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current exhibition

Jan Smaga
ARTONS

Włodzimierz Borowski’s Artons, from which the title of Jan Smaga’s exhibition is taken, is one of the most intriguing and original series of works in the history of Polish modern art. Their striking materiality and amor­phous, introver­ted struc­ture inspired Smaga, a photographer often wor­king with exhibiting institutions and well-​known for his experimen­tal documen­tation tech­niques, to con­duct his own creative process based on the legen­dary works of Borow­ski. Using photography, Smaga broke the Artons down into elemen­tary par­tic­les, in order to reas­sem­ble them into a new, two-​dimensional whole—a kind of visualization of the cosmos inter­woven in the material of art.

bujnowski czlowiek na drzewie

Warsaw Gal­lery week­end 2016

Rafał Bujnowski
MAN ON TREE

The works of Rafał Buj­now­ski con­tinually engage in a dialogue with the fun­damen­tal proper­ties of pain­ting. The artist is interested in what pain­tings are essen­tially for, how they func­tion in architec­tural and social space, but also the manner of their creation. These con­siderations have led him to radical solutions and far-​reaching formal restraint. The phenomenon of his pain­ting con­sists in the con­stant balan­cing between represen­tation and the illusion of represen­tation. The pain­ting process, often purely mechanical, leads to sur­prising results and laun­ches another, sym­metrical, process of reading the com­pleted pain­ting, which depends on the variable ligh­ting, distance, and the involvement of the viewer.

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2016 EXHIBITIONS

Slavs and Tatars
SOCIETY OF RASCALS

For their second show at Raster, the Slavs and Tatars col­lec­tive presents an instal­lation in the form of a pickle-​juice bar. The title Society of Rascals (Towarzystwo Szubrawców) was drawn from the name of a now-​forgotten literary society of 19th-century Vil­nius, famous for its heavily ironic, caustic displays of satire that stood coun­ter to the self-​important stance of the roman­tics, their sooth­saying and exal­ted engagement in the nationalist discourse. The pic­kled juices served by the artists along with provocative lexical gym­nastics are meant to sug­gest an antidote for the pathos of Polish patriotism, while also expres­sing their own soured regard for any politics based on the oppositional binary of us-versus-them.

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2016 exhibitions

Salon of New Photography

This exhibition takes on the, per­haps, dated for­mula of the artistic salon, set­ting the emotional focus on individual images—works of photography and their distinct strength in replicating, con­struc­ting and injec­ting a dose of magic into reality. We invited a few dozen con­tem­porary artists to each exhibit a single work created in the past 2-3 years. The col­lec­tion on show, thus, is not only an assort­ment of the most intriguing exam­ples of new Polish photography, but also a record of the most magnetic – in the visual and emotional sense – obses­sions that drive each individual artist to act within the medium.

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2016 EXHIBITIONS

ACTIVITIES WITH FAMILY

In what way does the family life of artists merge into their art? Star­ting with the total prac­tice of KwieKulik, a pair of artists who introduced their own child and other relatives into their poetic-​structural “activities with a camera” in the 1970s, we take a look at how family ties and relations are tested in the public forum through the medium of art. So, does art work to create distance, or, conver­sely, does it con­tribute to a deeper under­stan­ding, empathy and unraveling of familial tensions?

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2015/2016 EXHIBITIONS

Michał Budny
CROWN

When con­sidering Budny’s works, one is con­sisten­tly awed by the noble, sub­dued power packed into those simple, natural gestures, materials and forms. The latest exhibition develops the fun­damen­tal themes within the prac­tice of this extraor­dinary artist in a new way—struggling with the material and the space, the emotions and the architec­ture. “Crown” is an exac­ting com­position of individual objects that cor­respond and, in turn, provoke one another. They are all con­nec­ted through a striking manifestational quality, precision and uncom­promising character.

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WARSAW GAL­LERY WEEK­END 2015

Olaf Brzeski
MEGALOMANIA

The disrup­tion of scale and weight, the fan­ciful use of material, the trans­ference of drawing into the physical space and an obses­sive imagination that revolves around the human figure—these are the stan­dard elements of Brzeski’s craft. “Megalomania” exhibition is a sculp­tural study of size, ambition and fragility – in which the artist will face off with figures and materials that appear in various ways hyper­bolic or imagined even.

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2015 exhibitions

Michelle Rawlings
A GENTLE CREATURE

Relatively small in size, Michelle Rawlings’ pain­tings come together as a sequence of images, much like a blog or instagram feed. Raw­lings referen­ces various styles and genres of pain­ting, adap­ting them to her individual scale and nar­rative. The realm of her visual pur­suits is in large part focused on represen­tations of young women and girls – artists, actors and models – as well as the formal lan­guage of con­tem­porary art.

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2015 exhibitions

Janek Simon
PEOPLE WITH THE HEADS OF DOGS

Simon’s many exotic trips over the past dozen years have served to develop his para-​artistic endeavors, vested on the frin­ges of economics, art and post-​colonial thought. His newest exhibition is an offshoot of these ear­lier experien­ces, as it also inverts the per­spec­tive of the artist as observer. Simon’s main topic of interest shifts from inter­cul­tural exchange towards the sub­jec­tive observations of a researcher-​traveler: exploration, and con­fabulation, too, of which the experien­ces of recognized travelers, repor­ters and artists are full of.

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2015 EXHIBITIONS

Sławomir Elsner, Zbigniew Rogalski
VIEW FROM THE DEPTHS OF THE EYE

A joint exhibition by Sławomir Elsner and Zbigniew Rogal­ski reveals images that customarily only artists are privy to – inside the studio and across land­scapes viewed from the depth’s of the painter’s eye. Each of these artists is fascinated by the conven­tions and the ethereal aspect of pain­ting, while the works on show also exhibit a self-​reflection on the typicality of the space in which art is created, and on the delusory nature of mankind’s visual apparatus.

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2014 EXHIBITIONS

Aneta Grzeszykowska
SELFIE

Mistyfikacja należy do ulubionych metod twórczych Anety Grzeszykow­skiej. Artystka kon­sekwent­nie, wręcz obsesyj­nie rozkłada na części swój wizerunek, znika bądź pod­szywa się pod cudze tożsamości. Analiza procesów autokreacji­ – jed­nego z fun­damen­tal­nych tematów sztuki, ale także pod­stawowej kwestii dla kon­dycji dzisiej­szego, post­medial­nego społeczeństwa – ­jest również prze­wod­nim motywem naj­now­szej serii zdjęć.

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raster editions


OGÓREK TROCKI

Slavs and Tatars call for a rescue of the 400-year-old Trakai cucum­ber which sadly didn’t survive the second World War.

RASTER EDITIONS


Lion

Znany z per­skiej mitologii motyw lwa pożerającego wojow­nika prze­niesiony w świat współczesnych kolek­cjonerów sztuki.

RASTER EDITIONS


FRAU (Birgitt Jürgenssen)

Grzeszykowska w swoim fotomontażu aktualizuje kon­cep­tualne studium autor­stwa Bir­gitt Jürgenssen z 1972 roku.

RASTER EDITIONS


From the “In the Car with R” series

Fotografia powstała pod­czas wyprawy artysty do Islan­dii i przed­stawia hydroelektrownię Karahn­jukar położoną w odległym, przy­lodow­cowym terenie.

RASTER EDITIONS


From the “Ephemerophytes” series

Artystka aranżuje misterne kom­pozycje lewitujących, polnych kwiatów polnych z osobistym, metaforycz­nym podtekstem.

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RASTER EDITIONS


Sztuka z nerwów. Sztuka jeszcze raz to samo. Sztuka wyrywania zębami tego co się należy

Seria trzech oryginal­nych stem­pli z lat 1970. z hasłami ze słownika KwieKulik.