Bakowski employs a distinctively retro-style, his technology bearing a distinct resemblance to the lo-fi classics of early video art. This approach is definitely shrewd, since it is at odds with the capitalist goodies Bakowski dangles in front of himself. This naturally raises questions about how success is measured, and in light of this, it’s no surprise to find the artist banging his head and going nowhere.
I’ll admit to not being completely in tune with Bąkowski’s project, but the image of him as one more glitching automoton in a world of branded consumer goods is uncanny and playfully unnerving.
Yeti, unlike Rose Gold, portrays the life and lifestyle of the everyday as discomfiting and perhaps even perverse. Its skepticism, grounded by a bone-dry dark humor and genuinely bizarre approach blending drab performance art, bad video effects and great new wave music (a reliable staple for this director), flatters nothing and no one, and for some unquantifiable reason is all the more charming for it.