{"id":8161,"date":"2025-11-05T16:42:23","date_gmt":"2025-11-05T15:42:23","guid":{"rendered":"https:\/\/labiennale.art.pl\/?post_type=wystawy&p=8161"},"modified":"2026-09-09T10:21:07","modified_gmt":"2026-09-09T08:21:07","slug":"jezyki-z-wody","status":"publish","type":"wystawy","link":"https:\/\/labiennale.art.pl\/en\/wystawy\/jezyki-z-wody\/","title":{"rendered":"J\u0119zyki z wody"},"content":{"rendered":"

J\u0119zyki z wody<\/em> to instalacja audio-wideo, w kt\u00f3rej Bogna Burska i Daniel Kotowski poszukuj\u0105 alternatywnych sposob\u00f3w komunikacji inspirowanych \u017cyciem wi\u0119cej-ni\u017c-ludzkim. Spo\u0142eczny Ch\u00f3r w Ruchu, tworzony przez osoby s\u0142ysz\u0105ce i G\u0142uche, wykonuje tu interpretacje kod\u00f3w komunikacyjnych i pie\u015bni wieloryb\u00f3w \u2014 jednocze\u015bnie w j\u0119zykach fonicznym angielskim i mi\u0119dzynarodowym migowym (IS), buduj\u0105c wizualno-przestrzenno-d\u017awi\u0119kowe fantazje na temat ich mo\u017cliwych t\u0142umacze\u0144. Instalacja oddzia\u0142uje na wielu poziomach \u2013 obrazu (zdj\u0119cia: Magda Mosiewicz), ruchu (choreografia: Alicja Czyczel),\u00a0d\u017awi\u0119ku (kompozycja: Aleksandra Gryka)\u00a0oraz fizycznego do\u015bwiadczenia fal akustycznych.<\/p>\n

Inspiracj\u0105 dla projektu s\u0105 legendarne nagrania Rogera Payne\u2019a Songs of the Humpback Whale<\/em> (1970), kt\u00f3re doprowadzi\u0142y do zakazu polowa\u0144 na wieloryby i uratowa\u0142y je od zag\u0142ady. Z\u0142o\u017cone d\u017awi\u0119ki tych pie\u015bni przypomnia\u0142y \u015bwiatu o inteligencji i bogactwie kultur zwierz\u0105t, pokazuj\u0105c, \u017ce sztuka mo\u017ce ocala\u0107 g\u0142osy, kt\u00f3re wcze\u015bniej pozostawa\u0142y nies\u0142yszalne.<\/p>\n

J\u0119zyki z wody<\/em> to opowie\u015bci o utracie, ale te\u017c odbudowie kultur i wsp\u00f3\u0142czesnej pracy nad odzyskiwaniem j\u0119zyk\u00f3w zmarginalizowanych przez dominuj\u0105ce narracje. To historia pracy Payne\u2019a i znaczenia opracowanych przez niego nagra\u0144. To w\u0105tek nowych i nieznanych (a mo\u017ce starych i odradzaj\u0105cych si\u0119) zgromadze\u0144 setek \u017cyj\u0105cych zazwyczaj samotnie humbak\u00f3w u zachodnich wybrze\u017cy Afryki. To tworzenie utwor\u00f3w na qilaat <\/em>\u2014 rytualny b\u0119ben rdzennych mieszka\u0144c\u00f3w Grenlandii, mimo \u017ce nikt nie zna jego brzmienia sprzed brutalnej kolonizacji. To praca nad przywr\u00f3ceniem Hand Talk \u2014 Plains Indian Sign Language \u2014 uniwersalnego j\u0119zyka migowego s\u0142ysz\u0105cych i G\u0142uchych rdzennych mieszka\u0144c\u00f3w Wielkich R\u00f3wnin Ameryki P\u00f3\u0142nocnej. To opowie\u015b\u0107 o wyrywaniu si\u0119 z opresji fonocentrycznego treningu i budowaniu podmiotowo\u015bci G\u0142uchych. To powracaj\u0105ca feministyczna figura niesionej na grzbiecie wieloryba whaleriderki, inspirowana nowozelandzkim mitem. Przywo\u0142ane historie pozwalaj\u0105 my\u015ble\u0107, mimo wszystko, o alternatywach dla \u015bwiata \u2014 mo\u017cliwo\u015bciach odbudowy tego, co uleg\u0142o rozpadowi lub zniszczeniu przez dominuj\u0105ce g\u0142osy. Mo\u017cna by zapyta\u0107 za Sabrin\u0105 Imbler: \u201eJak b\u0119dzie wygl\u0105da\u0142o wasze odrastanie? W jak wielu kierunkach i na jak wiele sposob\u00f3w?\u201d.<\/p>\n

Zgodnie z ide\u0105 Deaf Gain g\u0142uchota rozumiana jest tu nie jako niepe\u0142nosprawno\u015b\u0107, lecz jako odr\u0119bna kultura i to\u017csamo\u015b\u0107 oferuj\u0105ca nowe perspektywy i formy ekspresji. Znaczna cz\u0119\u015b\u0107 materia\u0142u zrealizowana zosta\u0142a w wodzie \u2014 \u015brodowisku, w kt\u00f3rym osoby G\u0142uche mog\u0105 swobodnie komunikowa\u0107 si\u0119 j\u0119zykiem migowym, podczas gdy osoby s\u0142ysz\u0105ce wydaj\u0105 tylko zdeformowane d\u017awi\u0119ki. Granica mi\u0119dzy powietrzem a wod\u0105 sta\u0142a si\u0119 przestrzeni\u0105 eksperyment\u00f3w komunikacyjnych, swoistym lustrem, w kt\u00f3rym spotkaj\u0105 si\u0119 r\u00f3\u017cne j\u0119zyki, cia\u0142a i sposoby odczuwania.<\/p>\n

Koyo Kouoh w kuratorskiej koncepcji Biennale 2026, opartej na muzycznej metaforze \u201etonacji molowej\u201d, zaprasza nas do spotkania z tym, co delikatne i na co dzie\u0144 pomijane \u2014 z cichszymi g\u0142osami, zaniedbanymi narracjami, mikropami\u0119ciami. Zach\u0119ca do rozwijania subtelnych form oporu, wra\u017cliwych eksperyment\u00f3w, budowania polifonicznych partytur rezonuj\u0105cych ze sob\u0105 spo\u0142eczno\u015bci. Instalacja J\u0119zyki z wody<\/em> rozwija t\u0119 ide\u0119, podejmuj\u0105c pr\u00f3b\u0119 prze\u0142amania wyobra\u017ce\u0144 o granicach komunikacji i tworzenia podmiotowych wsp\u00f3lnot, uwzgl\u0119dniaj\u0105cych r\u00f3\u017cnorodne perspektywy. W proponowanej wersji przysz\u0142o\u015bci \u2014 tak\u017ce perspektywy zwierz\u0105t.<\/p>\n","protected":false},"featured_media":8163,"template":"","class_list":["post-8161","wystawy","type-wystawy","status-publish","has-post-thumbnail","hentry","archiwum-biennale-sztuki"],"acf":[],"yoast_head":"\nJ\u0119zyki z wody - Pawilon Polski w Wenecji<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/labiennale.art.pl\/wystawy\/jezyki-z-wody\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"J\u0119zyki z wody - Pawilon Polski w Wenecji\" \/>\n<meta property=\"og:description\" content=\"J\u0119zyki z wody to instalacja audio-wideo, w kt\u00f3rej Bogna Burska i Daniel Kotowski poszukuj\u0105 alternatywnych sposob\u00f3w komunikacji inspirowanych \u017cyciem wi\u0119cej-ni\u017c-ludzkim. 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autorski","ex_tblock_title_navi":"Zesp\u00f3\u0142 autorski","ex_text_block":"<p><strong>Bogna Burska<\/strong> \u2013 wsp\u00f3\u0142autorka pracy <em>J\u0119zyki z wody<\/em>. Artystka wizualna pos\u0142uguj\u0105ca si\u0119 wieloma formami wypowiedzi oraz pisz\u0105ca teksty dramatyczne, obecnie profesorka Akademii Sztuk Pi\u0119knych w Warszawie. Jej prace dotykaj\u0105 temat\u00f3w cielesno\u015bci, pami\u0119ci i emocji, cz\u0119sto odnosz\u0105c si\u0119 do spo\u0142ecznych narracji oraz wizualnych klisz kultury popularnej. Zestawia\u0142a ze sob\u0105 to, co pi\u0119kne z tym, co jest powszechnie uwa\u017cane za brzydkie, odra\u017caj\u0105ce, odrzucane. Ostatnio pracuje g\u0142\u00f3wnie z w\u0105tkami komunikacji i strukturami wzajemnych pr\u00f3b zrozumienia w przestrzeniach zmieniaj\u0105cych si\u0119 ekosystem\u00f3w. Bierze udzia\u0142 w wielu wystawach w kraju i za granic\u0105, a jej tw\u00f3rczo\u015b\u0107 \u0142\u0105czy perspektyw\u0119 artystyczn\u0105 z dydaktyczn\u0105 i badawcz\u0105.<\/p>\n<p><strong>Daniel Kotowski<\/strong> \u2013 wsp\u00f3\u0142autor pracy <em>J\u0119zyki z wody<\/em>. Artysta i performer. Jego praktyka koncentruje si\u0119 wok\u00f3\u0142 do\u015bwiadczenia G\u0142uchych, problematyki j\u0119zyka, komunikacji, biow\u0142adzy i biopolityki. W swoich dzia\u0142aniach bada granice cielesno\u015bci oraz sposoby wyra\u017cania si\u0119 poza dominuj\u0105cym porz\u0105dkiem mowy. Wyst\u0119powa\u0142 i prezentowa\u0142 swoje prace m.in. w Muzeum Sztuki Nowoczesnej w Warszawie, Zach\u0119cie \u2013 Narodowej Galerii Sztuki, Teatrze Studio i Pickle Bar w Berlinie.<\/p>\n<p><strong>Ewa Chomicka<\/strong> \u2013 wsp\u00f3\u0142kuratorka wystawy <em>J\u0119zyki z wody<\/em>, kuratorka Ch\u00f3ru w Ruchu. Antropolo\u017cka kultury, kuratorka sztuki wsp\u00f3\u0142czesnej, facylitatorka. Kieruje Laboratorium Praktyk Muzealnych w Muzeum Historii \u017byd\u00f3w Polskich POLIN. Rozwija interdyscyplinarne projekty, \u0142\u0105cz\u0105ce sztuk\u0119 wsp\u00f3\u0142czesn\u0105, badania i aktywizm, cz\u0119sto o charakterze performatywnym, interwencyjnym, spo\u0142ecznym. Zaanga\u017cowana w inicjatywy ekologiczne, wsp\u00f3\u0142za\u0142o\u017cycielka kolektywu Kultura dla Klimatu.<\/p>\n<p><strong>Jolanta Woszczenko<\/strong> \u2013 wsp\u00f3\u0142kuratorka wystawy <em>J\u0119zyki z wody<\/em>. Kuratorka sztuki wsp\u00f3\u0142czesnej, od 2008 r. zwi\u0105zana z Gda\u0144skim Centrum Sztuki Wsp\u00f3\u0142czesnej. Interesuje si\u0119 eksperymentalnymi formami filmowymi i wideo, a tak\u017ce procesami komunikacji – zar\u00f3wno pomi\u0119dzy tw\u00f3rc\u0105 a odbiorc\u0105, jak i mi\u0119dzy r\u00f3\u017cnymi mediami i dyscyplinami sztuki.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-8178\" src=\"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-1024x683.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-1024x683.jpg 1024w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-340x227.jpg 340w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-768x512.jpg 768w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-1536x1024.jpg 1536w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-2048x1365.jpg 2048w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-680x454.jpg 680w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-605x403.jpg 605w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p style=\"text-align: right;\"><span style=\"font-size: 8pt;\">fot. Filip Preis\/Archiwum Zach\u0119ty<\/span><\/p>\n"},{"ex_tblock_title":"Dost\u0119pno\u015b\u0107 wystawy","ex_tblock_title_navi":"Dost\u0119pno\u015b\u0107","ex_text_block":"<p>Projekcja filmu trwa 30 minut, rozpoczyna si\u0119 co pe\u0142ne p\u00f3\u0142 godziny, ale mo\u017cna wej\u015b\u0107 w ka\u017cdym momencie.<\/p>\n<p> <\/p>\n<p>Film zawiera napisy rozszerzone uwzgl\u0119dniaj\u0105ce opisy d\u017awi\u0119k\u00f3w oraz j\u0119zyku angielskim.<\/p>\n<p>Na miejscu zapewniamy mo\u017cliwo\u015b\u0107 wypo\u017cyczenia mobilnej p\u0119tli indukcyjnej.<\/p>\n<p>Teksty kuratorskie zosta\u0142y przet\u0142umaczone na polski j\u0119zyk migowy (PJM), w\u0142oski j\u0119zyk migowy (LIS) oraz mi\u0119dzynarodowy migowy (IS). T\u0142umaczenia dost\u0119pne s\u0105\u00a0poprzez kody QR umieszczone bezpo\u015brednio pod tekstami na wystawie.<\/p>\n<p> <\/p>\n<p>Materia\u0142y zwi\u0105zane z zapewnieniem dost\u0119pno\u015bci towarzysz\u0105ce wystawie umieszczone s\u0105 tak\u017ce online na stronie Pawilonu Polskiego – zak\u0142adka \u201emediateka\u201d (ang. \u201emedia\u201d).<\/p>\n<p> <\/p>\n<p>Wystawie towarzyszy bezp\u0142atna gazetka w j\u0119zyku uproszczonym (Plain English) do pobrania w przedsionku Pawilonu.<\/p>\n<p> <\/p>\n<p><strong>DOST\u0118PNO\u015a\u0106 ARCHITEKTONICZNA BUDYNKU <\/strong><\/p>\n<p>Budynek Pawilonu Polskiego posiada pochylni\u0119 z odpowiednimi por\u0119czami, prowadz\u0105c\u0105 na rodzaj tarasu.<\/p>\n<p>Przed samym wej\u015bciem z tarasu do budynku jest niski stopie\u0144.<\/p>\n<p>Przestrze\u0144 wystawowa dost\u0119pna jest dla os\u00f3b poruszaj\u0105cych si\u0119 na w\u00f3zkach.<\/p>\n"}],"show_media":true,"ex_media":[{"ex_medium":{"ID":8423,"post_author":"1","post_date":"2026-04-16 11:24:23","post_date_gmt":"2026-04-16 09:24:23","post_content":"","post_title":"J\u0119zyki z wody - T\u0142umaczenie PJM","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"jezyki-z-wody-tlumaczenie-pjm","to_ping":"","pinged":"","post_modified":"2026-05-05 15:28:17","post_modified_gmt":"2026-05-05 13:28:17","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&p=8423","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8800,"post_author":"1","post_date":"2026-06-17 16:27:05","post_date_gmt":"2026-06-17 14:27:05","post_content":"AUDIOWST\u0118P:\r\n\r\nJ\u0119zyki z wody to dwukana\u0142owa instalacja audio-wideo prezentowana w Pawilonie Polskim na Biennale Sztuki w Wenecji. Przedstawia trzydziestoosobowy ch\u00f3r w zimowym plenerze i na basenie, g\u0142\u00f3wnie pod wod\u0105.\r\n\r\nWn\u0119trze pawilonu jest na planie pod\u0142u\u017cnego prostok\u0105ta z wej\u015bciem na d\u0142u\u017cszym boku. Przestrze\u0144 zosta\u0142a zaaran\u017cowana minimalistycznie i spowita jest w p\u00f3\u0142mroku. Na przeciwleg\u0142ej do wej\u015bcia \u015bcianie, po lewej stronie, znajduje si\u0119 ogromny ekran o podstawie o\u015bmiu metr\u00f3w i wysoko\u015bci blisko trzech i p\u00f3\u0142 metra. Zawieszony zosta\u0142 trzydzie\u015bci pi\u0119\u0107 centymetr\u00f3w nad pod\u0142og\u0105. Drugi ekran umieszczony jest nad wej\u015bciem, lekko z prawej strony, oko\u0142o trzech metr\u00f3w nad ziemi\u0105. Ma kszta\u0142t nieregularnego trapezu i jest r\u00f3wnie wielki co pierwszy. Na obu wy\u015bwietlane s\u0105 filmy. W przestrzeni znajduje si\u0119 te\u017c kilka kubik\u00f3w sze\u015bciennych i szeroki postument o powierzchni wyprofilowanej jak fala. Dzi\u0119ki temu mo\u017cna ogl\u0105da\u0107 projekcje na le\u017c\u0105co. Na kr\u00f3tszej \u015bcianie z prawej strony wyeksponowano na pionowych wydrukach informacje o wystawie.\r\n\r\nInstalacj\u0119 tworz\u0105 dwa filmy wy\u015bwietlane jednocze\u015bnie. Maj\u0105 wsp\u00f3ln\u0105 \u015bcie\u017ck\u0119 d\u017awi\u0119kow\u0105 i angielskie napisy z transkrypcj\u0105 d\u017awi\u0119ku. Na obu ekranach pojawiaj\u0105 si\u0119 zar\u00f3wno uj\u0119cia na basenie, jak i plenerowe. Sceny zmieniaj\u0105 si\u0119 co kilkadziesi\u0105t sekund. Powracaj\u0105, cho\u0107 nie s\u0105 identyczne. Na dolnym ekranie przewa\u017caj\u0105 sceny zbiorowe ca\u0142ego ch\u00f3ru lub mniejszych grup. Na g\u00f3rnym dominuj\u0105 zbli\u017cenia na wybrane osoby i mocno wykadrowane obrazy. Ch\u00f3r na\u015bladuje d\u017awi\u0119ki, m\u00f3wi i \u015bpiewa po angielsku, miga w mi\u0119dzynarodowym j\u0119zyku migowym \u2013 International Sign. Jego ruch ma wyra\u017an\u0105 choreografi\u0119.\r\n\r\nCzerwie\u0144 ubra\u0144 ch\u00f3ru wyra\u017anie kontrastuje z szarym krajobrazem i b\u0142\u0119kitn\u0105, podwodn\u0105 sceneri\u0105. W plenerze wszyscy nosz\u0105 czerwone przeciwdeszczowe peleryny, czerwone kalosze i czapki \u2013 przewa\u017cnie czarne. W wodzie r\u00f3wnie\u017c ubrani s\u0105 na czerwono, nie tylko w kostiumy k\u0105pielowe, ale te\u017c w d\u0142ugie i kr\u00f3tkie spodnie, sp\u00f3dnice r\u00f3\u017cnej d\u0142ugo\u015bci, sukienki, koszule, marynarki i inne. Szersze ubrania i d\u0142ugie w\u0142osy unosz\u0105 si\u0119 i faluj\u0105. Wi\u0119kszo\u015b\u0107 os\u00f3b ma pomalowane na czerwono usta, paznokcie u r\u0105k i u n\u00f3g. Obci\u0105\u017ceni s\u0105 czarnymi o\u0142owianymi pasami, aby utrzyma\u0107 si\u0119 pod wod\u0105. W wielu scenach, r\u00f3wnie\u017c w plenerowych, maj\u0105 na g\u0142owach okularki do p\u0142ywania.\r\n\r\nW plenerze dominuje zimowa szaruga. Kadry zosta\u0142y nakr\u0119cone g\u0142\u00f3wnie na terenie opuszczonego basenu, ale te\u017c nieco nowszego, otwartego kompleksu oraz nad Wis\u0142\u0105. Ch\u00f3r stoi w zwartych rz\u0119dach lub w grupach, przodem lub bokiem do kraw\u0119dzi basenu, albo na jego za\u015bnie\u017conym dnie. Ustawiony jest te\u017c na piaszczystym brzegu rzeki i nieco dalej od niego, na udeptanym \u015bniegu. Ruchy ch\u00f3ru powi\u0105zane s\u0105 wyra\u017anie z wydawanymi odg\u0142osami. Przewa\u017cnie s\u0105 synchroniczne, kr\u00f3tkie i ograniczone, ma\u0142o jest w nich swobody. Wychylenia do przodu, do ty\u0142u i na boki oraz poruszanie r\u0119kami wydaj\u0105 si\u0119 kluczowe. Ch\u00f3r mi\u0119dzy innymi faluje d\u0142o\u0144mi wzd\u0142u\u017c cia\u0142a. Z kolei podczas rytmicznego odchylania g\u0142\u00f3w do ty\u0142u ich d\u0142onie dyndaj\u0105 bezw\u0142adnie. To zn\u00f3w trzepocz\u0105 szybko przed energicznym wyprostowaniem cia\u0142a. Ch\u00f3r wyci\u0105ga te\u017c pionowo r\u0119ce i ko\u0144czy gest wyrzuceniem d\u0142oni w prz\u00f3d. Innym razem wszyscy potrz\u0105saj\u0105 r\u0119kami przed sob\u0105 i kiwaj\u0105 si\u0119 na boki albo unosz\u0105 r\u0119ce nad g\u0142owami i obracaj\u0105 si\u0119 dooko\u0142a. Schylaj\u0105 si\u0119 i prostuj\u0105 literuj\u0105c jednocze\u015bnie w j\u0119zyku migowym. W\u015br\u00f3d zbli\u017ce\u0144 s\u0105 te\u017c kadry bardziej impresyjne i poetyckie jak odbicia czerwieni ubra\u0144 w wodzie czy widok brzegu ubrania powiewaj\u0105cego na wietrze. Ale te\u017c topniej\u0105ce tafle lodu czy strumie\u0144 op\u0142ywaj\u0105cy kamie\u0144.\r\n\r\nSceny na basenie s\u0105 ja\u015bniejsze. \u015awiat\u0142o przenika przez faluj\u0105c\u0105 powierzchni\u0119 wody i rzuca na kafelki refleksy, kt\u00f3re nieustannie drgaj\u0105. Wi\u0119cej jest te\u017c abstrakcyjnych uj\u0119\u0107. Ch\u00f3rowi, niezale\u017cnie od uk\u0142adu pod wod\u0105, towarzysz\u0105 ich odbicia na powierzchni, co dodatkowo estetyzuje uj\u0119cia. Obrazy na tafli s\u0105 bardziej lub mniej rozmyte. Czasem trudno stwierdzi\u0107, czy czerwona, faluj\u0105ca plama to fragment postaci sfilmowanej w du\u017cym zbli\u017ceniu pod wod\u0105, czy jej odbicie.\r\n\r\nCiekawy efekt udaje si\u0119 osi\u0105gn\u0105\u0107, kiedy kamera filmuje pod wod\u0105 ch\u00f3r w zwartych rz\u0119dach. G\u0142owy pozostaj\u0105 ponad wod\u0105, poza kadrem. Dzi\u0119ki wykorzystaniu zjawiska optycznego obraz odbija si\u0119 symetrycznie wzd\u0142u\u017c niewidocznej linii wody. W efekcie rz\u0105d postaci jest zdublowany. Jasne nogi na dole przy dnie i ich przed\u0142u\u017cenie w postaci idealnie lustrzanego odbicia mog\u0105 przypomina\u0107 szczebelki. Czerwone ubrania to z kolei plamy nier\u00f3wno roz\u0142o\u017conej farby.\r\n\r\nChoreografia pod wod\u0105 cz\u0119\u015bciowo powiela gesty wykonywane w plenerze, ale ruchy staj\u0105 si\u0119 p\u0142ynne i wydaj\u0105 si\u0119 naturalne. Sceny s\u0105 bardziej dynamiczne i swobodne. Poszczeg\u00f3lne osoby przep\u0142ywaj\u0105 mi\u0119dzy sob\u0105, nurkuj\u0105, obracaj\u0105 si\u0119, podp\u0142ywaj\u0105 do kamery, podskakuj\u0105, przebijaj\u0105c tafl\u0119 nad sob\u0105. W wodzie r\u00f3wnie\u017c wydaj\u0105 d\u017awi\u0119ki, m\u00f3wi\u0105 i \u015bpiewaj\u0105, co wyzwala burz\u0119 b\u0105belk\u00f3w powietrza. Zdecydowanie wi\u0119cej migaj\u0105, a zdania s\u0105 czytelne w przeciwie\u0144stwie do st\u0142umionej, niezrozumia\u0142ej mowy.\r\n\r\nSceny w basenie rozgrywaj\u0105 si\u0119 te\u017c nad powierzchni\u0105 wody. W jednej z nich kilkana\u015bcie os\u00f3b stoi po szyj\u0119 w wodzie, kr\u0119ci g\u0142owami i pogwizduje. W innej mniejsza grupa, zanurzona do ramion, gestykuluje i wypowiada po angielsku s\u0142owo \u201ewoda\u201d. S\u0105 te\u017c uj\u0119cia spod wody, kt\u00f3re obejmuj\u0105 to, co dzieje si\u0119 ponad tafl\u0105. W ten spos\u00f3b filmowany jest kr\u0105g kilku postaci od kolan do pasa pod wod\u0105, z ramionami i g\u0142owami ponad powierzchni\u0105. Patrz\u0105 na swoje r\u0119ce, kt\u00f3re stykaj\u0105 si\u0119 d\u0142o\u0144mi i tworz\u0105 promienisty uk\u0142ad. M\u0105c\u0105 wod\u0119 i migaj\u0105 na jej powierzchni.\r\n\r\nPo\u015br\u00f3d ch\u00f3ru wyr\u00f3\u017cnia si\u0119 jedna osoba. Nurkuje nisko bez pasa obci\u0105\u017ceniowego. Porusza si\u0119 bardzo swobodnie jak delfin lub wieloryb. Przep\u0142ywa pomi\u0119dzy ch\u00f3rem. Ubrana jest w d\u0142ugie spodnie i opi\u0119t\u0105 bluzk\u0119 z d\u0142ugim r\u0119kawem. Jest jedyn\u0105 postaci\u0105 filmowan\u0105 pod wod\u0105 samotnie, w szerokim kadrze. Pojawia si\u0119 w ostatnich scenach na obu ekranach. Na dolnym zawieszona jest w wodzie pionowo, g\u0142ow\u0105 w d\u00f3\u0142, dotyka stopami powierzchni i rusza do biegu. Na g\u00f3rnym obraz jest odwr\u00f3cony, a posta\u0107 wygl\u0105da, jakby wyskoczy\u0142a do g\u00f3ry i wystartowa\u0142a.\r\n\r\nWizualno-d\u017awi\u0119kowy spektakl rozgrywaj\u0105cy si\u0119 nad i pod wod\u0105 jest pr\u00f3b\u0105 interpretacji w j\u0119zyku fonicznym i migowym kod\u00f3w komunikacyjnych i pie\u015bni wieloryb\u00f3w. \u0141\u0105czy te\u017c historie, kt\u00f3re opowiadaj\u0105 o wsp\u00f3\u0142istnieniu, odzyskiwaniu kultury, prawie do j\u0119zyka i do godno\u015bci tak ludzi, jak i zwierz\u0105t.\r\n\r\n \r\n\r\nSTART FILMU\r\n\r\n \r\n\r\n1\r\n\r\n00:00:03,051 --> 00:00:05,946\r\n\r\nNa dolnym ekranie bia\u0142e drukowane litery\r\n\r\nz grubym podkre\u015bleniem\r\n\r\n \r\n\r\n2\r\n\r\n00:00:06,406 --> 00:00:07,480\r\n\r\ntytu\u0142 \"Liquid Tongues\".\r\n\r\n \r\n\r\n3\r\n\r\n00:00:17,903 --> 00:00:23,931\r\n\r\nNa dolnym ekranie ch\u00f3r w plenerze, w dw\u00f3ch rz\u0119dach przy kraw\u0119dzi pustego basenu. Na g\u00f3rnym ekranie zbli\u017cenie na twarze z profilu.\r\n\r\n \r\n\r\n4\r\n\r\n00:00:24,545 --> 00:00:25,949\r\n\r\nCh\u00f3r faluje d\u0142o\u0144mi przy ciele.\r\n\r\n \r\n\r\n5\r\n\r\n00:00:27,028 --> 00:00:28,756\r\n\r\nWychyla si\u0119 i wyrzuca d\u0142onie w prz\u00f3d.\r\n\r\n \r\n\r\n6\r\n\r\n00:00:30,012 --> 00:00:31,506\r\n\r\nNa g\u00f3rze zbli\u017cenie na same r\u0119ce.\r\n\r\n \r\n\r\n7\r\n\r\n00:00:32,387 --> 00:00:33,698\r\n\r\nCh\u00f3r ponownie faluje d\u0142o\u0144mi.\r\n\r\n \r\n\r\n8\r\n\r\n00:00:35,002 --> 00:00:36,125\r\n\r\nOdchylenie g\u0142\u00f3w do ty\u0142u.\r\n\r\n \r\n\r\n9\r\n\r\n00:00:39,281 --> 00:00:40,076\r\n\r\nFalowanie d\u0142o\u0144mi.\r\n\r\n \r\n\r\n10\r\n\r\n00:00:41,132 --> 00:00:43,047\r\n\r\nNa g\u00f3rze fragment powiewaj\u0105cego p\u0142aszcza.\r\n\r\n \r\n\r\n11\r\n\r\n00:00:44,145 --> 00:00:46,572\r\n\r\nRytmiczne odchylanie g\u0142\u00f3w do ty\u0142u. Falowanie d\u0142o\u0144mi.\r\n\r\n \r\n\r\n12\r\n\r\n00:00:48,089 --> 00:00:50,052\r\n\r\nW tym czasie na g\u00f3rze zbli\u017cenie na twarze.\r\n\r\n \r\n\r\n13\r\n\r\n00:00:51,970 --> 00:00:54,588\r\n\r\nCh\u00f3r wychyla si\u0119, trzepocze d\u0142o\u0144mi i wyrzuca je w prz\u00f3d.\r\n\r\n \r\n\r\n14\r\n\r\n00:00:57,996 --> 00:01:02,060\r\n\r\nRytmiczne odchylanie g\u0142\u00f3w, trzepotanie d\u0142o\u0144mi przy ciele. Na g\u00f3rze zbli\u017cenie na twarze.\r\n\r\n \r\n\r\n15\r\n\r\n00:01:05,365 --> 00:01:06,112\r\n\r\nFalowanie d\u0142oni.\r\n\r\n \r\n\r\n16\r\n\r\n00:01:08,391 --> 00:01:13,062\r\n\r\nCh\u00f3r ko\u0142ysze si\u0119 na boki i wachluje d\u0142o\u0144mi przed sob\u0105. Na g\u00f3rze zbli\u017cenie na twarze i na same r\u0119ce.\r\n\r\n \r\n\r\n17\r\n\r\n00:01:16,736 --> 00:01:19,769\r\n\r\nNa obu ekranach zbli\u017cenie na wyci\u0105gane d\u0142onie. Obraz spowolniony.\r\n\r\n \r\n\r\n18\r\n\r\n00:01:24,344 --> 00:01:27,523\r\n\r\nNa dolnym ekranie ponownie ca\u0142y ch\u00f3r, na g\u00f3rnym zbli\u017cenie na twarze.\r\n\r\n \r\n\r\n19\r\n\r\n00:01:29,596 --> 00:01:31,183\r\n\r\nOdchylenie g\u0142\u00f3w, falowanie d\u0142o\u0144mi.\r\n\r\n \r\n\r\n20\r\n\r\n00:01:36,014 --> 00:01:37,698\r\n\r\nNa obu ekranach zbli\u017cenia na twarze.\r\n\r\n \r\n\r\n21\r\n\r\n00:01:40,184 --> 00:01:42,754\r\n\r\nI zn\u00f3w na dolnym ekranie ca\u0142y ch\u00f3r, na g\u00f3rze zbli\u017cenie.\r\n\r\n \r\n\r\n22\r\n\r\n00:01:43,054 --> 00:01:45,108\r\n\r\nTrzepotanie d\u0142o\u0144mi i wyrzucenie ich w prz\u00f3d.\r\n\r\n \r\n\r\n23\r\n\r\n00:01:51,214 --> 00:01:52,427\r\n\r\nNa obu ekranach ca\u0142y ch\u00f3r.\r\n\r\n \r\n\r\n24\r\n\r\n00:01:55,005 --> 00:01:57,202\r\n\r\nRytmiczne odchylanie g\u0142\u00f3w i trzepotanie d\u0142o\u0144mi.\r\n\r\n \r\n\r\n25\r\n\r\n00:01:57,901 --> 00:01:58,367\r\n\r\nFalowanie.\r\n\r\n \r\n\r\n26\r\n\r\n00:01:59,174 --> 00:02:00,950\r\n\r\nKo\u0142ysanie na boki, wachlowanie d\u0142o\u0144mi.\r\n\r\n \r\n\r\n27\r\n\r\n00:02:03,840 --> 00:02:06,315\r\n\r\nNa obu ekranach zbli\u017cenia na twarze i na same d\u0142onie.\r\n\r\n \r\n\r\n28\r\n\r\n00:02:09,576 --> 00:02:12,472\r\n\r\nNa dole zbli\u017cenie na d\u0142onie, na g\u00f3rze tylko fragment p\u0142aszcza.\r\n\r\n \r\n\r\n29\r\n\r\n00:02:13,493 --> 00:02:14,939\r\n\r\nSpowolnione wyci\u0105gni\u0119cie d\u0142oni.\r\n\r\n \r\n\r\n30\r\n\r\n00:02:16,956 --> 00:02:19,199\r\n\r\nNa dole ca\u0142y ch\u00f3r, na g\u00f3rze zbli\u017cenie na twarze.\r\n\r\n \r\n\r\n31\r\n\r\n00:02:21,142 --> 00:02:23,103\r\n\r\nOdchylenie g\u0142\u00f3w do ty\u0142u. Falowanie d\u0142o\u0144mi.\r\n\r\n \r\n\r\n32\r\n\r\n00:02:27,858 --> 00:02:29,540\r\n\r\nNa obu ekranach zbli\u017cenia na twarze.\r\n\r\n \r\n\r\n33\r\n\r\n00:02:30,626 --> 00:02:31,839\r\n\r\nRytmiczne odchylanie g\u0142\u00f3w.\r\n\r\n \r\n\r\n34\r\n\r\n00:02:33,348 --> 00:02:35,961\r\n\r\nCh\u00f3r pochyla si\u0119, trzepocze d\u0142o\u0144mi i wyrzuca je w prz\u00f3d.\r\n\r\n \r\n\r\n35\r\n\r\n00:02:38,556 --> 00:02:41,360\r\n\r\nNa dole ca\u0142y ch\u00f3r. Na g\u00f3rze zbli\u017cenie na spowolnione d\u0142onie.\r\n\r\n \r\n\r\n36\r\n\r\n00:02:42,573 --> 00:02:45,188\r\n\r\nNa obu ekranach zbli\u017cenia. Na p\u0142aszcze, potem na twarze.\r\n\r\n \r\n\r\n37\r\n\r\n00:02:47,218 --> 00:02:48,434\r\n\r\nRytmiczne odchylanie g\u0142\u00f3w.\r\n\r\n \r\n\r\n38\r\n\r\n00:02:51,072 --> 00:02:54,157\r\n\r\nNa dole ch\u00f3r ko\u0142ysze si\u0119 i wachluje. Na g\u00f3rze zbli\u017cenie na twarze.\r\n\r\n \r\n\r\n39\r\n\r\n00:02:54,344 --> 00:02:56,866\r\n\r\nI szybkie przej\u015bcie do uj\u0119\u0107 w basenie na obu ekranach.\r\n\r\n \r\n\r\n40\r\n\r\n00:02:57,006 --> 00:03:00,552\r\n\r\nNa dole ch\u00f3r w g\u0142\u0119bi basenu, w oddali. Powiela gest ko\u0142ysania i wachlowania.\r\n\r\n \r\n\r\n41\r\n\r\n00:03:00,675 --> 00:03:03,337\r\n\r\nNa g\u00f3rze zbli\u017cenie na tafl\u0119 wody z czerwonymi refleksami.\r\n\r\n \r\n\r\n42\r\n\r\n00:03:03,490 --> 00:03:06,993\r\n\r\nNast\u0119pnie na osob\u0119, kt\u00f3ra unosi si\u0119 ku powierzchni. Podobnie jak ca\u0142y ch\u00f3r.\r\n\r\n \r\n\r\n43\r\n\r\n00:03:07,420 --> 00:03:11,295\r\n\r\nNa obu ekranach zbli\u017cenia: na dole na b\u0105belki powietrza, na g\u00f3rze na t\u0119 sam\u0105 osob\u0119.\r\n\r\n \r\n\r\n44\r\n\r\n00:03:11,660 --> 00:03:14,275\r\n\r\nPowr\u00f3t do kadr\u00f3w z ch\u00f3rem na dole i refleksami na g\u00f3rze.\r\n\r\n \r\n\r\n45\r\n\r\n00:03:18,442 --> 00:03:22,511\r\n\r\nCh\u00f3r wyci\u0105ga r\u0119ce do przodu, rozchyla d\u0142onie. Na g\u00f3rze czerwone refleksy zalewaj\u0105 kadr.\r\n\r\n \r\n\r\n46\r\n\r\n00:03:27,251 --> 00:03:28,324\r\n\r\nCh\u00f3r odrywa si\u0119 od dna.\r\n\r\n \r\n\r\n47\r\n\r\n00:03:30,331 --> 00:03:35,237\r\n\r\nNa dolnym ekranie zmiana na pejza\u017c zimowy\r\n\r\ni zbli\u017cenie na dwie z\u0142\u0105czone d\u0142onie. Na g\u00f3rze b\u0105belki w basenie.\r\n\r\n \r\n\r\n48\r\n\r\n00:03:36,677 --> 00:03:40,555\r\n\r\nNa obu ekranach plener. Widok z naro\u017cnika basenu na ch\u00f3r w zwartej grupie, na dnie.\r\n\r\n \r\n\r\n49\r\n\r\n00:03:41,219 --> 00:03:45,560\r\n\r\nOsoby \u0142api\u0105 si\u0119 za r\u0119ce, unosz\u0105 je w g\u00f3r\u0119 i obracaj\u0105 si\u0119 powoli. Na g\u00f3rze zbli\u017cenie na grup\u0119.\r\n\r\n \r\n\r\n50\r\n\r\n00:03:46,508 --> 00:03:50,760\r\n\r\nW kolejnych kadrach zmiany uj\u0119\u0107: zbli\u017cenia na obu ekranach, to zn\u00f3w na dolnym widok z g\u00f3ry.\r\n\r\n \r\n\r\n51\r\n\r\n00:03:55,927 --> 00:03:57,610\r\n\r\nCh\u00f3r ko\u0142ysze si\u0119 rytmicznie w prawo.\r\n\r\n \r\n\r\n52\r\n\r\n00:04:01,787 --> 00:04:04,027\r\n\r\nZbli\u017cenia na jedn\u0105 osob\u0119. Literuje palcami w IS.\r\n\r\n \r\n\r\n53\r\n\r\n00:04:10,493 --> 00:04:13,060\r\n\r\nRytmiczne ko\u0142ysanie ca\u0142ego ch\u00f3ru, na g\u00f3rze w zbli\u017ceniu.\r\n\r\n \r\n\r\n54\r\n\r\n00:04:16,884 --> 00:04:18,240\r\n\r\nGest palenia na obu ekranach.\r\n\r\n \r\n\r\n55\r\n\r\n00:04:20,348 --> 00:04:23,944\r\n\r\nGest cierpienia: d\u0142onie zaciskane przy piersi, i wo\u0142ania: d\u0142onie przy twarzy.\r\n\r\n \r\n\r\n56\r\n\r\n00:04:34,585 --> 00:04:38,087\r\n\r\nNa dolnym ekranie, i na g\u00f3rnym w zbli\u017ceniu, ch\u00f3r powoli zastyga w bezruchu.\r\n\r\n \r\n\r\n57\r\n\r\n00:04:42,287 --> 00:04:44,527\r\n\r\nNa g\u00f3rnym zbli\u017cenie na wyci\u0105gni\u0119t\u0105 poziomo d\u0142o\u0144.\r\n\r\n \r\n\r\n58\r\n\r\n00:04:47,341 --> 00:04:49,583\r\n\r\nNa obu ekranach widok spod wody na kr\u0105g postaci.\r\n\r\n \r\n\r\n59\r\n\r\n00:04:49,781 --> 00:04:52,584\r\n\r\nWyci\u0105gni\u0119te r\u0119ce tworz\u0105 promienisty uk\u0142ad. D\u0142onie m\u0105c\u0105 wod\u0119.\r\n\r\n \r\n\r\n60\r\n\r\n00:04:52,777 --> 00:04:53,756\r\n\r\nTen sam kr\u0105g postaci.\r\n\r\n \r\n\r\n61\r\n\r\n00:04:55,808 --> 00:04:57,630\r\n\r\nWszyscy gapi\u0105 si\u0119 w d\u00f3\u0142, na dno basenu.\r\n\r\n \r\n\r\n62\r\n\r\n00:05:02,343 --> 00:05:04,493\r\n\r\nNa dolnym ekranie kr\u0105g z wyci\u0105gni\u0119tymi r\u0119kami.\r\n\r\n \r\n\r\n63\r\n\r\n00:05:05,028 --> 00:05:08,021\r\n\r\nNa g\u00f3rnym widok spod wody na architektur\u0119 basenu. Obraz faluje.\r\n\r\n \r\n\r\n64\r\n\r\n00:05:09,669 --> 00:05:12,165\r\n\r\nCh\u00f3r miga: The waves of hand sweep across the rocks.\r\n\r\n \r\n\r\n65\r\n\r\n00:05:12,789 --> 00:05:13,678\r\n\r\nUj\u0119cia s\u0105 d\u0142u\u017csze.\r\n\r\n \r\n\r\n66\r\n\r\n00:05:14,254 --> 00:05:15,842\r\n\r\nNa g\u00f3rze niezmiennie architektura.\r\n\r\n \r\n\r\n67\r\n\r\n00:05:17,070 --> 00:05:18,194\r\n\r\nNa dole ch\u00f3r miga dalej.\r\n\r\n \r\n\r\n68\r\n\r\n00:05:21,724 --> 00:05:24,130\r\n\r\nMovements carved in the rocks of the Great Plains.\r\n\r\n \r\n\r\n69\r\n\r\n00:05:32,786 --> 00:05:35,214\r\n\r\nPonownie kr\u0105g gapi\u0105cych si\u0119 postaci na obu ekranach.\r\n\r\n \r\n\r\n70\r\n\r\n00:05:38,281 --> 00:05:40,383\r\n\r\nI zmiana. Na dole migaj\u0105, na g\u00f3rze gapi\u0105 si\u0119.\r\n\r\n \r\n\r\n71\r\n\r\n00:05:41,684 --> 00:05:43,888\r\n\r\nA gaping Spanish coloniser wrote in his diary:\r\n\r\n \r\n\r\n72\r\n\r\n00:05:46,434 --> 00:05:47,979\r\n\r\n\"People speak with their hands\".\r\n\r\n \r\n\r\n73\r\n\r\n00:05:53,933 --> 00:05:55,475\r\n\r\nNa obu ekranach gapi\u0105cy si\u0119 kr\u0105g.\r\n\r\n \r\n\r\n74\r\n\r\n00:06:00,434 --> 00:06:02,673\r\n\r\nPowr\u00f3t do migania na dolnym i na g\u00f3rnym ekranie.\r\n\r\n \r\n\r\n75\r\n\r\n00:06:03,485 --> 00:06:06,497\r\n\r\nNa przemian migaj\u0105 i literuj\u0105 w IS: Plain Indian Sign Language.\r\n\r\n \r\n\r\n76\r\n\r\n00:06:25,342 --> 00:06:27,821\r\n\r\nCh\u00f3r zanurzony, m\u00f3wi i miga: Deaf and hearing equally.\r\n\r\n \r\n\r\n77\r\n\r\n00:06:29,927 --> 00:06:30,953\r\n\r\nPowtarza kilkukrotnie.\r\n\r\n \r\n\r\n78\r\n\r\n00:06:31,383 --> 00:06:33,950\r\n\r\nW tym czasie na g\u00f3rnym ekranie burza b\u0105belk\u00f3w pod wod\u0105.\r\n\r\n \r\n\r\n79\r\n\r\n00:06:38,007 --> 00:06:41,096\r\n\r\nPrzej\u015bcie do jednakowych scen na obu ekranach. Ch\u00f3r wynurza g\u0142owy.\r\n\r\n \r\n\r\n80\r\n\r\n00:06:41,238 --> 00:06:43,857\r\n\r\nDwie osoby p\u0142yn\u0105 w stron\u0119 kamery. Migaj\u0105: Co si\u0119 gapisz?\r\n\r\n \r\n\r\n81\r\n\r\n00:06:44,410 --> 00:06:45,905\r\n\r\nCh\u00f3r na ko\u0144cu basenu, w rz\u0119dzie.\r\n\r\n \r\n\r\n82\r\n\r\n00:06:46,055 --> 00:06:49,601\r\n\r\nPostacie zdublowane, z\u0142\u0105czone w miejscu g\u0142\u00f3w. Nogi na g\u00f3rze i na dole kadru.\r\n\r\n \r\n\r\n83\r\n\r\n00:07:05,677 --> 00:07:08,246\r\n\r\nCh\u00f3r wyci\u0105ga do przodu d\u0142onie, podobnie jak w plenerze.\r\n\r\n \r\n\r\n84\r\n\r\n00:07:11,245 --> 00:07:12,599\r\n\r\nNa g\u00f3rze zbli\u017cenia z profilu.\r\n\r\n \r\n\r\n85\r\n\r\n00:07:13,003 --> 00:07:15,527\r\n\r\nNa ramiona i r\u0119ce wyci\u0105gane do przodu. Na ich odbicia.\r\n\r\n \r\n\r\n86\r\n\r\n00:07:15,783 --> 00:07:16,671\r\n\r\nNa zdublowany ch\u00f3r.\r\n\r\n \r\n\r\n87\r\n\r\n00:07:23,675 --> 00:07:26,849\r\n\r\nSpowolniony przez wod\u0119 ruch, przypomina wypuszczanie czego\u015b z d\u0142oni.\r\n\r\n \r\n\r\n88\r\n\r\n00:07:41,826 --> 00:07:43,506\r\n\r\nNa g\u00f3rze zbli\u017cenie z boku na d\u0142onie.\r\n\r\n \r\n\r\n89\r\n\r\n00:08:00,051 --> 00:08:05,559\r\n\r\nCh\u00f3r przestaje wyci\u0105ga\u0107 r\u0119ce. Na g\u00f3rnym ekranie odwr\u00f3cony kadr. Zbli\u017cenie na rz\u0105d n\u00f3g ze stopami przy g\u00f3rnej kraw\u0119dzi.\r\n\r\n \r\n\r\n90\r\n\r\n00:08:05,779 --> 00:08:09,616\r\n\r\nZmiana. Plener. Odbicie panoramy miasta w wodzie, na g\u00f3rze nurt op\u0142ywaj\u0105cy kamie\u0144.\r\n\r\n \r\n\r\n91\r\n\r\n00:08:14,675 --> 00:08:18,930\r\n\r\nCh\u00f3r nad brzegiem Wis\u0142y. Na obu ekranach szerokie uj\u0119cia i zbli\u017cenia. Zmieniaj\u0105 si\u0119 szybko.\r\n\r\n \r\n\r\n92\r\n\r\n00:08:21,040 --> 00:08:22,675\r\n\r\nNa dole ch\u00f3r w s\u0142o\u0144cu, w okularach.\r\n\r\n \r\n\r\n93\r\n\r\n00:08:24,494 --> 00:08:27,347\r\n\r\nSchyla si\u0119, podnosi i kiwa rytmicznie do ty\u0142u. Literuje w IS.\r\n\r\n \r\n\r\n94\r\n\r\n00:08:28,976 --> 00:08:30,565\r\n\r\nStoi na piasku, w p\u0142ytkiej wodzie.\r\n\r\n \r\n\r\n95\r\n\r\n00:08:32,562 --> 00:08:35,227\r\n\r\nNa g\u00f3rze nieruchomo na \u015bniegu. D\u0142onie poziomo przy talii.\r\n\r\n \r\n\r\n96\r\n\r\n00:08:36,399 --> 00:08:38,594\r\n\r\nNa obu ekranach zbli\u017cenia na kiwaj\u0105cy si\u0119 ch\u00f3r.\r\n\r\n \r\n\r\n97\r\n\r\n00:08:40,072 --> 00:08:42,032\r\n\r\nD\u0142onie uk\u0142adaj\u0105 si\u0119 w kolejne litery zda\u0144.\r\n\r\n \r\n\r\n98\r\n\r\n00:08:43,393 --> 00:08:45,215\r\n\r\nFingerspelling is beautiful for eyes.\r\n\r\n \r\n\r\n99\r\n\r\n00:08:46,514 --> 00:08:47,682\r\n\r\nNa g\u00f3rze ch\u00f3r nieruchomo.\r\n\r\n \r\n\r\n100\r\n\r\n00:08:48,934 --> 00:08:50,711\r\n\r\nNa dole zbli\u017cenie na kalosze w wodzie.\r\n\r\n \r\n\r\n101\r\n\r\n00:08:50,771 --> 00:08:51,566\r\n\r\nNa g\u00f3rze na ch\u00f3r.\r\n\r\n \r\n\r\n102\r\n\r\n00:08:55,585 --> 00:08:57,175\r\n\r\nZbli\u017cenia na ch\u00f3r na obu ekranach.\r\n\r\n \r\n\r\n103\r\n\r\n00:09:02,223 --> 00:09:04,556\r\n\r\nPowr\u00f3t do uj\u0119\u0107 z oddali. Na g\u00f3rze ch\u00f3r nieruchomo.\r\n\r\n \r\n\r\n104\r\n\r\n00:09:07,476 --> 00:09:08,316\r\n\r\nZbli\u017cenia na ch\u00f3r.\r\n\r\n \r\n\r\n105\r\n\r\n00:09:10,705 --> 00:09:11,735\r\n\r\nRytmiczne literowanie:\r\n\r\n \r\n\r\n106\r\n\r\n00:09:11,977 --> 00:09:12,698\r\n\r\nFingerspelling\r\n\r\n \r\n\r\n107\r\n\r\n00:09:14,194 --> 00:09:15,496\r\n\r\nis frustrating for deafies.\r\n\r\n \r\n\r\n108\r\n\r\n00:09:17,837 --> 00:09:19,521\r\n\r\nNa g\u00f3rze ch\u00f3r nieruchomo. Na \u015bniegu.\r\n\r\n \r\n\r\n109\r\n\r\n00:09:22,648 --> 00:09:25,595\r\n\r\nNa dole zbli\u017cenie na sk\u0142ony ch\u00f3ru. Na g\u00f3rze l\u00f3d wok\u00f3\u0142 kamienia.\r\n\r\n \r\n\r\n110\r\n\r\n00:09:27,203 --> 00:09:28,696\r\n\r\nNa dole ch\u00f3r w oddali, w s\u0142o\u0144cu.\r\n\r\n \r\n\r\n111\r\n\r\n00:09:30,315 --> 00:09:32,560\r\n\r\nI zmiana na refleksy czerwieni na mokrym piachu.\r\n\r\n \r\n\r\n112\r\n\r\n00:09:37,125 --> 00:09:38,992\r\n\r\nNa obu ekranach r\u00f3\u017cne zbli\u017cenia na ch\u00f3r.\r\n\r\n \r\n\r\n113\r\n\r\n00:09:44,558 --> 00:09:46,518\r\n\r\nNa dole i na g\u00f3rze widok z oddali na ch\u00f3r.\r\n\r\n \r\n\r\n114\r\n\r\n00:09:48,263 --> 00:09:49,196\r\n\r\nCh\u00f3r literuje dalej.\r\n\r\n \r\n\r\n115\r\n\r\n00:09:49,793 --> 00:09:50,518\r\n\r\nFingerspelling\r\n\r\n \r\n\r\n116\r\n\r\n00:09:51,894 --> 00:09:53,165\r\n\r\nIs needed for remembrance.\r\n\r\n \r\n\r\n117\r\n\r\n00:09:54,694 --> 00:09:55,534\r\n\r\nZbli\u017cenia na ch\u00f3r.\r\n\r\n \r\n\r\n118\r\n\r\n00:10:00,307 --> 00:10:01,849\r\n\r\nPowr\u00f3t do og\u00f3lnych uj\u0119\u0107 z oddali.\r\n\r\n \r\n\r\n119\r\n\r\n00:10:09,463 --> 00:10:12,453\r\n\r\nNa dole czerwone refleksy na wodzie. Na g\u00f3rze zbli\u017cenie na ch\u00f3r.\r\n\r\n \r\n\r\n120\r\n\r\n00:10:16,085 --> 00:10:17,813\r\n\r\nZbli\u017cenia na ch\u00f3r na dole i na g\u00f3rze.\r\n\r\n \r\n\r\n121\r\n\r\n00:10:23,983 --> 00:10:25,946\r\n\r\nOg\u00f3lne uj\u0119cia ch\u00f3ru. W s\u0142o\u0144cu i na \u015bniegu.\r\n\r\n \r\n\r\n122\r\n\r\n00:10:30,541 --> 00:10:35,171\r\n\r\nNa dole zbli\u017cenie. Ch\u00f3r stoi spokojnie na pla\u017cy. Na g\u00f3rze widok ch\u00f3ru na \u015bniegu i zbli\u017cenie na d\u0142onie.\r\n\r\n \r\n\r\n123\r\n\r\n00:10:46,585 --> 00:10:51,443\r\n\r\nCh\u00f3r ponownie pod wod\u0105. Na dole widok znad tafli. Na g\u00f3rze pod wod\u0105, w kadrze odwr\u00f3conym do g\u00f3ry nogami.\r\n\r\n \r\n\r\n124\r\n\r\n00:10:52,073 --> 00:10:54,551\r\n\r\nG\u00f3rny kadr bez zmian. Na dolnym zbli\u017cenie. Ch\u00f3r miga:\r\n\r\n \r\n\r\n125\r\n\r\n00:10:55,257 --> 00:10:55,918\r\n\r\nI see the air,\r\n\r\n \r\n\r\n126\r\n\r\n00:10:57,645 --> 00:10:58,483\r\n\r\nstraining upwards,\r\n\r\n \r\n\r\n127\r\n\r\n00:10:59,948 --> 00:11:00,860\r\n\r\nthe air in my lungs\r\n\r\n \r\n\r\n128\r\n\r\n00:11:03,097 --> 00:11:03,529\r\n\r\nmay burst\u2026\r\n\r\n \r\n\r\n129\r\n\r\n00:11:06,851 --> 00:11:08,531\r\n\r\nCh\u00f3r odbija si\u0119 od dna, wynurza si\u0119.\r\n\r\n \r\n\r\n130\r\n\r\n00:11:10,594 --> 00:11:14,566\r\n\r\nNa dolnym ekranie odbicie p\u0142aszczy w wodzie. Na g\u00f3rze scena pod wod\u0105, do g\u00f3ry nogami.\r\n\r\n \r\n\r\n131\r\n\r\n00:11:14,777 --> 00:11:17,161\r\n\r\nZmienia si\u0119 na plenerow\u0105. Zbli\u017cenie. Ch\u00f3r kiwa si\u0119.\r\n\r\n \r\n\r\n132\r\n\r\n00:11:18,502 --> 00:11:19,668\r\n\r\nLiteruje tylko fonicznie.\r\n\r\n \r\n\r\n133\r\n\r\n00:11:20,173 --> 00:11:22,693\r\n\r\nD\u0142onie przy tu\u0142owiu. Unosz\u0105 si\u0119 lekko przy odchylaniu.\r\n\r\n \r\n\r\n134\r\n\r\n00:11:23,303 --> 00:11:24,796\r\n\r\nNa dolnym ekranie ch\u00f3r w s\u0142o\u0144cu.\r\n\r\n \r\n\r\n135\r\n\r\n00:11:25,825 --> 00:11:27,693\r\n\r\nNa g\u00f3rnym na \u015bniegu. Tym razem kiwa si\u0119.\r\n\r\n \r\n\r\n136\r\n\r\n00:11:31,303 --> 00:11:33,075\r\n\r\nNa dole zbli\u017cenie na kalosze w wodzie.\r\n\r\n \r\n\r\n137\r\n\r\n00:11:35,172 --> 00:11:37,365\r\n\r\nZbli\u017cenia na obu ekranach: na twarze i na r\u0119ce.\r\n\r\n \r\n\r\n138\r\n\r\n00:11:38,925 --> 00:11:40,232\r\n\r\nNa dole ponownie na kalosze.\r\n\r\n \r\n\r\n139\r\n\r\n00:11:42,274 --> 00:11:43,722\r\n\r\nI na ch\u00f3r schylaj\u0105cy si\u0119 w d\u00f3\u0142.\r\n\r\n \r\n\r\n140\r\n\r\n00:11:44,043 --> 00:11:45,118\r\n\r\nNa g\u00f3rze l\u00f3d na wodzie.\r\n\r\n \r\n\r\n141\r\n\r\n00:11:49,136 --> 00:11:50,211\r\n\r\nNa dole ch\u00f3r na piasku.\r\n\r\n \r\n\r\n142\r\n\r\n00:11:51,183 --> 00:11:52,445\r\n\r\nCh\u00f3r literuje po angielsku:\r\n\r\n \r\n\r\n143\r\n\r\n00:11:52,863 --> 00:11:54,734\r\n\r\nYour eyes are beautiful like aquamarine.\r\n\r\n \r\n\r\n144\r\n\r\n00:11:55,458 --> 00:11:56,486\r\n\r\nSzybkie zmiany kadr\u00f3w.\r\n\r\n \r\n\r\n145\r\n\r\n00:11:57,343 --> 00:11:58,791\r\n\r\nZbli\u017cenia na p\u0142aszcze, na r\u0119ce.\r\n\r\n \r\n\r\n146\r\n\r\n00:11:59,712 --> 00:12:00,738\r\n\r\nNa refleksy na wodzie.\r\n\r\n \r\n\r\n147\r\n\r\n00:12:02,849 --> 00:12:04,716\r\n\r\nTo zn\u00f3w ca\u0142y ch\u00f3r na piasku i na \u015bniegu.\r\n\r\n \r\n\r\n148\r\n\r\n00:12:10,385 --> 00:12:13,983\r\n\r\nNa dole odbicie p\u0142aszczy w wodzie. Na g\u00f3rze zbli\u017cenie na wyprostowane d\u0142onie.\r\n\r\n \r\n\r\n149\r\n\r\n00:12:18,673 --> 00:12:19,886\r\n\r\nNa dole fragment p\u0142aszcza.\r\n\r\n \r\n\r\n150\r\n\r\n00:12:22,477 --> 00:12:24,344\r\n\r\nZbli\u017cenie na nogi w kaloszach, w wodzie.\r\n\r\n \r\n\r\n151\r\n\r\n00:12:25,325 --> 00:12:28,415\r\n\r\nNa g\u00f3rze kadr na basenie. Sylwetki rozedrgane przez faluj\u0105c\u0105 wod\u0119.\r\n\r\n \r\n\r\n152\r\n\r\n00:12:29,119 --> 00:12:30,614\r\n\r\nNa dole nadal zbli\u017cenie na nogi.\r\n\r\n \r\n\r\n153\r\n\r\n00:12:31,023 --> 00:12:33,827\r\n\r\nCh\u00f3r schyla si\u0119. Wyci\u0105ga r\u0119ce, jakby wypuszcza\u0142 co\u015b do wody.\r\n\r\n \r\n\r\n154\r\n\r\n00:12:45,728 --> 00:12:47,318\r\n\r\nZmiana. Na dole kadr z sylwetkami.\r\n\r\n \r\n\r\n155\r\n\r\n00:12:47,579 --> 00:12:51,880\r\n\r\nNa g\u00f3rze scena na wp\u00f3\u0142 w wodzie, w zwolnionym tempie. Kobieta zarzuca na boki blond w\u0142osami.\r\n\r\n \r\n\r\n156\r\n\r\n00:12:52,091 --> 00:12:55,965\r\n\r\nNa dole ch\u00f3r pod wod\u0105, w oddali. Sylwetki zdublowane. Jakby zro\u015bni\u0119te w miejscu g\u0142\u00f3w.\r\n\r\n \r\n\r\n157\r\n\r\n00:12:56,758 --> 00:12:58,531\r\n\r\nNa g\u00f3rze zbli\u017cenia na zdublowany ch\u00f3r.\r\n\r\n \r\n\r\n158\r\n\r\n00:12:59,365 --> 00:13:01,515\r\n\r\nCh\u00f3r \u015bpiewaj\u0105c powtarza gest wyci\u0105gania d\u0142oni.\r\n\r\n \r\n\r\n159\r\n\r\n00:13:05,932 --> 00:13:08,504\r\n\r\nNa g\u00f3rze ponownie zbli\u017cenie na kobiet\u0119 o blond w\u0142osach.\r\n\r\n \r\n\r\n160\r\n\r\n00:13:09,532 --> 00:13:10,931\r\n\r\nI na d\u0142onie wyci\u0105gane w prz\u00f3d.\r\n\r\n \r\n\r\n161\r\n\r\n00:13:15,487 --> 00:13:17,265\r\n\r\nNa g\u00f3rze zbli\u017cenie na zdublowany ch\u00f3r.\r\n\r\n \r\n\r\n162\r\n\r\n00:13:31,052 --> 00:13:32,358\r\n\r\nWi\u0119ksze zbli\u017cenie, inny k\u0105t.\r\n\r\n \r\n\r\n163\r\n\r\n00:13:42,893 --> 00:13:44,853\r\n\r\nSpowolnione zbli\u017cenia na ramiona, na r\u0119ce.\r\n\r\n \r\n\r\n164\r\n\r\n00:13:56,955 --> 00:13:58,170\r\n\r\nCh\u00f3r pozostaje w bezruchu.\r\n\r\n \r\n\r\n165\r\n\r\n00:14:01,676 --> 00:14:05,656\r\n\r\nNa dole uj\u0119cie znad wody. Grupa os\u00f3b trzyma w r\u0119kach okr\u0105g\u0142e lustra. Przegl\u0105daj\u0105 si\u0119.\r\n\r\n \r\n\r\n166\r\n\r\n00:14:08,102 --> 00:14:10,155\r\n\r\nPoruszaj\u0105 mechanicznie g\u0142owami i sylabizuj\u0105:\r\n\r\n \r\n\r\n167\r\n\r\n00:14:12,610 --> 00:14:15,254\r\n\r\nI - am - colo - nized.\r\n\r\n \r\n\r\n168\r\n\r\n00:14:17,044 --> 00:14:20,921\r\n\r\nW tym czasie na g\u00f3rnym ekranie zbli\u017cenie na stopy. Drepcz\u0105 i z trudem dotykaj\u0105 dna.\r\n\r\n \r\n\r\n169\r\n\r\n00:15:02,896 --> 00:15:04,768\r\n\r\nNa obu ekranach kolejne uj\u0119cia pod wod\u0105.\r\n\r\n \r\n\r\n170\r\n\r\n00:15:07,006 --> 00:15:08,828\r\n\r\nKilka os\u00f3b przep\u0142ywa nad kamer\u0105 i miga.\r\n\r\n \r\n\r\n171\r\n\r\n00:15:15,563 --> 00:15:16,825\r\n\r\nPrzep\u0142ywaj\u0105 w r\u00f3\u017cne strony.\r\n\r\n \r\n\r\n172\r\n\r\n00:15:19,512 --> 00:15:20,725\r\n\r\nUj\u0119cia bli\u017csze lub dalsze.\r\n\r\n \r\n\r\n173\r\n\r\n00:16:29,785 --> 00:16:31,932\r\n\r\nNa dolnym ekranie zbli\u017cenie na burz\u0119 b\u0105belk\u00f3w.\r\n\r\n \r\n\r\n174\r\n\r\n00:16:44,224 --> 00:16:46,651\r\n\r\nNa g\u00f3rnym ekranie ch\u00f3r nadal p\u0142ywa przy powierzchni.\r\n\r\n \r\n\r\n175\r\n\r\n00:16:46,878 --> 00:16:49,913\r\n\r\nNa dolnym uj\u0119cie nad wod\u0105. Ch\u00f3r kr\u0119ci g\u0142owami, gwi\u017cd\u017ce i szepcze.\r\n\r\n \r\n\r\n176\r\n\r\n00:17:41,958 --> 00:17:45,975\r\n\r\nNa dole ch\u00f3r pod wod\u0105, g\u0142owy niewidoczne, wynurzone. Odbicia sylwetek faluj\u0105 na tafli.\r\n\r\n \r\n\r\n177\r\n\r\n00:17:48,427 --> 00:17:49,920\r\n\r\nJedna z os\u00f3b podp\u0142ywa do kamery.\r\n\r\n \r\n\r\n178\r\n\r\n00:17:51,438 --> 00:17:53,962\r\n\r\nMa na sobie niebiesko-czerwone ubranie i srebrne buty.\r\n\r\n \r\n\r\n179\r\n\r\n00:17:55,389 --> 00:17:57,491\r\n\r\nM\u00f3wi, a z ust wydobywaj\u0105 si\u0119 b\u0105ble powietrza.\r\n\r\n \r\n\r\n180\r\n\r\n00:18:05,070 --> 00:18:09,183\r\n\r\nNa obu ekranach zbli\u017cenie na nogi w kaloszach, na \u015bniegu. Cofaj\u0105 si\u0119 od kraw\u0119dzi basenu.\r\n\r\n \r\n\r\n181\r\n\r\n00:18:09,807 --> 00:18:10,930\r\n\r\nCh\u00f3r nad pustym basenem.\r\n\r\n \r\n\r\n182\r\n\r\n00:18:12,280 --> 00:18:16,025\r\n\r\nNa dole wyci\u0105ga r\u0119ce. Na g\u00f3rze zbli\u017cenie na d\u0142onie. Nieruchome, przy p\u0142aszczach.\r\n\r\n \r\n\r\n183\r\n\r\n00:18:17,694 --> 00:18:20,169\r\n\r\nUj\u0119cia i choreografia s\u0105 troch\u0119 inne ni\u017c na pocz\u0105tku.\r\n\r\n \r\n\r\n184\r\n\r\n00:18:21,231 --> 00:18:23,990\r\n\r\nNa g\u00f3rnym ekranie ch\u00f3r wyrzuca r\u0119ce i odsuwa si\u0119 od basenu.\r\n\r\n \r\n\r\n185\r\n\r\n00:18:27,971 --> 00:18:30,868\r\n\r\nNa dolnym zbli\u017cenie na ch\u00f3r. W kadrze nieostra linia drabinki.\r\n\r\n \r\n\r\n186\r\n\r\n00:18:32,305 --> 00:18:34,127\r\n\r\nCh\u00f3r schyla si\u0119 z wyci\u0105gni\u0119tymi r\u0119kami.\r\n\r\n \r\n\r\n187\r\n\r\n00:18:34,698 --> 00:18:41,337\r\n\r\nW szerszym kadrze wida\u0107 dwie grupy, po dw\u00f3ch stronach pustego basenu. Grupa na pierwszym planie, po prawej stronie, filmowana jest zza plec\u00f3w.\r\n\r\n \r\n\r\n188\r\n\r\n00:18:42,023 --> 00:18:46,085\r\n\r\nGrupa na dolnym ekranie prostuje si\u0119 i obraca w bok. R\u0119ce unosi ponad g\u0142ow\u0119 i opuszcza.\r\n\r\n \r\n\r\n189\r\n\r\n00:18:46,465 --> 00:18:49,318\r\n\r\nW tym czasie druga grupa, na g\u00f3rnym ekranie, stoi nieruchomo.\r\n\r\n \r\n\r\n190\r\n\r\n00:18:52,789 --> 00:18:54,847\r\n\r\nNa g\u00f3rnym ekranie kr\u00f3tkie zbli\u017cenie na ch\u00f3r.\r\n\r\n \r\n\r\n191\r\n\r\n00:18:55,486 --> 00:18:59,591\r\n\r\nNa dolnym ekranie ponownie szerszy kadr. Grupa z prawej podnosi r\u0119ce i trzepocze d\u0142o\u0144mi.\r\n\r\n \r\n\r\n192\r\n\r\n00:19:00,579 --> 00:19:03,103\r\n\r\nNa g\u00f3rze ta sama grupa. Sfilmowana od strony kraw\u0119dzi.\r\n\r\n \r\n\r\n193\r\n\r\n00:19:05,540 --> 00:19:10,082\r\n\r\nNa dolnym ekranie grupa z lewej. Z dw\u00f3ch rz\u0119d\u00f3w tworzy jeden i zatrzymuje si\u0119 bokiem do kraw\u0119dzi.\r\n\r\n \r\n\r\n194\r\n\r\n00:19:10,474 --> 00:19:12,624\r\n\r\nUnosi r\u0119ce, trzepocze i wyrzuca d\u0142onie w g\u00f3r\u0119.\r\n\r\n \r\n\r\n195\r\n\r\n00:19:20,029 --> 00:19:22,367\r\n\r\nPo kolei jedna osoba pochyla si\u0119 na plecy drugiej.\r\n\r\n \r\n\r\n196\r\n\r\n00:19:22,945 --> 00:19:28,687\r\n\r\nDruga grupa widoczna jest na zmian\u0119 w szerszych kadrach i zbli\u017ceniach, r\u00f3wnie\u017c na dolnym ekranie. Przysuwa si\u0119 do kraw\u0119dzi.\r\n\r\n \r\n\r\n197\r\n\r\n00:19:28,874 --> 00:19:33,086\r\n\r\nPodnosi r\u0119ce, wyrzuca d\u0142onie do g\u00f3ry, a potem \u0142\u0105czy je nad g\u0142owami i ko\u0142ysze nimi na boki.\r\n\r\n \r\n\r\n198\r\n\r\n00:19:37,674 --> 00:19:40,104\r\n\r\nNa g\u00f3rnym ekranie zbli\u017cenie na d\u0142onie ponad g\u0142owami.\r\n\r\n \r\n\r\n199\r\n\r\n00:19:44,511 --> 00:19:46,941\r\n\r\nGrupa po lewej - na dolnym ekranie. Nadal pochylona.\r\n\r\n \r\n\r\n200\r\n\r\n00:19:53,580 --> 00:19:54,702\r\n\r\nPowr\u00f3t do scen pod wod\u0105.\r\n\r\n \r\n\r\n201\r\n\r\n00:19:55,291 --> 00:19:56,877\r\n\r\nNa dole zdublowany ch\u00f3r w rz\u0119dzie.\r\n\r\n \r\n\r\n202\r\n\r\n00:19:57,089 --> 00:19:59,049\r\n\r\nNa g\u00f3rze tylko g\u0142\u0119bia basenu. Bez ch\u00f3ru.\r\n\r\n \r\n\r\n203\r\n\r\n00:20:03,158 --> 00:20:06,615\r\n\r\nW dolnym kadrze, przed ch\u00f3rem, pojawia si\u0119 posta\u0107. P\u0142ynie nisko przy dnie.\r\n\r\n \r\n\r\n \r\n\r\n204\r\n\r\n00:20:11,029 --> 00:20:12,989\r\n\r\nPorusza si\u0119 zwinnie pomi\u0119dzy nogami ch\u00f3ru.\r\n\r\n \r\n\r\n205\r\n\r\n00:20:15,189 --> 00:20:17,242\r\n\r\nCh\u00f3r powtarza gest wyci\u0105gania r\u0105k do przodu.\r\n\r\n \r\n\r\n206\r\n\r\n00:20:26,532 --> 00:20:30,171\r\n\r\nPosta\u0107 wyp\u0142ywa poza kadr, wtedy pojawia si\u0119 na g\u00f3rnym ekranie. Sama w basenie.\r\n\r\n \r\n\r\n207\r\n\r\n00:20:30,461 --> 00:20:32,189\r\n\r\nNa dolnym r\u00f3wnie\u017c, w du\u017cym zbli\u017ceniu.\r\n\r\n \r\n\r\n208\r\n\r\n00:20:33,087 --> 00:20:34,069\r\n\r\nPrzesuwa si\u0119 po dnie.\r\n\r\n \r\n\r\n209\r\n\r\n00:20:40,643 --> 00:20:43,723\r\n\r\nNa dolnym ekranie ponownie ch\u00f3r w oddali. Obraca si\u0119 powoli ty\u0142em.\r\n\r\n \r\n\r\n210\r\n\r\n00:21:02,862 --> 00:21:05,618\r\n\r\nNa dole rozproszony ch\u00f3r pod wod\u0105 w r\u00f3\u017cnych uj\u0119ciach. Miga.\r\n\r\n \r\n\r\n211\r\n\r\n00:21:06,174 --> 00:21:09,302\r\n\r\nNa g\u00f3rze uj\u0119cie znad powierzchni wody. Samotna posta\u0107 le\u017cy na dnie.\r\n\r\n \r\n\r\n \r\n\r\n212\r\n\r\n00:21:15,051 --> 00:21:17,104\r\n\r\nNa obu ekranach grupa w r\u00f3\u017cnych zbli\u017ceniach.\r\n\r\n \r\n\r\n213\r\n\r\n00:21:17,595 --> 00:21:20,355\r\n\r\nPowtarza jeden gest: \u0142\u0105czy przed sob\u0105 poziomo przedramiona.\r\n\r\n \r\n\r\n214\r\n\r\n00:21:29,234 --> 00:21:32,736\r\n\r\nNa dolnym ekranie samotna posta\u0107 znika poza kadrem. Na g\u00f3rnym le\u017cy na dnie.\r\n\r\n \r\n\r\n \r\n\r\n215\r\n\r\n00:21:35,355 --> 00:21:37,968\r\n\r\nNa g\u00f3rnym ekranie kr\u0119gi na wodzie tworzone przez krople.\r\n\r\n \r\n\r\n216\r\n\r\n00:21:38,233 --> 00:21:41,394\r\n\r\nNa dole dwie osoby migaj\u0105: people depart, others take their places.\r\n\r\n \r\n\r\n217\r\n\r\n00:21:44,034 --> 00:21:45,108\r\n\r\nWynurzaj\u0105 si\u0119 nad wod\u0119.\r\n\r\n \r\n\r\n218\r\n\r\n00:21:45,327 --> 00:21:47,582\r\n\r\nSze\u015b\u0107 os\u00f3b pod wod\u0105. Migaj\u0105: I try, but I miss.\r\n\r\n \r\n\r\n219\r\n\r\n00:21:51,274 --> 00:21:52,478\r\n\r\nOthers take their places.\r\n\r\n \r\n\r\n220\r\n\r\n00:22:01,518 --> 00:22:02,172\r\n\r\nWynurzaj\u0105 si\u0119.\r\n\r\n \r\n\r\n221\r\n\r\n00:22:03,274 --> 00:22:07,393\r\n\r\nOsiem os\u00f3b miga: time and again, I try, the hollowness remains, I sign, I sign, I sign.\r\n\r\n \r\n\r\n222\r\n\r\n00:22:08,434 --> 00:22:10,385\r\n\r\nUntil someone finally notices something.\r\n\r\n \r\n\r\n223\r\n\r\n00:22:15,034 --> 00:22:15,687\r\n\r\nWynurzaj\u0105 si\u0119.\r\n\r\n \r\n\r\n224\r\n\r\n00:22:16,460 --> 00:22:20,891\r\n\r\nDziesi\u0119\u0107 os\u00f3b: I sign, I sign, I sign, maybe finally they will hear. I sign, I sign, I sign.\r\n\r\n \r\n\r\n225\r\n\r\n00:22:22,566 --> 00:22:23,858\r\n\r\nMy patience is not in vain.\r\n\r\n \r\n\r\n226\r\n\r\n00:22:33,107 --> 00:22:34,323\r\n\r\nLike on an assambly line.\r\n\r\n \r\n\r\n227\r\n\r\n00:22:38,947 --> 00:22:41,565\r\n\r\nCh\u00f3r ma wynurzone g\u0142owy i ramiona. Palcami dziobie wod\u0119.\r\n\r\n \r\n\r\n228\r\n\r\n00:22:50,589 --> 00:22:52,647\r\n\r\nSceny w zimowym pejza\u017cu, cz\u0119ste zmiany uj\u0119\u0107.\r\n\r\n \r\n\r\n229\r\n\r\n00:22:56,252 --> 00:23:00,455\r\n\r\nNa dole trzy osoby. W r\u00f3\u017cnych miejscach kompleksu basenowego. Unosz\u0105 praw\u0105 r\u0119k\u0119 nad g\u0142ow\u0119.\r\n\r\n \r\n\r\n230\r\n\r\n00:23:00,652 --> 00:23:03,408\r\n\r\nNa g\u00f3rze nocne uj\u0119cia: pustego basenu i ch\u00f3ru na jego dnie.\r\n\r\n \r\n\r\n231\r\n\r\n00:23:06,312 --> 00:23:08,320\r\n\r\nCh\u00f3r ko\u0142ysze si\u0119 wolno i zastyga w miejscu.\r\n\r\n \r\n\r\n232\r\n\r\n00:23:16,260 --> 00:23:18,411\r\n\r\nNa dole trzy osoby krocz\u0105 w ty\u0142 wzd\u0142u\u017c basenu.\r\n\r\n \r\n\r\n233\r\n\r\n00:23:21,037 --> 00:23:24,637\r\n\r\nNa dole ch\u00f3r na dnie basenu. Ko\u0142ysze si\u0119 i zastyga. Rytm o\u017cywia go na chwil\u0119.\r\n\r\n \r\n\r\n234\r\n\r\n00:23:25,766 --> 00:23:29,224\r\n\r\nZmiana. Sceny pod wod\u0105. Na dole w otch\u0142a\u0144 wody zanurza si\u0119 samotna posta\u0107.\r\n\r\n \r\n\r\n235\r\n\r\n00:23:32,283 --> 00:23:34,198\r\n\r\nNa g\u00f3rze ch\u00f3r. Po chwili r\u00f3wnie\u017c na dole.\r\n\r\n \r\n\r\n236\r\n\r\n00:23:37,554 --> 00:23:39,891\r\n\r\nR\u00f3\u017cne uj\u0119cia. Ch\u00f3r swobodnie porusza si\u0119 pod wod\u0105.\r\n\r\n \r\n\r\n237\r\n\r\n00:23:41,978 --> 00:23:43,658\r\n\r\nNa g\u00f3rze akrobacje samotnej postaci.\r\n\r\n \r\n\r\n238\r\n\r\n00:23:44,512 --> 00:23:45,587\r\n\r\nCh\u00f3r ponownie na g\u00f3rze.\r\n\r\n \r\n\r\n239\r\n\r\n00:23:49,765 --> 00:23:51,542\r\n\r\nPosta\u0107 zatacza pod wod\u0105 ko\u0142o. Pionowo.\r\n\r\n \r\n\r\n240\r\n\r\n00:23:54,952 --> 00:23:57,054\r\n\r\nCh\u00f3r \u015bpiewa i wypuszcza z ust feri\u0119 b\u0105belk\u00f3w.\r\n\r\n \r\n\r\n241\r\n\r\n00:24:03,127 --> 00:24:06,629\r\n\r\nR\u00f3\u017cne uj\u0119cia. Ch\u00f3r jakby ta\u0144czy\u0142. Obraca si\u0119. Niekt\u00f3re osoby robi\u0105 fiko\u0142ki.\r\n\r\n \r\n\r\n242\r\n\r\n00:24:13,998 --> 00:24:15,682\r\n\r\nNa dole ch\u00f3r na sekund\u0119 wynurza si\u0119.\r\n\r\n \r\n\r\n243\r\n\r\n00:24:21,680 --> 00:24:22,569\r\n\r\nPo zanurzeniu miga.\r\n\r\n \r\n\r\n244\r\n\r\n00:24:41,758 --> 00:24:43,860\r\n\r\nCh\u00f3r porusza si\u0119 swobodnie. Miga mi\u0119dzy sob\u0105.\r\n\r\n \r\n\r\n245\r\n\r\n00:24:54,833 --> 00:24:57,779\r\n\r\nNa g\u00f3rze odwr\u00f3cony kadr. Zbli\u017cenie na kilka os\u00f3b i ich odbicia.\r\n\r\n \r\n\r\n246\r\n\r\n00:24:58,098 --> 00:25:00,107\r\n\r\nNa dolnym te same osoby. Uj\u0119cie ponad wod\u0105.\r\n\r\n \r\n\r\n247\r\n\r\n00:25:00,438 --> 00:25:03,056\r\n\r\nGestykuluj\u0105, poruszaj\u0105 g\u0142owami. Wymawiaj\u0105 s\u0142owo \"water\".\r\n\r\n \r\n\r\n248\r\n\r\n00:25:14,016 --> 00:25:16,584\r\n\r\nWyrazy twarzy, ruchy, gesty s\u0105 wystudiowane. Teatralne.\r\n\r\n \r\n\r\n249\r\n\r\n00:25:22,645 --> 00:25:23,813\r\n\r\nWygl\u0105daj\u0105 jakby \u015bpiewali.\r\n\r\n \r\n\r\n250\r\n\r\n00:25:34,981 --> 00:25:37,411\r\n\r\nNa koniec solo m\u0119\u017cczyzny, kt\u00f3ry stoi po\u015brodku grupy.\r\n\r\n \r\n\r\n251\r\n\r\n00:25:49,700 --> 00:25:51,895\r\n\r\nNa dolnym ekranie rozedrgane refleksy sylwetek.\r\n\r\n \r\n\r\n252\r\n\r\n00:25:55,864 --> 00:25:58,438\r\n\r\nNa g\u00f3rnym ekranie du\u017ce zbli\u017cenia. Na b\u0105belki powietrza.\r\n\r\n \r\n\r\n253\r\n\r\n00:25:59,927 --> 00:26:01,938\r\n\r\nNa pojedyncze osoby. Na ubrania, na w\u0142osy.\r\n\r\n \r\n\r\n254\r\n\r\n00:26:03,470 --> 00:26:08,043\r\n\r\nNa dole ch\u00f3r pod wod\u0105. Powtarza gesty z pleneru: faluje d\u0142o\u0144mi przy ciele i odchyla g\u0142owy do ty\u0142u.\r\n\r\n \r\n\r\n255\r\n\r\n00:26:12,478 --> 00:26:14,535\r\n\r\nWynurza g\u0142owy. Dalej faluje d\u0142o\u0144mi pod wod\u0105.\r\n\r\n \r\n\r\n256\r\n\r\n00:26:15,781 --> 00:26:18,634\r\n\r\nNa g\u00f3rze zbli\u017cenie na ramiona i podbr\u00f3dki. G\u0142owy ponad tafl\u0105.\r\n\r\n \r\n\r\n257\r\n\r\n00:26:20,563 --> 00:26:22,478\r\n\r\nZbli\u017cenia na g\u0142owy, na b\u0105belki powietrza.\r\n\r\n \r\n\r\n258\r\n\r\n00:26:25,585 --> 00:26:30,309\r\n\r\nCh\u00f3r ponownie si\u0119 zanurza. Wykonuje gest wyci\u0105gania r\u0105k, trzepotania d\u0142o\u0144mi i wyrzucania ich w prz\u00f3d.\r\n\r\n \r\n\r\n259\r\n\r\n00:26:34,310 --> 00:26:36,691\r\n\r\nNa g\u00f3rze zbli\u017cenie na plecy i faluj\u0105ce, rude w\u0142osy.\r\n\r\n \r\n\r\n260\r\n\r\n00:26:41,873 --> 00:26:45,892\r\n\r\nNa g\u00f3rze, po chwili r\u00f3wnie\u017c na dole, identyczne zbli\u017cenia. Ale kadr na dole odwr\u00f3cony.\r\n\r\n \r\n\r\n261\r\n\r\n00:26:46,105 --> 00:26:51,056\r\n\r\nOsoba w czerwonej bluzce zanurza si\u0119. Wygl\u0105da jakby min\u0119\u0142a si\u0119 ze sob\u0105. Pozostawia po sobie tylko b\u0105belki.\r\n\r\n \r\n\r\n262\r\n\r\n00:26:53,093 --> 00:26:56,598\r\n\r\nNa dolnym ekranie zdublowany ch\u00f3r w g\u0142\u0119bi. Na g\u00f3rnym zbli\u017cenie na sylwetki.\r\n\r\n \r\n\r\n263\r\n\r\n00:26:56,831 --> 00:26:59,733\r\n\r\nCh\u00f3r powtarza gest wyci\u0105gania r\u0105k. Pojawia si\u0119 samotna posta\u0107.\r\n\r\n \r\n\r\n264\r\n\r\n00:27:04,734 --> 00:27:06,601\r\n\r\nNa g\u00f3rnym ekranie r\u00f3\u017cne zbli\u017cenia ch\u00f3ru.\r\n\r\n \r\n\r\n265\r\n\r\n00:27:08,926 --> 00:27:11,263\r\n\r\nPosta\u0107 przep\u0142ywa nisko przy dnie, pomi\u0119dzy nogami.\r\n\r\n \r\n\r\n266\r\n\r\n00:27:15,871 --> 00:27:17,319\r\n\r\nNa obu ekranach migaj\u0105ce osoby.\r\n\r\n \r\n\r\n267\r\n\r\n00:27:23,509 --> 00:27:25,611\r\n\r\nMigaj\u0105 pojedynczo, albo w mniejszych grupach.\r\n\r\n \r\n\r\n268\r\n\r\n00:27:33,505 --> 00:27:35,091\r\n\r\nNa dole rozproszony ch\u00f3r w oddali.\r\n\r\n \r\n\r\n269\r\n\r\n00:27:35,576 --> 00:27:37,866\r\n\r\nNa g\u00f3rze zbli\u017cenia na pojedyncze osoby lub grupy.\r\n\r\n \r\n\r\n270\r\n\r\n00:27:38,815 --> 00:27:40,961\r\n\r\nCh\u00f3r porusza si\u0119 swobodnie, kr\u0119ci si\u0119, ta\u0144czy.\r\n\r\n \r\n\r\n271\r\n\r\n00:27:49,212 --> 00:27:51,265\r\n\r\nNa obu ekranach r\u00f3\u017cne uj\u0119cia, coraz szybsze.\r\n\r\n \r\n\r\n272\r\n\r\n00:27:57,460 --> 00:27:59,562\r\n\r\nCz\u0119\u015b\u0107 ch\u00f3ru dalej miga, cze\u015b\u0107 \u015bpiewa pod wod\u0105\r\n\r\n \r\n\r\n273\r\n\r\n00:28:01,678 --> 00:28:04,154\r\n\r\nPoruszaj\u0105 si\u0119 dynamicznie otoczeni b\u0105blami powietrza.\r\n\r\n \r\n\r\n274\r\n\r\n00:28:05,361 --> 00:28:09,280\r\n\r\nPonownie samotna posta\u0107, zawieszona pionowo w wodzie. Na g\u00f3rze przep\u0142ywa nad kamer\u0105.\r\n\r\n \r\n\r\n275\r\n\r\n00:28:09,461 --> 00:28:12,123\r\n\r\nZmiany kadr\u00f3w s\u0105 coraz szybsze. Dalsze plany i zbli\u017cenia.\r\n\r\n \r\n\r\n276\r\n\r\n00:28:14,043 --> 00:28:17,309\r\n\r\nPosta\u0107 na zmian\u0119 unosi si\u0119 samotnie w wodzie lub p\u0142ywa razem z ch\u00f3rem.\r\n\r\n \r\n\r\n277\r\n\r\n00:28:21,745 --> 00:28:23,051\r\n\r\nZmiany kadr\u00f3w przyspieszaj\u0105.\r\n\r\n \r\n\r\n278\r\n\r\n00:28:30,674 --> 00:28:34,269\r\n\r\nSceny mieszaj\u0105 si\u0119: \u015bpiew, miganie, swobodne p\u0142ywanie, nurkowanie, akrobacje.\r\n\r\n \r\n\r\n279\r\n\r\n00:28:53,043 --> 00:28:56,131\r\n\r\nIntensywno\u015b\u0107 scen i nieskr\u0119powany ruch sprawiaj\u0105 wra\u017cenie rado\u015bci.\r\n\r\n \r\n\r\n280\r\n\r\n00:29:17,887 --> 00:29:19,705\r\n\r\nW ko\u0144cu pozostaje tylko samotna posta\u0107.\r\n\r\n \r\n\r\n281\r\n\r\n00:29:20,729 --> 00:29:22,831\r\n\r\nNa dolnym ekranie zwieszona jest g\u0142ow\u0105 w d\u00f3\u0142.\r\n\r\n \r\n\r\n282\r\n\r\n00:29:23,086 --> 00:29:24,908\r\n\r\nObraca si\u0119 w bok i si\u0119ga stopami tafli.\r\n\r\n \r\n\r\n283\r\n\r\n00:29:25,691 --> 00:29:27,517\r\n\r\nNa g\u00f3rnym ekranie obraz jest odwr\u00f3cony.\r\n\r\n \r\n\r\n284\r\n\r\n00:29:27,789 --> 00:29:31,850\r\n\r\nPosta\u0107, cho\u0107 wskakuje do wody, wygl\u0105da jakby wybi\u0142a si\u0119 w g\u00f3r\u0119 i wystartowa\u0142a do biegu.\r\n\r\n \r\n\r\n285\r\n\r\n00:29:39,820 --> 00:29:41,455\r\n\r\nNa dolnym ekranie r\u00f3wnie\u017c startuje.\r\n\r\n \r\n\r\n286\r\n\r\n00:29:42,676 --> 00:29:43,703\r\n\r\nRuch jest spowolniony.\r\n\r\n \r\n\r\n287\r\n\r\n00:29:53,177 --> 00:29:56,168\r\n\r\nObraz \u015bciemnia si\u0119 i znika na dolnym, a potem na g\u00f3rnym ekranie.\r\n\r\n \r\n\r\n \r\n\r\nskrypt \u2013 Paulina Celi\u0144ska\r\n\r\nkonsultacje \u2013 Maria Nowak, Kamila Albin","post_title":"J\u0119zyki z wody - Deskrypcja instalacji","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"jezyki-z-wody-audiodeskrypcja-tekstowa","to_ping":"","pinged":"","post_modified":"2026-07-17 10:38:44","post_modified_gmt":"2026-07-17 08:38:44","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&p=8800","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8621,"post_author":"1","post_date":"2026-05-06 11:48:12","post_date_gmt":"2026-05-06 09:48:12","post_content":"","post_title":"J\u0119zyki z wody. Dokumentacja wystawy","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"jezyki-z-wody-widoki-wystawy-i-portrety-zespolu","to_ping":"","pinged":"","post_modified":"2026-07-17 11:24:32","post_modified_gmt":"2026-07-17 09:24:32","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&p=8621","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8778,"post_author":"1","post_date":"2026-05-25 16:10:43","post_date_gmt":"2026-05-25 14:10:43","post_content":"","post_title":"J\u0119zyki z wody. Portrety zespo\u0142u autorskiego","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"jezyki-z-wody-portrety-zespolu-autorskiego","to_ping":"","pinged":"","post_modified":"2026-07-17 11:33:11","post_modified_gmt":"2026-07-17 09:33:11","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&p=8778","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8499,"post_author":"1","post_date":"2026-04-23 12:40:37","post_date_gmt":"2026-04-23 10:40:37","post_content":"<span data-olk-copy-source=\"MessageBody\">J\u0119zyki z wody, 2026, teaser, archiwum Zach\u0119ty<\/span>","post_title":"J\u0119zyki z wody. Teaser (widescreen)","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"trailer-jezyki-z-wody","to_ping":"","pinged":"","post_modified":"2026-05-06 11:28:25","post_modified_gmt":"2026-05-06 09:28:25","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&p=8499","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8616,"post_author":"1","post_date":"2026-05-06 11:31:36","post_date_gmt":"2026-05-06 09:31:36","post_content":"<span data-olk-copy-source=\"MessageBody\">J\u0119zyki z wody, 2026, teaser, archiwum Zach\u0119ty<\/span>","post_title":"J\u0119zyki z wody. Teaser (mobile vertical)","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"jezyki-z-wody-teaser-mobile-vertical","to_ping":"","pinged":"","post_modified":"2026-05-06 11:31:36","post_modified_gmt":"2026-05-06 09:31:36","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&p=8616","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8690,"post_author":"1","post_date":"2026-05-14 14:47:48","post_date_gmt":"2026-05-14 12:47:48","post_content":"","post_title":"J\u0119zyki z wody - broszura","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"jezyki-z-wody-broszura","to_ping":"","pinged":"","post_modified":"2026-05-14 14:49:21","post_modified_gmt":"2026-05-14 12:49:21","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&p=8690","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":9095,"post_author":"1","post_date":"2026-09-09 10:19:30","post_date_gmt":"2026-09-09 08:19:30","post_content":"Oprawa graficzna broszury wykonana w czerwono-niebesko-be\u017cowej identyfikacji wizualnej sk\u0142ada si\u0119 ze zdj\u0119\u0107\/kadr\u00f3w wykonanych na basenie pod wod\u0105. Na zdj\u0119ciach osoby z Ch\u00f3ru w ruchu ubrane w czerwone stroje wykonuj\u0105 choreografi\u0119\r\n<h1>Liquid Tongues<\/h1>\r\n<h2>Bogna Burska, Daniel Kotowski<\/h2>\r\n \r\n\r\n \r\n\r\n<em>Liquid Tongues<\/em> is an audio and video installation. In it, Bogna Burska and Daniel Kotowski explore new ways to communicate, and their inspiration extends far beyond human life. They invited the Choir in Motion (Ch\u00f3r w Ruchu) to perform. For this project, the Choir includes both hearing and Deaf performers who sing whale songs and sign in International Sign Language (IS). The result is a mix of visual, spatial, and sound fantasies about the meaning of communication.\r\n\r\nRoger Payne's legendary <em>Songs of the Humpback Whale<\/em> (1970) inspired the project. His recordings showed the whales' intelligence and rich cultures, which led to a ban on whale hunting and helped save them from dying out. At the same time, Payne's work showed that art can save unheard voices.\r\n\r\n<em>Liquid Tongues<\/em> paints a picture of loss but also of cultural rebirth. The project looks at efforts to reclaim languages pushed aside by dominant voices. It shows Payne's work and the meaning of his recordings. It tells the story of hundreds of humpback whales off West Africa. These whales usually live alone, but here, they gather in groups. This may be a new behavior or an old one returning. The project brings to life the long-lost sound of the <em>qilaat<\/em>, a ritual drum Indigenous people in Greenland once played. It highlights efforts to revive Hand Talk, the Plains Indian Sign Language. This language was used by both hearing and Deaf Indigenous people in North America. The project pictures how Deaf people are stepping back from spoken-language training and taking control. Instead, they are creating their own sense of agency. The installation revives the feminist figure of the Whale Rider, inspired by a New Zealand myth. Together, these stories help us imagine alternatives for the world. They show how we can rebuild what dominant voices have destroyed. We might ask, as Sabrina Imbler does: \"How will you regrow, and in how many ways?\"\r\n\r\nBased on the idea of Deaf Gain, deafness isn't seen as a disability. It is a separate culture. Identity which offers new perspectives and forms of expression. Most of the footage was shot in water. Deaf people can sign freely there, but hearing people can only make muffled sounds. The boundary between air and water is where artists experiment with communication. It is a mirror where different languages, bodies, and sensations meet.\r\n\r\nFor the 2026 Biennale, Koyo Kouoh uses the musical metaphor of a \"minor key.\" She invites us to listen to soft voices, hidden stories, and forgotten memories we often overlook. She encourages us to find gentle ways to resist. To try sensitive experiments. To create communities that live in harmony. Within this vision, <em>Liquid Tongues<\/em> aims to change the way we communicate. It seeks to build communities where every voice counts, including the voices of animals.\r\n\r\nCurators: EWA CHOMICKA, JOLANTA WOSZCZENKO\r\n\r\n \r\n<h1>Liquid Tongues: Libretto<\/h1>\r\n<h2>Bogna Burska, Daniel Kotowski<\/h2>\r\n \r\n\r\n<em>whup<\/em>\r\n\r\n<em>swoops<\/em>\r\n\r\n<em>swoops<\/em>\r\n\r\n<em>growl<\/em>\r\n\r\n<em>teepee<\/em>\r\n\r\n<em>ascending shriek<\/em>\r\n\r\n*\r\n\r\na dead body\r\n\r\na dead pile of meat\r\n\r\na dead mountain on the beach\r\n\r\nit lies there and people carve words in it\r\n\r\n'I love Jane'\r\n\r\npeople extinguish cigarettes in a nostril\r\n\r\nof the whale that died\r\n\r\nhis heart almost burst\r\n\r\nhe almost died of sadness\r\n\r\n*\r\n\r\nthe waves of the hand sweep across the rocks\r\n\r\nmovements carved in the rocks of the Great Plains\r\n\r\nPlain Indian Sign Language\r\n\r\na gaping Spanish coloniser wrote in his diary:\r\n\r\n'People speak with their hands'\r\n\r\nHAND TALK\r\n\r\nHAND TALK\r\n\r\nHAND TALK\r\n\r\n*\r\n\r\nDeaf and hearing equally\r\n\r\n*\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\n*\r\n\r\ntoday the sperm whales spoke to me\r\n\r\n*\r\n\r\nf-i-n-g-e-r-s-p-e-l-l-i-n-g-i-s-a-b-e-a-u-t-i-f-u-l-f-o-r-e-y-e-s\r\n\r\nf-i-n-g-e-r-s-p-e-l-l-i-n-g-i-s-a-f-r-u-s-t-r-a-t-i-n-g-f-o-r-d-e-a-f-i-e-s\r\n\r\nf-i-n-g-e-r-s-p-e-l-l-i-n-g-i-s-n-e-e-d-e-d-f-o-r-r-e-m-e-m-b-r-a-n-c-e\r\n\r\n*\r\n\r\ntoday we tried to understand\r\n\r\nwhat the sperm whales are saying to us\r\n\r\n*\r\n\r\nI see the air\r\n\r\nstraining upwards\r\n\r\nthe air in my lungs\r\n\r\n(may burst)\r\n\r\n \r\n\r\ny-o-u-r-e-y-e-s-a-r-e-b-e-a-u-t-i-f-u-l-l-i-k-e-a-q-u-a-m-a-r-i-n-e\r\n\r\n*\r\n\r\ntomorrow we'll talk to the whales\r\n\r\n*\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\n*\r\n\r\nI AM CO-LO-NIZED\r\n\r\nI AM CO-LO-NIZED\r\n\r\n*\r\n\r\nthe bear's stomach fell silent\r\n\r\nnot even the notes were left\r\n\r\nthe polar night lost its rhythm\r\n\r\nthe polar day lost its rhythm\r\n\r\nthe rituals melted\r\n\r\nMother Sea combed the fishes' hair\r\n\r\nseaweed and urchins, slower and slower\r\n\r\nhe brought home\r\n\r\n<em>ulu<\/em> knives big and small\r\n\r\nhe got them from one of the last shamans\r\n\r\nright after\r\n\r\nhis wife gave birth to a daughter\r\n\r\nthe <em>ulu<\/em> knives are calm\r\n\r\nagain the drums ring out from the guts\r\n\r\nhis daughter and her daughter say\r\n\r\nthat although no one remembers the old melodies\r\n\r\nwhen you hear the <em>qilaat<\/em> drum\r\n\r\nyou feel a root in your belly\r\n\r\n*\r\n\r\nyou mustn't whistle during the northern lights\r\n\r\nbecause the ghosts\r\n\r\nplay ball with skulls\r\n\r\nthey might tear off your head\r\n\r\n*\r\n\r\nyou can't play ball\r\n\r\nyou can't play ball\r\n\r\nyou can't play ball\r\n\r\n*\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n*\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\n*\r\n\r\nblack spines\r\n\r\nblack, black spines\r\n\r\nspiky, veiny maws\r\n\r\nsurfacing vertically\r\n\r\nagape\r\n\r\nlike great clapping clams\r\n\r\nstraining live protein with baleens\r\n\r\novergrown bulging\r\n\r\ncovered in lumps\r\n\r\na bell\r\n\r\na great mussel\r\n\r\n \r\n\r\nhundreds\r\n\r\nhundreds of lonely animals\r\n\r\nbegan to meet\r\n\r\nwhat are they doing there?\r\n\r\nwhat are they doing there?\r\n\r\nwhat are they doing there?\r\n\r\nwhat are they doing there?\r\n\r\n*\r\n\r\npeople depart\r\n\r\nothers take their places\r\n\r\nI sign, I sign, I sign\r\n\r\npam, pam, pam\r\n\r\nI try, but I miss\r\n\r\nothers take their places\r\n\r\nI sign, I sign, I sign\r\n\r\npam, pam, pam\r\n\r\ntime and again\r\n\r\nI try, the hollowness remains...\r\n\r\nI sign, I sign, I sign\r\n\r\nuntil someone finally notices something\r\n\r\nI sign, I sign, I sign\r\n\r\nmaybe finally they'll hear\r\n\r\nI sign, I sign, I sign\r\n\r\n \r\n\r\nmy patience is not in vain\r\n\r\nlike on an assembly line\r\n\r\n \r\n\r\nrain in the water\r\n\r\n*\r\n\r\nwhat burst\r\n\r\nwhat burst\r\n\r\nwhat bursts\r\n\r\nwhat bursts\r\n\r\nwhat bursts\r\n\r\n*\r\n\r\nsing like me\u2014you're underwater\r\n\r\nhere only the whales sing\r\n\r\nhere people sing with their hands\r\n\r\nlook like me\u2014you're underwater\r\n\r\n \r\n\r\nslay, slay, slay, slay\r\n\r\n \r\n\r\nsing like me\u2014you're underwater\r\n\r\nsing like me\u2014you're underwater\r\n\r\nsing like me\u2014you're underwater\r\n\r\n \r\n\r\nwater, water, water, water\r\n\r\n*\r\n\r\n<em>swops<\/em>\r\n\r\n<em>swops<\/em>\r\n\r\n<em>growl<\/em>\r\n\r\n<em>growl<\/em>\r\n\r\n*\r\n\r\nshe came on the back of the whale\r\n\r\n \r\n\r\nwe're not signing for you, we're signing for us\r\n\r\nnot you, not us\r\n\r\nnot you, not us\r\n\r\n \r\n\r\nshe came on the back of the whale\r\n\r\n \r\n\r\nwe're not singing for you, we're singing for us\r\n\r\nnot you, not us\r\n\r\nnot you, not us\r\n\r\n \r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\n \r\n<h1>Selected stories from the libretto<\/h1>\r\n<h2>Whup, swoops...<\/h2>\r\n \r\n\r\n \r\n\r\nThis scene shows how humpback whales communicate. To do so, the Choir uses sound, sign language, and movement. <em>Whup, swoop, growl, teepee<\/em>, and <em>ascending shriek<\/em> are some of the calls whales make. The Choir performs them first by the swimming pool and then underwater. Scientists study these sounds as part of the humpbacks' social life. The calls featured here are from the work of Dr. Michelle Fournet. To learn more, visit her site: <a href=\"https:\/\/www.google.com\/search?q=https%3A%2F%2Fwww.michellefournet.wordpress.com&authuser=1\">site of Dr. Michelle Fournet<\/a>.\r\n\r\nToday, noise pollution from ships and sea technologies distorts whale communication.\r\n<h2>A dead body<\/h2>\r\n \r\n\r\n \r\n\r\nThis part of the project is inspired by Roger Payne and his recordings. While he was walking along the shore, he found the body of a whale washed up on the beach. The body was badly hurt. Someone burned a cigarette in its blowhole, somebody else cut \"I love Jane\" into its skin. People's indifference to the animal shocked him. In 1970, he published <em>Songs of the Humpback Whale<\/em>. These legendary recordings helped lead to a ban on whale hunting and saved them from dying out.\r\n<h2>Hand Talk<\/h2>\r\n \r\n\r\n \r\n\r\nMany people think sign languages are only 200\u2013300 years old. But Plains Indian Sign Language (PISL) is much older. Its history appears in old stone drawings (petroglyphs) on the Great Plains. In the 1500s, Spanish explorers called it \"Hand Talk.\" Deaf and hearing Indigenous Americans used PISL daily, in ceremonies, and for storytelling. It brought people together despite their differences.\r\n\r\nBy the late 1800s, U.S. government policies caused the language to fade away. Native children were forced to use English. Deaf Native Americans had to learn American Sign Language (ASL), and their native sign languages were banned. As a result, very few people continued to use PISL. Today, people are working hard to save it. Experts such as Professor Melanie McKay-Cody and Deaf Native American groups are working to keep it alive. You can still see the influence of PISL in the ASL used today.\r\n<h2>She came on the back of the whale<\/h2>\r\n \r\n\r\n \r\n\r\nIn 1987, Witi Ihimaera wrote <em>The Whale Rider<\/em>, a book based on a M\u0101ori legend about an ancestor named Paikea. According to the myth, Paikea survived a disaster at sea because a whale carried him on its back to New Zealand. In M\u0101ori culture, whales are ancestors and protectors. <em>The Whale Rider<\/em> is a feminist version of the myth. The main character is a young girl from Paikea's family line. She has a special power: she can communicate with whales. The book was made into a movie in 2002. In 2006, a proposal was made in New Zealand's parliament to give whales \"legal personhood.\" This would give whales the right to move freely, live in a healthy environment, and grow.\r\n<h2>F-i-n-g-e-r-s-p-e-l-l-i-n-g<\/h2>\r\n \r\n\r\n \r\n\r\nMany scientists are researching how whales communicate. Recent studies show that humpback whale sounds obey Zipf's law. This means they use some sounds more often than others. Researchers found \"codes\" in sperm whale calls. These codes act like vowels, shaping the calls' structure and rhythm.\r\n\r\nIn this scene, sound, sign language, and movement blend together. They aim to express \"sperm-whale\" and interpret vowels. The scene also refers to how Deaf people view fingerspelling. It is less seen as practical and more tied to the alphabet of spoken language. This perception makes it feel more like \"translation\" than natural communication.\r\n<h2>I AM CO-LO-NIZED<\/h2>\r\n \r\n\r\n \r\n\r\nThe text talks about colonization. It is inspired by Harlan Lane and his book, <em>The Mask of Benevolence: Disabling the Deaf Community<\/em>. Lane compares the experience of Deaf people to the way Europeans colonized Africa. In both cases, a powerful people forced its language, rules, and values on others. This phrase illustrates the feeling of being controlled by others. It is about losing one's identity and the right to make choices within their culture. The scene refers to \"speech therapy,\" which many Deaf people undergo to fit into \"normal\" society.\r\n<h2>Drum qilaat!<\/h2>\r\n \r\n\r\n \r\n\r\nWhen Christian colonizers came to Greenland, they banned Indigenous rituals. This caused many traditions to fade away, like the qilaat. This shamanic frame drum was used in songs and ceremonies. Today, Greenlanders are making and using these drums again. The original melodies are gone. But making the drum helps bring back their language and culture. These instruments were once made from polar bear stomach skins. Now, makers use different materials. Many Native Greenlanders say they feel their bodies vibrate when they hear the drum.\r\n<h2>You mustn't whistle during the northern lights<\/h2>\r\n \r\n\r\n \r\n\r\nGreenland's Inuit think that during the Northern Lights, spirits play with human skulls. You shouldn't whistle then, or you might catch their attention and risk danger. This tale about \"losing one's head\" warns: don't cross the line between our world and the unknown.\r\n<h2>Whup, whup, whup...<\/h2>\r\n \r\n\r\n \r\n\r\nIn humpback communication, the whup call likely means \"hello\" or \"it's me.\" It is both a social signal and a way for whales to recognize each other. Dr. Michelle Fournet, a researcher of humpbacks, made her own whup sound. She then played it underwater. She probably made the first-ever exchange of information between a human and a humpback.\r\n<h2>Black spines<\/h2>\r\n \r\n\r\n \r\n\r\nHumpbacks typically live alone. However, for over ten years, large groups have been gathering off the coast of West Africa. These are groups of up to 200 whales. We do not know if this is a new habit or an old one returning as the population grows after the end of whaling. We also don't know why they gather. Perhaps to find food (krill) or to teach social behavior to the young ones. What we do know is that they are very active together; they hunt, dive, and sing as a group.\r\n<h2>Pam, pam, pam<\/h2>\r\n \r\n\r\n \r\n\r\nThis text explores the experience of a sign language user. They must fight to be noticed and understood. Their phrases repeat, just like these difficult situations. With every new space and group of people, they need to re-explain themselves. The moments of visibility are very short-lived. It is a story about an endless battle for presence and the right to use sign language.\r\n\r\n \r\n<h1>Roger Payne and his recordings<\/h1>\r\nIn the early 1960s, biologist and animal sound expert Roger Payne was walking along the shore. He saw a whale's body washed up on the beach. People had treated the whale with such a lack of respect that it paralyzed the scientist. Someone burned a cigarette in its blowhole, and somebody else cut \"I love Jane\" into its skin. Deeply moved, Payne felt a strong urge to show the world the true value of whales. He wanted to connect humans with these amazing creatures.\r\n\r\nWhales were once on the verge of dying out because of destructive human activity. The Industrial Revolution relied heavily on whale oil. Commercial whaling led to the loss of 90% to 99% of their population, depending on the species.\r\n\r\nRoger Payne's famous <em>Songs of the Humpback Whale<\/em> from the 1970s led to a ban on whale hunting. This saved humpback whales from dying out. Payne's recordings of complex whale sounds showed the world how intelligent they are. People realized that whale songs have a structure like musical compositions. This story shows how art has the power to save voices that were once unheard.\r\n\r\nToday, some whale species are returning, but others are still in danger of dying out.\r\n<h1>The water community<\/h1>\r\nPeople once believed water creatures mirrored those living in the air. Aristotle's seed theory claimed that all creatures came from one seed. They then grew into either land or water animals, depending on where the seed had landed. Today, Steve Mentz, who coined the term \"Blue Humanities,\" looks at Shakespeare's view of the ocean. He describes water as a \"terrifyingly lost paradise\" (<em>At the Bottom of Shakespeare's Ocean<\/em>). It's the home we all come from, but one we can't go back to. However, Astrida Neimanis (<em>Bodies of Water<\/em>) argues that this home is actually \"within us.\" She describes our bodies as \"bodies of water,\" shaped by the liquid substance that flows through us all. She sees water as an active, strong force that can control, help, and create. All at the same time. We exist in this world of water, moving across and beyond it, and living within and between it. Water is not just H\u2082O, but a complex network of relations and flows\u2014a fluid presence that is everywhere. It changes how we see identity, both human and nonhuman. It shows us a world that is fragile, ever-changing, and liquid.\r\n\r\nThe idea of a more-than-human hydro-community helps us rethink social connections and survival. It invites us to pay attention to signals from non-human animals and the environment. \"Though [sea mammals] spend most or all their time in water, they do not have gills. We, too, on land, are often navigating contexts that seem impossible for us to breathe in, and yet we must,\" writes Alexis Pauline Gumbs (<em>Undrowned: Black Feminist Lessons from Marine Mammals<\/em>).\r\n\r\nShe views sea mammals as our water cousins. By observing them, she learns lessons about care, resilience, and respecting boundaries. Gumbs' writings send a clear activist message: systemic violence and a damaged environment mean species must unite and work together more closely. As she says, we are all constantly \"undrowning.\u201d\r\n<h1>Whale communications and songs<\/h1>\r\nFor a long time, we thought oceans and seas were silent. But recordings have revealed a complex world of underwater communication. Many whales, like humpbacks, sperm whales, orcas, and dolphins, communicate in ways similar to a language. This suggests they have one of the oldest social structures on Earth, with millions of years of history. Scientists from various fields are working together to study whale communication. Recent studies show that humpback whales communicate using Zipf's law. This means they use some sounds more often than others. Almost all human languages show this pattern. Additionally, researchers found that sperm whale sounds include parts that act like vowels in human speech.\r\n\r\nHumpback whale songs are some of the most complex and interesting sounds animals make. Researcher Ellen C. Garland is among those who study them. They consist of small sound units that form phrases. These phrases create patterns that build into longer sequences. They can last anywhere from minutes to around half an hour and may repeat for longer periods. Even though the songs have a clear structure, they change over time. Whales add or remove parts as they learn from each other. This is like how birds learn songs or humans learn a language. Sometimes, a completely new song replaces the old one. This is called a \"song revolution,\" and it can spread across the ocean as whales travel.\r\n<h1>Climate crisis<\/h1>\r\nSound travels more than four times faster in water than in air. Underwater sound corridors let it travel hundreds or even thousands of kilometers. This allows whales to communicate across huge distances. However, modern oceans are full of noise pollution from ships and sea technology. As a result, whales go silent, leave their feeding areas, or change their travel routes. Some even die. Whales\u2014many of which use sound to \"see\" (echolocation)\u2014now face a major ecological and climate crisis. Another big threat to their lives is the new plan for deep-sea mining. In her book <em>Bodies of Water<\/em>, Astrida Neimanis writes that we feel the climate crisis most deeply in water.\r\n<h1>Everything is connected<\/h1>\r\nStories of exploitation mirror one another, no matter the species. We are all being divided and used\u2014human and animal bodies and even whole landscapes. In the past, people thought the underwater world was silent. They viewed whales just as a resource. A speech-centered culture marginalized Deaf people and viewed deafness as a medical issue. The Deaf minority was forced to speak and forbidden to use sign language.\r\n\r\nSunaura Taylor, the creator of \"disabled ecologies,\" connects these issues. She says that ableism and speciesism work in similar ways. One hurts disabled people, and the other harms animals. They are tied together; therefore, we must set ourselves free together as well.\r\n<h1>Deaf gain<\/h1>\r\n<em>Liquid Tongues<\/em> is inspired by the Deaf Gain concept. In it, deafness isn't seen as a problem that needs repair or a cure. Instead, it is a culture and an identity that offers us unique perspectives and potential. Deaf Gain shows how Deaf individuals enrich our world. They bring diversity and value to everyone, including those who can hear. It highlights Deaf people's innovative problem-solving and adaptation skills. Deaf individuals live in a hearing world, so they have created unique ways to communicate. They have a strong sense of their surroundings and can process many visual cues. These skills are crucial in many areas, such as technology, design, and education. For example, a Deaf driver invented car side mirrors. TV captions were first made for Deaf people, but now everyone uses them.\r\n\r\nA big part of the project takes place in water, which shows the advantage Deaf people have there. Underwater, Deaf people can communicate freely using sign language. In contrast, hearing people can only make strange, distorted sounds. The privilege and domination of hearing people end there. This shift is a key part of the project. It shows that in the right place, voices that seem \"weak\" can reveal their true strength.\r\n\r\nThis project challenges the idea that a \"real\" language must use a voice. This belief is called phonocentrism. The philosopher Jacques Derrida claimed that it isn't \"a natural, universal rule.\" He argued it's a historical prejudice. Derrida maintained that speaking is not more important than writing. His ideas, though not about sign languages, help us see the link between spoken and sign languages. H-Dirksen L. Bauman looks at Derrida's work through <em>deaf eyes<\/em>. He shows how the focus on speech was used to push sign languages and Deaf people to the margins of society. Bauman emphasizes that we must treat sign language as a full, complete, and equal language.\r\n<h1>LIQUID TONGUES \u2014 WHAT KIND OF LANGUAGES ARE THESE?<\/h1>\r\n<em>Liquid Tongues<\/em> features the Choir in Motion (Ch\u00f3r w Ruchu), a group of Deaf and hearing performers. Together, they use both voices and sign language to interpret whale songs.\r\n\r\n<em>Liquid Tongues<\/em> is always in motion between different languages. The performance uses International Sign (IS), which is a global mix of signing systems. IS uses the whole body and facial expressions to tell a story better. Here, IS is combined with singing by both hearing and Deaf performers in certain scenes. These human sounds meet the voices of whales. Finally, the group uses movement and dance as another way to speak. Sometimes, the languages separate and each tells its own story. Other times, they unite for a powerful, dynamic mix of sound and movement. Sometimes, they \"talk\" to shape one another. All of it shows that communication is a process that people create and negotiate with each other.\r\n\r\nWhale songs and codes flow through what you see and hear in this project. The Choir performs multi-layered songs, inspired by humpback whales. The electronic sounds echo the rhythmic clicks of sperm whales. The project experiments with \"speaking sperm-whale\", based on the latest science. These experiments blend with attempts to translate whale calls into sign language.\r\n\r\nDeaf artist Daniel Kotowski collaborated with a hearing interpreter to create these translations. He relied on her visual and spatial signs, as well as choreographic tools and sound vibrations, to guide him. His goal was to turn whale sounds into a visual experience. Kotowski used facial expressions and gestures to interpret the codes and animal behavior. These are likely the first translations of their kind in International Sign (IS). In this project, \"translation\" means more than just swapping words between languages. It is a creative and critical act. A tool for imagination that invites us to look beyond ourselves and see the world in new ways.\r\n\r\nA key part of <em>Liquid Tongues<\/em> is a series of sound experiments. In one of them, the project explores how human breath and voice change between air and water. Much of the video and audio was recorded underwater. This setting shows that Deaf people can use sign language freely in the water. In contrast, hearing people can only make broken and distorted sounds.\r\n\r\n<em>Liquid Tongues<\/em> are languages that go beyond \"normal\" rules. This is the space for voices that are usually quiet. For non-verbal language systems and non-standard ways to build relationships. A space where all of them get an equal say and grow stronger. Alexis Pauline Gumbs (<em>Undrowned<\/em>) explains that they can learn how to survive from marine mammals. They learn that resistance can come from play and love. You can find it in refusal, but also in respecting each other's limits. The animals teach us how to stay on the surface together and remain \"undrowned.\"\r\n\r\n<em>Liquid Tongues<\/em> is a project about songs and singing, including signing-as-singing. But at the core, it's about listening and mindfulness. Whales were saved because their songs were finally \"heard.\" This proves that listening leads to change. In this project, listening is not just about the physical ability to hear. It is a transformative resource. It comes from being open to other voices, silences, vibrations, and \"tuning in\" to others. It is about truly hearing what is around us.\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\n<strong>Bogna Burska and Daniel Kotowski<\/strong> teamed up in 2018 for the play <em>Rebellion of the Deaf<\/em>. Burska directed, and Kotowski served as a consultant. The play was inspired by the 1988 protests at Gallaudet University in Washington, D.C. Because of these events, the first Deaf university president was appointed. The project looked at how language shapes society. It also studied universal languages and what accessibility means. After that, Burska and Kotowski continued collaborating. In 2025, they launched the <em>Rebellion of the Deaf. Renewal<\/em>. This project featured a large choir with both hearing and Deaf performers. They also appeared together in the video <em>Breathe<\/em> (2025). In it, they looked at how communication changes underwater for Deaf and hearing people. Kotowski also completed his doctoral studies under Burska's supervision at the Academy of Fine Arts in Gda\u0144sk (2021\u20132024). <em>Liquid Tongues<\/em> is their latest collaboration. In their cooperation they always focus on how people communicate despite their differences. Alongside their joint efforts, they pursue their own unique art careers.\r\n<h1>Bogna Burska<\/h1>\r\n<strong>Bogna Burska<\/strong> is a versatile artist. She works with painting, photography, video, and installation. She is also a playwright and a director of experimental films and theater. In 2025, she decided to become a performer herself. Her work explores the body, memory, and emotions. She often challenges popular culture and the way we look at the world. She enjoys blending things that are beautiful with elements often seen as \"ugly.\" Recently, she has concentrated on communication. This helps her understand our connections in changing environments. She graduated with a painting degree from the Academy of Fine Arts in Warsaw. Then, she worked at the Academy of Fine Arts in Gda\u0144sk from 2006 to 2024. She is now a professor back at the Academy of Fine Arts in Warsaw.\r\n<h1>Daniel Kotowski<\/h1>\r\n<strong>Daniel Kotowski<\/strong> is a multimedia and intermedia artist. He creates videos, performances, installations, photographs, and objects. He also directs plays. His work examines social and linguistic communication, biopower, and biopolitics. He questions social norms. He shows how hierarchies support some people and leave others behind. He describes himself by saying: \"I am a marker of incompleteness. I don't fit the norm because I am Deaf and I do not speak.\" He creates his own communication strategies and art by navigating the \"in between.\" This includes the worlds of Deaf and hearing people, as well as queer and heteronormative spaces. He got his degree from the Polish-Japanese Academy of Information Technology and the Academy of Fine Arts in Warsaw. Currently, he is preparing to defend his PhD dissertation.\r\n<h1>Choir in Motion<\/h1>\r\nChoir in Motion (Ch\u00f3r w Ruchu) is a social and experimental group. It mixes music, performance, visual arts, and spatial work. For nine years, the group developed under a different name at one of Warsaw's museums. They created musical performances, art interventions, and soundtracks for films and plays. When they lost their original home at the institution, they chose to rebuild the group as a grassroots movement. In early 2024, the Choir was reborn in its current form. It is an independently organized effort outside institutional frameworks. It stays open to new ideas and experiments.\r\n\r\nThe Choir first sang and signed for the project <em>Rebellion of the Deaf. Renewal<\/em> (2025). It was directed by Bogna Burska, with Daniel Kotowski's collaboration. In that project, the artists explored the themes of communication and accessibility. This collaboration built a special community of hearing and Deaf people. They learned from each other, even with language barriers. They performed together, using both phonic and sign languages. <em>Liquid Tongues<\/em> continues this process. It pushes the limits of how we view communication. It also reshapes our ideas about communities and worlds, including those that are more-than-human.\r\n<h1>The Polish Pavilion<\/h1>\r\nFor the last seventy years the caretaker of the Polish Pavilion has been Zach\u0119ta\u2014National Gallery of Art, the organizer of the exhibition during the 61st International Art Exhibition\u2014La Biennale di Venezia. Poland has been participating at Biennale Arte since 1932, and at the Biennale Architettura since 1991. The construction of the Polish Pavilion in Venice was financed in the 1930s by the Polish government, whose property it remains to this day. The Pavilion's mission is focused on the promotion of contemporary art, the exchange of artistic ideas and drawing attention to problems of the contemporary world.\r\n\r\n<strong>\u00a0<\/strong>\r\n<h2>The Polish Pavilion at the 61st International Art Exhibition\u2014La Biennale di Venezia<\/h2>\r\nMay 9\u2013November 22, 2026\r\n\r\n<strong><em>Liquid Tongues<\/em><\/strong>\r\n\r\nArtists:\r\n\r\nBogna Burska, Daniel Kotowski\r\n\r\nCurators:\r\n\r\nEwa Chomicka, Jolanta Woszczenko\r\n\r\nPolish Pavilion commissioner:\r\n\r\nAgnieszka Pindera, director of Zach\u0119ta\u2014National Gallery of Art\r\n\r\nTexts:\r\n\r\nEwa Chomicka, Jolanta Woszczenko, Bogna Burska, Daniel Kotowski\r\n\r\nPlain Language expert:\r\n\r\nAlicja Sekret\r\n\r\nStills:\r\n\r\n<em>Liquid Tongues<\/em>, Bogna Burska, Daniel Kotowski, 2026\r\n\r\nFeatured in the photographs:\r\n\r\nNatalia Wilk and Choir in Motion\r\n\r\nGraphic design:\r\n\r\nNoemi Markwas\r\n\r\nPress release available here\r\n\r\nWebsite: <a href=\"http:\/\/www.labiennale.art.pl\/\">Polish Pavilion Venice Official Website<\/a>\r\n\r\nFacebook: <a href=\"https:\/\/www.google.com\/search?q=https:\/\/facebook.com\/polishpavilion&authuser=1\">Polish Pavilion Facebook Page<\/a>\r\n\r\nInstagram: <a href=\"https:\/\/www.google.com\/search?q=https:\/\/instagram.com\/polishpavilionvenice&authuser=1\">Polish Pavilion Instagram Profile<\/a>\r\n\r\nISBN: 978-83-66979-58-1\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\nOrganizer and Financing\r\n\r\n<strong>Organizer:<\/strong> Zach\u0119ta\u2014National Gallery of Art\r\n<ol>\r\n \t<li>Ma\u0142achowskiego 3, 00-916 Warsaw<\/li>\r\n<\/ol>\r\n<strong>\u00a0<\/strong>\r\n\r\nPoland's participation in the 61st International Art Exhibition\u2014La Biennale di Venezia is financed by the Ministry of Culture and National Heritage of the Republic of Poland.\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\nPatron of the Polish Pavilion:\r\n\r\nORLEN\r\n\r\n \r\n\r\nMain Partners of the Exhibition\r\n\r\nPolish National Foundation\r\n\r\nPKO Bank Polski Fundacja\r\n\r\nAdam Mickiewicz Institute\r\n\r\nExhibition Partners\r\n\r\ndela.art collection\r\n\r\nGda\u0144sk Centre for Contemporary Art\r\n\r\nInstytut R\u00f3\u017cnorodno\u015bci J\u0119zykowej Rzeczypospolitej\r\n\r\nJ\u00f3zef Pi\u0142sudski University of Physical Education in Warsaw\r\n\r\nPerlage Arte Foundation\r\n\r\n \r\n\r\nSupported By\r\n\r\nIstituto Polacco Roma\r\n\r\nTowarzystwo Zach\u0119ty Sztuk Pi\u0119knych\r\n\r\n \r\n\r\nMedia Patrons\r\n\r\nPolskie Radio\r\n\r\nTVP Kultura\r\n\r\nPolish Press Agency (PAP)\r\n\r\nVogue Poland","post_title":"J\u0119zyki z wody - deskrypcja broszury","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"jezyki-z-wody-dostepna-broszura","to_ping":"","pinged":"","post_modified":"2026-09-09 10:34:14","post_modified_gmt":"2026-09-09 08:34:14","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&p=9095","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}}],"show_events":false,"ex_related_events":false,"show_publications":false,"header_pub":"","ex_publications":false,"ex_commissioner_title":"KOMISARKA","ex_curator_title":"KURATORKI","ex_partners_title":"OSOBY ARTYSTYCZNE","ex_team_title":""},"_links":{"self":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/wystawy\/8161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/wystawy"}],"about":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/types\/wystawy"}],"version-history":[{"count":59,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/wystawy\/8161\/revisions"}],"predecessor-version":[{"id":9099,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/wystawy\/8161\/revisions\/9099"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/media\/8163"}],"wp:attachment":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/media?parent=8161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}