1958–1960 First Gestures

1958–1967 Photo-paintings

1965–1967 Intuitive Paintings

1959 Photo-actions

1959–1979 „Objective” Recordings

1959–1968 Metaphorical Intuitions

1969–1972 Interactive Photo-Objects

1962–1980 References (Sets)

1966–1967 Camouflages (Jozef Korbiela)

1966–1972 Double Paintings

1966–1994 Epitaphs

1969 Reality as Photography

1969–1979 Photo-films

1970–1976 Film Structural Models

1968– Analytic-Conceptual Photography

1971–1976 Public Interventions

1971–1978 Mechanical-biological Recordings

1971–1972 Sound Manipulations

1971–2001 Installations

1972–2002 Astral Photography

1974 Tactile Paintings

1974–2002 Videoperformances

1975 Relations

1975–1996 Energetic Photo-Angles

1978 Abysses

1971– Lightboxes

1978–2000 Personal Cinema

1981 Handshake

1981–1982 Papers

1982 War State

1982 Votive Photography

1982–1986 Re-reports from a TV Set

1985–1999 Biologions

1987 Fetishes

1988 Simple and Complex System

1992–1994 Machines (Installations)

1996 Re-photography from a TV Set

1997 Videoportraits

1998–2000 Termograms

2001 Synthetic Photography of „Nothing”

2003 Photo-marriages

1959–2011 Chemigrafie


Works in collections

Detaching the Camera from the Eye

For many years now, I have been engaging in research into the relationship between my various psychophysical states and the devices with which I carry out mechanical recordings; the film camera, the still camera, the television camera and the tape recorder. One result of this research is a conviction as to the fundamental significance of technological inventions, since they make it possible to transfer those psychophysical states, my temperament and my consciousness to film stock, film and magnetic tape.
Finally, thanks to their nature and the possibilities they afford, they allow me to transcend my notions of the phenomena latent within complex 'reality'; they become an instrument for penetrating the mysteries of the world and one more method of discovering them. They are superb tools, by means of which I can reveal more than I know, see and feel. This often leads to a union, to my adding my nature to the nature of my environment.
At present, what interests me is the problem of removing the functions of the devices that I am using. For instance, in detaching the camera from the eye, there is the potential for a filmed or photographed record of a state of expression utterly uncontrolled by the sense of sight. However, if we are to evaluate, study and measure it, then a moment later, we will still have to appeal to the sense we excluded because what we are dealing with is a strictly visual record. The possibility of comparing two radically different qualities, the mechanical and the biological, strikes me as being of immeasurable interest.
Józef Robakowski (1977)

Translated by Caryl Swift (2016)

Frame from film „I'm going”, 1973

film - performance „Exercise for both hands”, 1976

film - performance „Follow the line” (I'm going, I'm runing, I'm jumping, I'm driving...), 1976