After being shown at Ujazdowski Castle Centre for Contemporary Art, Warsaw, Pejman Foundation, Tehran, and SALT Galata in Istalbul, the collective’s first mid-career survey “Mouth to Mouth” is presented at CAC Vilnius.
The sour yellow color used in this textured piece was inspired by the aesthetics of the 60s and 70s.
The intimate scale of the objects, modeled on the structure of room dividers underlines the idiosyncratic and impractical nature of these items. The paintings they’re composed of are made of silk, hand-embroidered, painted and printed.
slavs and tatars monograph
The collective’s first monograph includes all major art works, publications and lecture–performances from the past ten years, assembled in one volume.
warsaw gallery weekend 2017
In 1977, Krzysztof Pruszkowski, a Polish-born photographer residing in France today, was not yet a legal resident. As a man without a country, he began a project that bore the stark, Polish title Barierka (Barrier). Over several months, he produced a few hundred black-and-white photographs depicting the streets of Paris, cut off at various angles by the metal blockades residents have come to know so well. The exhibition of photographs and album reveal a series of images as in a silent film, with only one hero – barierka in the title role.
ART FAIRS 2017
Raster at viennacontemporary fair in Vienna
ART FAIRS 2017
Raster at COSMOSCOW fair in Moscow: Rafał Bujnowski, Karolina Jabłońska, Zbigniew Libera, Janek Simon, Slavs and Tatars
After being shown at Ujazdowski Castle Centre for Contemporary Art, Warsaw and Pejman Foundation, Tehran, the collective’s first mid-career survey “Mouth to Mouth” is presented at SALT Galata.
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.
Slavs and Tatars’ mid-career survey “Mouth to Mouth” evolves into “Nose to Nose” in Teheran
From the Sociological Record cycle. Myth of Photography (Raba Wyżna), 1978-1990, gelatin silver hand print, ca. 24 x 30 cm
Leather dolls—or rather head studies—were made by Grzeszykowska using scraps of material retrieved from secondhand leather clothing found in thrift stores.
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.
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.