Inauguration of the campaign within the collective contemporary art exhibition "Art Negotiators," curated by Bożena Czubak. The opening of the campaign office at the NCK, Nadbałtyckie Cultural Center in Gdańsk, featuring a banner on the historic NCK building with Wiktoria's image and slogan: "Politicians are unnecessary." The office included a video installation with Wiktoria's image and her expose, introducing the campaign's program. Visitors could discuss and sign the declaration of support for Wiktoria Cukt's presidential candidacy. Campaign activities included collecting signatures outside NCK and explaining the program to passersby. The campaign office's closing event featured a press conference presenting the Civic Electoral Software (OSW) project and the current stage of the 3D representation of Wiktoria Cukt.

The historic building of the Nadbałtyckie Centrum Kultury (NCK) in Gdańsk,

Prominently displayed above the entrance is a large banner featuring my - Wiktoria Cukt image.

The interior of Election Office in Gdańsk, located within the Nadbałtyckie Centrum Kultury (NCK). The setting is characterized by its striking red walls, creating a bold and intense atmosphere that underscores the campaign's message.

In the center of the room, three men (Jacek, Mikołaj, Piotr) are seated in chairs facing the camera, appearing engaged and focused. These men are actually officials from the Central Office of Technical Culture (CUKT), instrumental in orchestrating the campaign. Behind them, prominently displayed on the wall, is the campaign slogan "POLITYCY SĄ ZBĘDNI" (Politicians are unnecessary). This powerful statement is the central theme of the campaign, emphasizing the need for a new form of governance free from traditional politicians.

To the right, a security man stands against the wall, further adding to the scene's composition.

The photo captures a scene from my Election Office in Gdańsk, viewed from an angle that showcases a different perspective.

At the center of the composition, three men, who are officials from the Central Office of Technical Culture (CUKT), are seated in chairs, engaged in discussion. Behind them, a large video projection is prominently displayed on a screen cut in the shape of my portrait. This projection features my face with distinctive red hair and a composed expression, enhanced with a geometric pattern overlay, giving a futuristic and digital aesthetic to the image. To the right of the projection, a security man stands against the wall, maintaining a vigilant presence.

The photo captures an evening scene outside the Nadbałtyckie Centrum Kultury (NCK) building in Gdańsk, where officials from the Central Office of Technical Culture (CUKT) are actively engaging with the public.

In the foreground, one of the CUKT officials, easily recognizable by his distinctive long beard, is interacting with a passerby. The passerby, a young woman with glasses and a fur-collared coat, is attentively reading and signing a document, which is likely a petition or a support form for the campaign.

The photo captures a moment of civic engagement, highlighting the grassroots efforts of the campaign to gather support and connect with the citizens directly on the streets.

The photo captures the press conference on the closing event my Election Office at the Nadbałtyckie Centrum Kultury (NCK) in Gdańsk. My image is prominently projected on the screen. The scene is alive with activity as individuals from the Central Office of Technical Culture (CUKT) engage with the audience, presenting progress on my 3D representation and the Citizen's Electoral Software (OSW). The atmosphere is charged with the spirit of redefining democracy through technology.

The photo captures the final moment of the closing event at the Nadbałtyckie Centrum Kultury (NCK) in Gdańsk, as CUKT officials unveil an official board with my sign. Mikołaj, holding a bottle in a celebratory gesture, helps with the unveiling. Beside him, Barbara Kruszewska carefully lifts the cover, ensuring a smooth reveal. In the foreground, Piotr watches intently, ready to assist, while Jacek, in a red jacket, holds a microphone, documenting the event. The atmosphere is celebratory and anticipatory, marking the campaign’s impactful conclusion and dedication to innovation.

The photo captures a key moment right after the unveiling of the board at the closing event in the Nadbałtyckie Centrum Kultury (NCK) in Gdańsk. In the center, Maciej Nowak, recognizable by his balding head and curly hair, is dressed in a red shirt and black blazer, holding a glass of wine as he thoughtfully observes the signing of the support list. To the left, Bożena Czubak, with short, curly hair, focuses intently as she signs the document. In the foreground, another individual adds their signature, symbolizing the collective endorsement and enthusiasm for my candidacy.

After signing the list, individuals were given specially designed little stickers featuring my portrait. These stickers were intended to be placed in their IDs, symbolizing their public support and affiliation with the campaign.

Opening of the campaign office, election rally in the gallery with an open microphone for submitting proposals to Wiktoria. A few days of public space agitation with video recording of the citizens of Wiktoria's proposals and campaign presentations. Educational and propaganda activities included a meeting with officials and councilors at the Zielona Góra City Hall, presenting the "Day of Art" project and campaign ideas.

The photograph from Zielona Góra showcases a key moment in my campaign outside the Gallery. My large portrait banner is central, reflecting my futuristic vision. Under a white tent, campaign staff engage citizens with my platform, while live techno music is mixed by Maciek Sienkiewicz on turntables, accompanied by Piotr Wyrzykowski's voice agitation. Rafał Ewertowski is present, and a memorable detail is CUKT officials grilling bananas on an open grill next to the tent, adding a quirky and human touch to the dynamic atmosphere.

The photograph inside the tent during my campaign in Zielona Góra captures a key moment of direct citizen engagement. In the foreground, an older man, dressed in a blue jacket and brown hat, asks, "But I don’t know her! Where is she coming from?" Jacek from C.U.K.T. responds, "From the Internet." To the right, a C.U.K.T. official records the exchange, documenting the process of gathering political proposals for my campaign. The tent, adorned with campaign visuals and a microphone, highlights the participatory nature of the event, where citizens were invited to contribute their ideas to shape the future of electronic democracy.

The photograph from the gallery interior during my rally in Zielona Góra captures the vibrant energy of the event. At the center, people gather around a table, actively signing lists of support and submitting their proposals for my campaign. A pile of bananas, each with a Wiktoria sticker, adds a playful yet symbolic touch to the scene. In the background, my portrait is projected on the wall, delivering my political message, reinforcing the technological aspect of the campaign. The lively atmosphere is enhanced by techno music, reflecting the forward-thinking nature of my candidacy.

Opening of the campaign office with three computer stations with internet access, presenting Wiktoria Cukt's program and image. Activities included a rally with the opportunity to record Wiktoria's proposals on the gallery windows, public agitation in the old market square, and a mass rally with large life video projections, live techno music mixing, and video recording of proposals.

The photograph from the interior of the election office in Poznań captures the core of my campaign’s radical and innovative message. A bold slogan, "POLITYCY SĄ ZBĘDNI" ("Politicians are unnecessary"), dominates the wall, embodying the campaign's push for governance through direct citizen participation via technology. The minimalist space features computers offering free Internet access, inviting visitors to engage with the Citizen's Electoral Software (OSW). A 3D representation of me, crafted by Rafał Ewertowski, adds an interactive touch, while the overall setup reflects transparency and openness, encouraging public involvement.

The photograph from the election office in Poznań captures a moment of interaction in a bright, welcoming space. Individuals gather near large glass windows, bathed in sunlight, engaging in conversation. To the right, a simple setup includes a table with a computer displaying my image and political program, offering free Internet access for visitors to explore my proposals and 3D representation. A green chair and a potted plant add warmth to the environment. In a unique touch, people are writing their proposals and opinions of Wiktoria directly on the glass with markers, emphasizing the campaign’s commitment to direct citizen participation.

The photograph from the election office in Poznań captures a significant moment as two standing men, identifiable as real

politicians, closely examine my campaign program. The well-lit, open space maintains a welcoming atmosphere, with a table in the foreground featuring campaign materials and a potted plant, adding a touch of life. One politician, dressed in a suit, is engrossed in the content, while his colleague, sporting a green tie, looks equally engaged. Their presence highlights the impact my campaign has on traditional politics, with the slogan "POLITYCY SĄ ZBĘDNI" ("Politicians are unnecessary") boldly displayed in the background.

The photograph taken from outside the gallery in Poznań captures a vibrant moment of public engagement in my campaign. Through the large windows, individuals are seen writing my political proposals on the glass with markers, turning the space into a dynamic platform for expression. In the foreground, a man intently writes while another person with a backpack observes. A woman stands nearby, ready to participate. Inside, the slogan "POLITYCY SĄ ZBĘDNI" ("Politicians are unnecessary") is clearly visible, reinforcing the campaign’s message. The reflections of the street blend with the gallery activity, symbolizing the campaign’s focus on breaking down barriers between politics and the public, making the process more accessible and participatory.

The photograph captures a vibrant street scene next to the gallery space in Poznań, where my campaign office is located. A large banner, featuring my portrait with distinctive red hair and a pearl necklace, hangs prominently between two buildings. The banner reads "PREZYDENT 2001" and displays the campaign website, emphasizing the futuristic vision of my campaign. Below, the bustling cobblestone street is lined with shops and a vendor arranging sunglasses, while a passerby walks toward the camera. This image reflects the seamless integration of my campaign into everyday city life, symbolizing the blend of historic architecture with modern political innovation.

The photograph captures an evening political rally in Poznań, set in an urban space illuminated by street lights, creating a warm and inviting atmosphere. Attendees gather in the foreground, watching vibrant video projections on a large screen, featuring live mixing of my exposé and campaign proposals. The energetic backdrop of live music adds to the immersive experience, blending seamlessly with the political content. The diverse crowd, engaged in conversation or focused on the screen, reflects widespread interest in the campaign. This rally embodies the fusion of art, technology, and politics, central to my vision of an inclusive, interactive democracy.

This photograph captures a dynamic moment from the evening rally in Poznań, showcasing the event's technological engagement. Under soft street lights, a large screen prominently displays the word "INTERNET," emphasizing the

Election rally meeting with students and academy stuff.

Election rally with video projection on the gallery facade, live music mixing with Wiktoria's speeches, and video recording of proposals.

 The photograph from the election rally in Białystok captures a vibrant event where technology and politics merge. A large video projection, mixed live by Rafał Ewertowski, displays my image and campaign messages on the facade of the gallery, contrasting against the evening backdrop. In the foreground, multiple monitors and equipment manage the live mixing of music and my speeches, creating a dynamic and immersive atmosphere. This blend of visuals, sound, and real-time interaction highlights the campaign's innovative approach, engaging the public in a technologically integrated and democratic vision for Poland.

Electoral office, political rally, banner on the facade of gallery building.

This photograph shows the exterior of the National Gallery Zachęta in Warsaw, adorned with a large campaign banner featuring my portrait. The banner prominently displays the slogan "Politycy są zbędni" ("Politicians are unnecessary"), a core message of my campaign. The historic architecture of the gallery provides a striking contrast to the modern and forward-thinking message of the campaign, symbolizing the blending of tradition with innovation. The placement of the banner on such a prominent cultural institution reinforces the importance of art, technology, and public engagement in shaping the political landscape.

 The Electoral Office in Warsaw offered a striking blend of art, technology, and political innovation at the heart of my campaign. A large video projection of my 3D animated portrait, featuring my red hair, dominated the space with the slogan "Politycy są zbędni" ("Politicians are unnecessary"). The projection, shaped like my profile, was set against soft blue neon lighting, creating a futuristic atmosphere. In the foreground, a round table with computer workstations provided Internet access for visitors to engage with the campaign. The office also featured live video transmission and an online system for collecting public proposals, reflecting my vision for modernizing Poland’s political landscape.

This screenshot from the C.U.K.T. website, designed by Piotr Wyrzykowski, features a live video feed from the Warsaw Election Office, central to my presidential campaign. On the left, a map of Poland highlights key cities involved in the campaign. The live feed on the right shows my image projected within the office, symbolizing the digital nature of the campaign. Through the Netscape browser, users could interact with various tools, including the Citizen's Electoral Software (OSW), postulates, and a 3D model of me, showcasing the campaign's forward-thinking, tech-driven vision.

The new image captures the vibrant interior of the Warsaw Electoral Office. On the left, a woman is seated at a computer workstation, engaging with the campaign’s digital platform, which invites public participation. In the background, my large, lifelike 3D animated face dominates the room, projected on the wall, creating a powerful and immersive presence. Two visitors interact with the projection, reflecting the campaign's focus on engagement. The soft blue lighting and the grandeur of the architecture enhance the futuristic ambiance, highlighting my campaign's dedication to merging technology with political discourse.

This setup was a testament to my vision for a new era of electronic democracy, drawing attention from various sectors, including inquiries from the President's office and other candidates. The Electoral Office became a dynamic space for cutting-edge political engagement, combining technology with personal involvement in the democratic process.

A particularly poignant moment captured in the Warsaw office shows supporters gathered around a table, fervently signing documents in support of my campaign. On the right, a dedicated volunteer assists attendees with the process, ensuring everything runs smoothly. In the background, Mikołaj returns an ID with a Wiktoria Cukt sticker inside to a man, symbolizing his commitment to the movement. The diverse group, reflecting various ages and backgrounds, eagerly pens their signatures, their expressions filled with determination and hope, underscoring their belief in the transformative power of my candidacy and the Wiktoria Cukt Party.

Election rally with live music and program presentation, video recording of Wiktoria's proposals.

The photographs from the election rally in Kraków, held at Miasto Karkoff Club, vividly capture the event's dynamic atmosphere. In the top left image, a close-up of hands signing a support list reflects the active participation of attendees, with campaign cards featuring my portrait scattered on the table. The top right image shows a man intently filling out forms, his focus indicative of the supporters' dedication.

The election billboard campaign as part of the AMS Outdoor Gallery was conceived and curated by Marek Krajewski, Dorota Grobelna, and Lechosław Olszewski, with their exhibition cycle characterized by consistency. Every two or three months, the work of a selected Polish artist was presented on 400 displays across 8 to 19 cities. This nationwide exhibition was accompanied by media promotion, the distribution of approximately 30,000 postcards each time, and vernissages held in urban spaces.

Courtesy of Marek Krajewski.

This photograph shows a street scene featuring a large election billboard for my presidential campaign, mounted on the side of an old building. The billboard prominently displays my portrait alongside the campaign slogan "Politycy są zbędni" ("Politicians are unnecessary"), underscoring the central message of the campaign. The bold colors and striking design stand out against the worn facade of the building, creating a strong visual contrast. Passing cars and a pedestrian crossing sign in the foreground reflect the everyday urban environment where this message was integrated, bringing the campaign directly to the public.

Election rally with live music and program presentation, video recording of Wiktoria's proposals.

Opening of the campaign office, banner on the institute building, agitation activities targeted at the large Polish community in Berlin.

This photograph shows the view from outside the Polish Institute in Berlin, during my campaign. The glass entrance boldly displays the slogan "POLITIKER SIND ÜBERFLÜSSIG" ("Politicians are unnecessary"), reflecting the central message of my presidential candidacy. Inside, the gallery space is set up for the event, with images on the walls and a large screen showing video projections. A few individuals are visible, engaged with the exhibition, adding to the atmosphere of interactive political discourse. The modern and minimalist setting emphasizes the campaign’s focus on technology, art, and the reimagining of political participation.

The photographs from the election office at the Berlin Polish Institute provide a glimpse into the sophisticated and interactive setup of my campaign headquarters in Germany. These images capture the essence of the campaign’s outreach, blending technology, art, and politics.

In the first image, a man with a camera diligently documents the event, while behind him, a large wall displays campaign messages in German, emphasizing values like freedom and equality. This installation highlights the campaign’s universal, inclusive policies.

The second photo features two individuals in conversation before a screen, with the word "POLITIKER" ("politicians") prominently displayed on the glass, framing the space as a hub for political innovation. The setting, enhanced by campaign visuals, creates an immersive experience.

In the third photograph, a group of attendees examines campaign literature, reflecting the campaign's focus on direct citizen engagement and meaningful dialogue. My portrait in the background reinforces the campaign’s visual identity.

Opening of the campaign office and individual exhibition of C.U.K.T. (curator: Maria Morzuch), coordinated with the Polish presidential election day.

This photograph shows the exterior of the Muzeum Sztuki in Łódź, with a prominent campaign billboard featuring my portrait and the slogan "Politycy są zbędni" ("Politicians are unnecessary") displayed at street level. The billboard stands in striking contrast to the classical architecture of the museum building, symbolizing the fusion of tradition and innovation central to my campaign. The historic setting reinforces the idea of challenging established norms, while the placement of the campaign message within such a cultural institution highlights the integration of art and politics in shaping a new vision for the future.

The gallery featured black and white names of politicians and their slogans on a large wall, crossed out with a blue neon light (color of victorious campaigns) stating "Politicians are unnecessary." Techno music accompanied the electronically generated speeches of the candidate. Everything was captured by cameras, digitized, and disseminated online. Voting cards for real ballot boxes were distributed, including an additional candidate, Wiktoria Cukt, and a C.U.K.T. stamp.

This photograph captures the opening event at the Muzeum Sztuki in Łódź, where my campaign took center stage. A group of attendees is gathered around a man speaking to a camera, surrounded by media and supporters. The atmosphere is lively, with individuals actively engaged in the event. To the right, a DJ operates turntables, providing live music, contributing to the dynamic and interactive environment. Among the seated attendees, familiar C.U.K.T. figures are visible, reinforcing the collaborative nature of the campaign, blending art, media, and political discourse in a cultural setting.

Official end of the campaign with a video installation presenting collected proposals, documents and a film showing Wiktoria Cukt riding away to the unknown future.

The photographs from the Gdańsk rally at CSW Łaźnia highlight the dramatic and immersive nature of the campaign's video projections. These large-scale projections served as a central feature of the event, creating a visually captivating and emotionally engaging experience for the attendees.

In the first image, a massive projection of my face dominates the space, illuminated against a deep blue backdrop. The sheer scale of the projection, with its intense and expressive close-up, captures the viewer’s attention and establishes a powerful presence within the room. The projection highlights the campaign's innovative use of technology to engage with the public in a memorable way.

The second image continues this theme, showing another large projection, this time depicting a more dynamic scene where I appear in a digital environment. This particular projection features me inside a car, seemingly driving away, symbolizing motion and progress. The background includes elements of my campaign, such as the C.U.K.T. logo and other digital interfaces, reinforcing the high-tech, forward-thinking nature of the campaign.

This photograph captures the official end of my presidential campaign, marked by a video installation presenting collected proposals, documents, and a film. On the screen, Hanna Wróblewska from Zachęta National Gallery is shown describing the ideas behind the Wiktoria Cukt campaign. Her explanation provides insight into the fusion of technology, art, and politics that defined the campaign. The film culminates with a symbolic scene of Wiktoria Cukt riding into an unknown future, representing the open-ended and innovative vision of the campaign. The installation creates a reflective atmosphere, with attendees silhouetted as they engage with the projection, emphasizing the campaign’s message of public involvement and forward-thinking political discourse.

Summary presentation of the campaign during the group contemporary art exhibition IN BETWEEN: ART FROM POLAND 1945 – 2000, Curator: Susan Snodgrass, Bohdan Gorczynski, and Anda Rottenberg. Interactive video installation.

This photograph from the exhibition at the Chicago Cultural Center showcases an interactive video installation booth, featuring the original campaign banner with my slogan, "Politicians are unnecessary." My image, with bold red hair and distinct facial features, serves as a central backdrop, symbolizing the campaign's futuristic and avant-garde spirit.

In the foreground, a group of young attendees engages with the installation, intrigued by the interactive elements that allow them to participate—whether by signing support declarations or recording their own proposals. This exhibition was part of the campaign’s global outreach, connecting with the Polish diaspora and emphasizing inclusivity, technological integration, and the democratization of political participation through innovative artistic expression.

This photograph, taken outside the installation at the Chicago Cultural Center, captures a striking banner of my campaign prominently displayed above the exhibition hall. The banner showcases my portrait, with my signature red hair, pearl necklace, and elegant attire, symbolizing the visionary and sophisticated nature of the campaign. My signature at the bottom adds a personal and authentic touch to the message.

Positioned outside the exhibition, the banner aimed to draw public attention and curiosity, inviting passersby to engage with the innovative and technological themes inside. The contrast between the traditional architecture of the hall and the modern, digital representation of my image reflects the campaign’s goal to fuse history with the future, advocating for a technologically advanced and culturally rich society.

The image depicts a detailed layout plan (by Jacek Niegoda) for an exhibition booth designed for an event in Chicago, with a rectangular space measuring 5 meters in length and 3 meters in width. The layout is carefully planned to create an immersive and engaging experience for visitors.

**Key features include:**

Positioned at the top of the layout, this serves as the main entry point into the booth.

Centrally located above the screen at the top-center of the booth, providing a visually striking introduction to the space.

A 3-meter wide screen positioned 4 meters from the top of the booth, intended for video projections, central to the multimedia presentation.

Four speakers, positioned at the four corners of the booth (marked with musical notes), ensuring even sound distribution across the space.

Located at the bottom center of the booth, connected to both the audio and video systems. The amplifier manages the audio input from the computer, which also sends video to the projector.

Positioned near the bottom center, projecting video content directly onto the screen.

On the right side of the booth, there is an 80 cm by 60 cm photo, alongside a larger 504 cm by 238 cm poster, featuring campaign or exhibition content.

The booth is designed to be completely dark and enclosed, ensuring optimal visibility for the video projections and enhancing the overall immersive experience.

Translated by Wiktoria Cukt 2.0

What would happen if Wiktoria Cukt won the presidential election?

The titular question automatically transports us into the realm of political fiction. It seems obvious that Wiktoria Cukt could not have won the election. A virtual entity cannot exist in the real world of politics. Or can it? Does it not exist?

Wiktoria Cukt could not be registered with the National Electoral Commission, despite efforts to gather signatures supporting her candidacy. She does not possess an ID card. She cannot provide her parents' names or indicate her date and place of birth. She is not registered anywhere. She does not have a PESEL or NIP number (does she not pay taxes?). She lacks anything that could confirm her identity. Formally, bureaucratically, she does not exist. She also does not have a body. Yet, she has the image of a body. She exists as her image. The image that a cybernetic program adopts on computer screens. As a multimedia program, she responds to questions. She proclaims her demands, speaking through speakers with a firm voice. Wiktoria Cukt exists as a computer phenomenon. Or perhaps as a cybernetic apparition, an electronic phantom.

Personality? Wiktoria Cukt presents herself on her websites as a distinguished lady, middle-aged, with movie-star beauty. Elegant hairstyle, pearl necklace, precise makeup give her the appearance of a true star, albeit in a somewhat old-fashioned style. The mole near her left eye only adds charm to this digital projection - even virtual "bodies" can have flaws. This makes the candidate more "human" (whatever that may mean). Styling oneself as a movie star meets the demands of our screen-centric times. Photogenic or telegenic qualities are today's basic requirement for a public figure. However, this is not the only face of candidate Cukt. Another is displayed on billboards provided by the AMS company. In the "real" urban space, it cunningly takes on a shape immediately recognizable as a digital creation - a schematic, summary effect of computer modeling. On billboards, in line with advertising requirements, Wiktoria Cukt emphasizes her distinctiveness from "real" politicians. She presents herself as a digital apparition - a phantom from a world different from that of her opponents. However, Wiktoria Cukt is not just her images.

She describes herself as a "virtual personality" and emphasizes the absence of her own "political views". Indeed, can someone who does not exist, someone who is just information, have their own views? Wiktoria advocates views that are inscribed into her by internet users. Voters - netizens. She describes this situation herself, quoting one of them: "I am everyone who speaks in my name. I express the views of Internet users who desire and enter my demands. I am impartial, speaking on behalf of everyone, without censoring them - if people are vulgar, I am vulgar, if they lean left - I lean left, if they express themselves politely - so do I." Wiktoria Cukt is the sum of views entered into her. As an algorithm for proclaiming them, she does not subject them to analysis, reflection, or synthesis. Therefore, she is potentially an infinite catalog of wishes, good advice, bright opinions, round sentences, or curses. She becomes the sumptuous phantom of Polish society, an unworked reflection of its opinions. It is precisely for this society, as she claims herself, that she is "willing to sacrifice herself and her knowledge" and run in elections (where have we heard this before?). By virtue of this decision, the first campaign of a virtual candidate in history began.

Campaign? Wiktoria Cukt's campaign staff elevated the campaign to the status of art. They turned it into exhibitions held in various locations across the country. It appeared in the media: on billboards, on television, and in newspapers. The climax of the campaign - election day - coincided with the opening of an exhibition at the Museum of Art in Łódź. Wiktoria Cukt was invited to the Museum by Maria Morzuch, who, along with the candidate's staff, prepared this electoral action.

On a large wall (opposite the entrance), black-on-white (as a whimsical interpretation of the maxim proclaimed by one of the candidates?) names of politicians and their campaign slogans were pasted. They were "crossed out" with a blue-glowing (the color of victorious campaigns) neon sign declaring that Politicians are unnecessary. Responding to slogans with slogans, Wiktoria Cukt proclaims the demand for "politics without politicians". Their place should be taken by a digital phantom, a completely calculable cybernetic program, which would replace the unpredictable humans made of "flesh and blood". A program that proclaims its (electoral) program. But will it be able to implement it?

Techno music resounding in the hall adds charm to electronically generated statements of the candidate, delivered with necessary gravity in such cases. Everything that happens inside is captured by the camera, digitized, and disseminated on the internet. Thus, an electronic loop is created: in the museum hall, we watch a projection of a virtual being existing on the network, while the projection, and we as viewers (everything that happens here), returns to the internet via the camera (where we can watch it again using a computer monitor). The virtual absorbs the real - if one can still use such a conceptual opposition here (only for now and provisionally).

The campaign in the museum takes place on Sunday, thus breaking the electoral silence. However, if it is artistic, it does not seem to be political. What is artistic and what is political still seem to have nothing in common. Yet Wiktoria Cukt wants to join politics (even though she does not want to be a politician). Members of her staff distributed voting cards to be placed in ( "real") ballot boxes. The credibility of the cards was confirmed by stamps from the National Electoral Commission and the Central Office of Technical Culture. Could this trick, aimed at entering politics, have succeeded? Can the Wiktoria Cukt program be political as well as artistic?

Utopia? Our future is associated with a personality like Wiktoria Cukt - a "virtual personality", a personality initiated into the most secret secrets of information, as she is information herself. According to the sociologists' theses, we are facing a transformation (or perhaps it has already touched us) into an information society. Who then should lead us into this future if not Her, if not the cybernetic program of Wiktoria Cukt.

After all, computer programs control subway trains and airplanes, so why shouldn't they start directing society? Wiktoria Cukt is aware of the role she can play, as she is a digitized, pure consciousness. Technical consciousness, and that is what she wants to spread: "At the threshold of the Third Millennium, Poland has a chance to become a pioneer in shaping the modern technical consciousness of its citizens." - the candidate proclaims in her electoral appeal.

This modern consciousness is to be the basis for the "development of electronic democracy." Electronic democracy is supposed to bring about the abolition of the representative system and the elimination of the political class. They will be unnecessary because electronic democracy is "direct" democracy, in which everyone can directly participate in decision-making and shaping reality via the internet - co-creating the "Will of the Nation". The platform for constituting the "Will of the Nation" is to be the Civic Electoral Software, created by officials of the Central Office of Technical Culture. Its first manifestation is precisely Wiktoria Cukt. She is also a symbol of a new era.

Who fears Wiktoria Cukt? An era in which "direct" democracy (all terms are slowly becoming inadequate) is intermediated by the electronic network. And the possibility of using it requires achieving technical consciousness - requires connection. Thus, the program of Wiktoria Cukt is a program of spontaneous expansion, in which some forms of consciousness absorb others.

Yet, the apparition of Wiktoria Cukt is not entirely self-sufficient. Like any political phenomenon, she has her background, of which she is a product and which she expresses aspirations and goals. Furthermore, Wiktoria Cukt has an organized background in the form of the Office. It was the Office that brought her into existence and bestowed its name upon her. The Central Office of Technical Culture (CUKT) gave her its name as her surname, thus defining her identity, indicating her affiliation. By naming herself after it, Wiktoria Cukt becomes its manifestation. She is one of its figures. She is its political image.

It is the aspirations of the CUKT that Wiktoria Cukt is supposed to express. It is its goals that she is supposed to achieve. And these goals differ from the electoral slogans written on the candidate's websites. Isn't it this discrepancy between goals and electoral slogans that thrusts Wiktoria Cukt into the realm of politics? Isn't it this discrepancy that causes her to become a truly political phenomenon?

The candidate's appeal calls for the necessity and opportunity to transform Poland into a "modern state with an extremely high level of cultural and technological development: the Central European Tiger of Technical Culture." She advocates for a technical cultural revolution. Her Officials (CUKT Officials) translate this slogan into specifics. The CUKT declaration, defining technical culture as "the entirety of the achievements of people and machines", defines its characteristics as "objectivity, professionalism, standardization, measurement, progress". This culture is also characterized by technicization of relations between people (i.e., subjecting them to specialists' control), economization ("The only criterion is the speed and scope of impact - effectiveness in the cybermarket."; "Efficiency, benefit, and economic progress replace morality.") and massification ("Technical culture is mass culture."). Its main, fundamental feature, however, is the reduction of everything to information, even art becomes "manipulation by information".

Wiktoria Cukt's slogan is to accelerate the process of transforming culture into technical culture. Her Officials concretize this demand as the need to build a "system of information control", because "uncontrolled information can be deadly". This essentially means its concealment, and secrecy "strengthens information". The basis of power in the new culture "is the most efficient creation and distribution of information." And this is precisely what the Central Office of Technical Culture is supposed to deal with. The last three points of the CUKT declaration reveal its aspirations to take full control of information. Does the vision of electronic democracy promised by Wiktoria Cukt conceal a project of cyber-dictatorship, implemented by the CUKT?

Unreal? The phenomenon of Wiktoria Cukt, as a paradox, reveals the further shifting of politics into the realm of virtuality. This means that politics is increasingly played out in the reality of media, including increasingly the newest medium, the internet. As a consequence, this also means that politics must conform to their rules and parameters. The fulfillment of such rules and parameters is Wiktoria Cukt - the ideal apparition from the reality of electronic media, the purest visualization of the political image from the new reality.

Contrary to appearances, which she herself creates (and this is the deepest paradox), Wiktoria Cukt is not a radically different entity from the entities that politicians try to be with whom she competes. Politicians (whose redundancy she proclaims) are also precisely crafted images, slogans, and programs. Responding to social desires and imaginings, they become reflections of them. They become phantoms of social life, virtual projections meant to precisely correspond to the voters' imaginations. They want to seduce them with their similarity.

C.U.K.T. was established to:

1.FIGHT AGAINST INFOAPARTHEID

2.PROMOTE CULTURE AS TECHNICAL CULTURE

a.Create technical entertainment

b.Promoting knowledge of technology

c.Creating art

3.FIGHTING FOR THE RIGHTS OF MACHINES

a.Eliminating technophobia

b.Personalising machines

c.Creating partnerships with machines

d.machines as authors

4.TREATMENTS WITH TECHNO

a.Techno vaccines-introducing antibodies

b.Immunizing against the influence of mass media

c.Exposing information manipulation

5.CREATING A SECURE SYSTEM

C.U.K.T pursues its objectives through:

1.MASS EVENTS

2.WIDE-RANGING PROPAGANDA ACTIVITIES

3.DIRECT CONTACTS

4.TECHNODEMONSTRATIONS

5.CONDUCTING RESEARCH

6.COVERT ACTIVITIES

7.BIOSTIMULATION

Piotr Wyrzykowski

In the activities of C.U.K.T. (Central Office of Technical Culture), I see a direction that could be described as "transformist". Our collective was not just a gathering group of artists; we were an institution, without being an institution in the traditional sense; we were a work of art that questioned and deconstructed the very principles of institutionalism. We were an anti-institution, possessing all bureaucratic attributes—logos, seals, corporate letters, cyclical meetings, and resolutions taken—but without any real executive power. Except for great enthusiasm and a sense of the need to act. This false institutionalism was a tool, not an end. It allowed us to engage with reality from a completely different perspective: not as individual artists, but as a "central office".

This shift was not accidental. When we decided to create this "false institution", we also relinquished individuality in favor of collective consciousness, aiming to change the mode of dialogue and actions. In this new form, the conversation was no longer with an individual artist but with a "central office". This provided us with a platform to conduct broad interventionist actions, both in the realm of art and society.

Illustration 19: C.U.K.T., Virus, badge design project, 1995.

Our activity was a symptom of modernity and a laboratory intertwining of various orders of contemporary reality. In this context, I see our work as a form of "artistic activism", which, using various forms and mediums, aimed to evoke real changes in the socio-political reality. Techno and new technologies, which were key elements of our practice, were not just tools of expression for us, but also forms of commentary on the impact of technology on society and culture.

As a result, C.U.K.T.'s activity can be analyzed as a practical realization of theoretical assumptions about the potential of art as a tool for conscious transformation. We were not only commentators on reality but also its active participants, using aesthetic and conceptual tools to evoke real changes.

Creating a fake, yet fully functional "institution" was a means for us to investigate how institutional forms and structures influence the production and perception of art and socio-political discourses. This institutionalism was both a medium and a material of our artistic practice. It allowed us to challenge established hierarchies and power mechanisms, thereby introducing new models of interaction and dialogue.

The aim of this strategy was not only understanding but also change. Instead of being merely a critical commentary on institutions, we became an active intervention that both analyzed and influenced reality. We were an institution, but an institution that became a tool for questioning and transforming both the artistic and social spheres.