Contemporary visual culture treats the body as a plastic material that can be formed, shaped, distorted and deformed as needed or desired. The images gathered for our exhibition are a special collection of such bodies subjected to various treatments and forms of subduing and controlling the body.
The cosmetic masks photographed by Grzeszykowska effectively reshape the artist’s face. The school lessons in anatomy in Koťátková’s collages results in deconstruction of the holistic unity of body and psyche. Araki’s nudes frankly address sexual practices grounded in domination.
The only example still for sale of the exceptional early sculptural works by Budny that launched the artist’s international career.
In a series of self-portrait drawings the artist depicted himself in his signature blue jacket, pulling on one end of a rope. The other end of the rope is in fact real and attached to each drawing’s frame, with different objects such as empty vodka bottles, ziploc bags with money or candy dangling from it and thus setting its balance.
The mythical Persian bird replaced the Polish royal eagle in a symbol of solidarity.
exhibitions abroad 2018
An exhibition by Slavs and Tatars opened at Dresden’s Albertinum museum under the melodious title Made in Dschermany. The main theme is German Orientalism—the ties between German culture and Islam—and the key is in the first four letters of the title: DSCH.
art fairs 2018
Raster at LISTE in Basel: Oskar Dawicki, Honorata Martin, Slavs and Tatars
2018 art fairs
Raster at Tbilisi Art Fair: Olaf Brzeski, Przemek Matecki, Zofia Rydet, Slavs and Tatars.
Seria wydruków zgłębiająca często zaniedbywany temat mistycznego wymiaru nowoczesności stworzona została w ramach “Beyonsense” – indywidualnej wystawy Slavs and Tatars w Museum of Modern Art w Nowym Jorku.
Olaf Brzeski is the author of set design and costumes for “Fables for Robots” play directed by Agnieszka Olsten.
The Weserburg modern art museum in Bremen, Germany, is showing a number of photos by Aneta Grzeszykowska from the Negative Book series in the museum’s “Artists’ Rooms” program.
This unique object of painted black steel, attached to the ceiling, evokes a certain state of mind of the artist.
PRZEMEK MATECKI BOOK
Published in this volume are part of a larger series of several hundred works created in 2016–2018 and exhibited in a show at Raster Gallery in February–March 2018. They were made using paper reproductions and oil paint on canvas. They are pictured here actual size.
ANETA GRZESZYKOWSKA BOOK
All eighty-four photographs from the “Negative Book” series by Grzeszykowska published in one album.
Przemek Matecki’s “Small Paintings” exhibition, showing at Raster in February and March 2018, has been the subject of numerous commentaries and we chose a few of them for you.
The knight’s armor alludes to the myth of the armed nation and its current pro-family policy.
Using the cosmetic masks referred to in the title, the artist creates a gallery of denatured, grotesque images. The female face hidden under the mask is subjected to clear deformation and loses its characteristic physiognomic features. The violent nature of advanced cosmetic treatments leads here to an association with extreme sexual practices, combat sports, and criminal disguise.
exhibitions abroad 2018
On the occasion of their first solo institutional exhibition in Germany, the artists turn to the enigmatic writer and philosopher Johann Georg Hamann.
“Friend of a Friend” is a concept based on the principle of friendly collaboration between contemporary art galleries. It puts together Warsaw-based spaces as hosts with international guests, and thus aims to establish an alternative platform for commercial galleries to present contemporary art. The group exhibition prepared at Raster will include works by Breyer P-Orridge (1950, UK) from Zurich’s Galerie Bernhard, Andrea Kvas (1986, IT) and Nick Bastis (1985, US) from Vienna’s Ermes-Ermes gallery, as well as Olaf Brzeski.
In his latest series of paintings, which he worked on nonstop for the past year or more, Matecki takes on the vastness of art. A tangible symbol of its fecundity is the heavy piles of superfluous exhibition catalogs and art magazines which the artist browses through in search of inspiring material for his own work. Matecki gives new life to reproductions, transforming them into sharp, witty miniature oil paintings. The treatments he applies generate surprising effects. Here art is submitted to an authorial compression and regains its vigor. Often with a single gesture, Matecki extracts the essence from the work of other artists and creates entirely new paintings exuding energy and humor, a kind of contemporary, masterly capriccio.