Slavs and Tatars
„Usta Usta” w Stambule

Po War­szawie i Teheranie, prze­krojowa wystawa Slavs and Tatars zawitała do SALT Galata w Stambule.

Michelle Rawlings
Michelle Rawlings
GIRL TALK

Rawlings seeks in her work a new, con­tem­porary female iden­tity: creative, sub­jec­tive, intuitive, and per­fec­tly at home in the digital world. Her intimate pain­ting com­bines visual bril­liance and mul­tiplicity with reticent con­tem­plation.
The main element of her “Girl Talk” exhibition is an instal­lation prepared from a range of objects of varying sizes modeled on the struc­ture of room dividers. The pain­tings accom­panying these sculp­tural pieces are made of silk, hand-​embroidered, pain­ted and prin­ted, in the spirit of a diary of images. The exhibition is com­pleted with charac­teristic, small easel pain­tings by Raw­lings, a con­tinuation of her intimate color studies.

RUINS OF WARSAW

Another book from the “Warsaw” series—photographs from years 1915-2016

Karolina Jabłońska
GIRL OR TIGER

LISTE 2017

Raster at LISTE in Basel: Olaf Brzeski, Karolina Jabłońska, Mika Tajima

Slavs and Tatars
Slavs and Tatars in Teheran

Zofia Rydet
Transformations

Zofia Rydet
Sociological Record

Aneta Grzeszykowska
Skin Heads

Leather dolls—or rather head studies—were made by Grzeszykow­ska using scraps of material retrieved from secon­dhand leather clothing found in thrift stores.

Aneta Grzeszykowska
Untitled (model)

In this series of large-​format photographs, the artist brings her double to life. The effigy manufac­tured by a specialist firm is a faith­ful copy of her head and torso on a 1:1 scale. Grzeszykow­ska documents the process of applying makeup, eyelashes and eyebrows, and the framing and reduced distance create the illusion of con­fron­ting a real person.

Aneta Grzeszykowska
Zofia Rydet
Aneta Grzeszykowska, Zofia Rydet
HEAD, SKIN, FACE

The fabric of the skin, wrin­kles, hand gestures. The joint exhibition of works by Zofia Rydet (1911–1997) and Aneta Grzeszykow­ska (born 1974) is a show of two artists who use the camera to con­struct cap­tivating and rhetorically rich images of the female body.

Slavs and Tatars
Naughty Nasals

The Rus­sian Cyril­lization of Polish was introduced in the Rus­sian par­tition in the nineteenth cen­tury. Two Polish let­ters in par­ticular were problematic: the “ą” and the “ę.” These nasals had disap­peared from
most other Slavic lan­guages. The solution came via let­ters from the Old Slavonic lan­guage, Ѫѫ (big yus) and Ѧѧ (little yus): Naughty Nasals under­line the affront of Orthodox- Cyril­lic on a Catholic-​Latin iden­tity. Slavs and Tatars have trans­for­med
the let­ters into fur­niture resem­bling por­table con­fes­sion booths.

Zofia Rydet
Women on Doorsteps

Michelle Rawlings’ show in Dallas

Karolina Jabłońska, Tomasz Kręcicki, Cyryl Polaczek
POTENCY

Hellish Road, Ear­th­worms, The Night­mare, Stran­gling, Snake & Tit—we are showing these and other works pain­ted in recent months, weeks and days in an exhibition of three young artists wor­king in the Kraków district of Zabłocie. The “potency” from the title is the name of the small gal­lery they foun­ded together and have operated for the last couple of years, but also an expres­sion of a ravenous appetite: for unfeigned emotions, for pain­ting every day and grab­bing pic­tures by the throat. A Warsaw premiere of the most promising pain­ting for­mation to rise up in recent years.

Aneta Grzeszykowska
Negative Make-Up

W serii „Negative Make-​Up” Grzeszykow­ska bawi się kolorowym makijażem. Zdjęcia wykonane w kon­wen­cji oficjal­nych por­tretów do dokumentów to z jednej strony fotografia bardzo schematyczna, skon­wen­cjalizowana, która równocześnie gra z obrazem kobiety w kulturze.

Janek Simon
Polyethnic

Olaf Brzeski
Fly

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.