRealization).
Keywords: mixed media, touch, on and off state, multiple participant- (v)user interaction, panoramic
display, sequence progression, electronic sound, light, diffusion
Miroslaw Rogala, Pulso-Funktory Installation, Centre for Contemporary Art, Warsaw, 2001
Miroslaw Rogala:
Drafts by Miroslaw Rogala
George Lellis
August 8, 2017
The viewer walking through Miroslaw Rogala’s four-screen installation Gardens of Negotiation consciously or not experiences a series of quiet visual plosions. These involve not just the imagery, which seems to pull apart (explode) and come back together (implode) in Rogala’s digital treatments, but also the quad-fircation of the work onto four screens that can never all be viewed simultaneously, obliterating the sense of a single consciousness dominating the installation. Destroyed also is all sense of beginning, middle, and end, as the four non –synchronous video loops create endless permutations and combinations of the same sets of images. The work extends the thematic, eco-friendly concerns of Rogala’s multimedia performance piece Nature Is Leaving Us and the preoccupation with interactivity that charged his installation Lovers Leap. It is both a synthesis of Rogala’s previous work and a new step forward.
This work, created between 1975-1979, is Miroslaw Rogala's pioneering pre-interactive
installation sculptural work. The focus of the display are the six light panels with neon
lights. The work invites the viewer-user --(v)user-- to touch "on" or "off" indicators that
control the light display. The sounds are produced using original sound generators from
1970. (It’s worth noting that in the ‘70s electronic elements were not available for purchase;
it was all custom designed). Once triggered, the sound continues to play. Each
panel has a transparent material that defuses the neon (tube) projected light and contains
15 small 6” neon tubes and configurations are evolving from panel to panel (similary to
a small series of paintings “Pulsating Green”, 1978). The sounds generated are electronic
and sometimes reminiscent of the forest and birds singing. This installation is a major
landmark for the artist by inventing and creating artwork that allows for at least six
(v)users with multiple manipulation interaction. This idea is further advanced in the
artist's work in the late 1990s which allows for multiple (v)user physical and virtual
interaction (e.g., Divided we Stand, Electronic Garden/ NatuRealization).
Keywords: mixed media, touch, on and off state, multiple participant- (v)user interaction, panoramic
display, sequence progression, electronic sound, light, diffusion
Miroslaw Rogala, Pulso-Funktory Installation, Centre for Contemporary Art, Warsaw, 2001
Miroslaw Rogala: