Works by Janek Simon and by Slavs and Tatars are being shown at the Centre Pompidou in Metz at the museum’s exhibition Folklore.
Works by Sławomir Elsner are being shown at the Lenbachhaus in Munich among paintings from the museum’s collection of works by the Blue Rider artists.
Michelle Rawlings is taking part in the show Psychic Wounds: On Art & Trauma at The Warehouse in Dallas.
The latest exhibition by Janek Simon at Raster has an open structure. Instead of a traditional, arranged showing of completed artistic objects, we are given a process, a situation suggesting a visit to the studio, where we can observe “live” the changing progress of work on each project.
The presentation of ten of Edward Dwurnik’s works on paper never shown before marks the beginning of the work on an intriguing archive of the artist, in which motifs and stories known from paintings are developed, or the reverse—drawings left by the artist include ideas and emotions later expanded on in his paintings.
The work belongs to the short but unusual series created in 1973 in cooperation with the photographer Teresa Gierzyńska.
(Polski) Rysunki z serii KłamsTVa to przykłady politycznej ekspresji czasów strajków i stanu wojennego oraz zapis społecznego sprzeciwu wobec manipulacjom władzy.
(Polski) Charakterystyczny dla Dwurnika widok Polski z małomiasteczkowej perspektywy z ikonicznym dla artysty motywem wielkiej główy i ujmującą aurą nawiązującą do prac Nikifora, którymi Dwurnik się inspirował.
In his new cycle “My Collection” Zbigniew Rogalski presents scenes of passionate kisses created on the basis of Araki’s, Teller’s or Richardson’s renowned photographs.
2020 ART FAIRS
Raster na wirtualnych targach FAIR: Slavs and Tatars, Zbigniew Rogalski, Janek Simon, Karolina Jabłońska.
We are pleased to announce that Dominika Olszowy has joined the group of artists represented by the Raster Gallery.
The new photography series by Aneta Grzeszykowska is another radical self-portrait of the artist. The point of departure this time is 19th- and 20th-century photographs documenting psycho-physiological experiments on the human body and the medical archives.
Simon fed geometric textiles motifs from all over the world into a computer and “trained” the neural network on this database. The algorithm “learned” to produce new patterns and ornaments, no longer crafted by man but by an artificial intelligence.
Olszowy balances on the border between sculpture, installation and scenography. Her works allude to domestic space as characterized by conflicting emotions: a sense of comfort and fear, solace and suffocation, repose and paranoia.
Crooked and twisted cement clothes hung in the gallery windows as if it was a display of a liquor store.
Two-part installation entitled The Wake resembles the visualisation of a dream with a motif of a ceremony dedicated to bidding farewell to a departed person, and relief and consolation for those who say goodbye to her loved ones.