TUSIA DABROWSKA works at the intersection of storytelling, performance and media. Recent work has been seen at, among others, EdgeCut (2020), Soft Surplus (2019), Circle1 (Berlin, 2019), mhProject (2019), BRIC (2018); with Maria Hupfield— The Gibney Dance Theater (2017), Museum of Art and Design (2017); Frequency Fridays at the Fuse Factory (Columbus, OH, 2017), Open Source Gallery (2017), The PrintScreen Festival (Tel Aviv, 2016), The Great Wall of Oakland (Oakland, CA, 2016), and TAFNY (2015). Her writing/translation has appeared in the Nth Position (poetry), the Forward (translation), Aish (personal essay), Vida, and The Vassar Review (translation). Tusia’s translation of Piotr Pazinski’s prize-winning memoir, The Boarding House, was published in late 2018 by the Dalkey Archive Press. Her work has been supported by the Puffin Foundation (2014) and Asylum Arts (2018). Tusia was the artist in residence at Signal Culture (2017), BRICWorkspace (2017-2018), mhProject Space (2019), and KonventZero (2019). She holds degrees from the New School, Trinity College Dublin, and NYU. Tusia shares her time between Warsaw and Brooklyn.
I tell stories that interrogate processes of transformation engaging with technology and creating site-responsive immersions. My work is devised, collaborative, hybrid. I construct dream-like experiences.
I conceive sound-text in terms of interactivity, spatial experience, and voice modulation. I am drawn to AR, but I predominately work in performance. Recent works question self-fulfillment (Inside/immersive performance), show parallel socio-economic realities (SpaDisco/immersive performance), tell a story of a relationship between a sentient neural network and a woman (New Women/immersive performance), and imagine what present day Poland would look like if it had a large Jewish population (My Imaginary Friends/ AR app). The work is based on prompts created in collaboration with a writer, experimenting with narrative form and spatial narration.
My aesthetic mixes pop culture and experimental media aesthetics drawing inspiration from the New York feminist video art scene that emerged in the late 70s and early 80s, and the Polish Jewish women avant grade artists whose assemblages came into prominence in the 80s and 90s Poland. I embrace failure.
In every space I select for myself in work and life, I am reminded how resistance is not linear. I also consider what it means to challenge oneself under capitalism and embrace the exuberance of process.
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