Aneta Grzeszykowska
Skinformer 7 (Wave)

Marcin Maciejowski
All Three Like to Shock

Dominika Olszowy
(Polski) Oko domu

Aneta Grzeszykowska
Album

Aneta Grzeszykowska
Skinformer 6 (Franciszka and Stars)

Aneta Grzeszykowska
Skinformer 5 (Birthday)

Aneta Grzeszykowska
Skinformer 4 (Franciszka and Fire)

Marcin Maciejowski
(Polski) Rafael pędzla Maciejowskiego (Wrażenie Posiadania)

Oskar Dawicki
Oskar Dawicki
MEN

This new project by Oskar Dawicki com­bines elements of per­for­mance and photography and is per­meated, as is a number of previous works of the artist’s, by the mood of existen­tial sorrow. The series of photographs prompts a reflec­tion on the role and position of traditional masculinity. To be a man is today – as the work visually argues – a chal­len­ging task, and a con­dition sub­ject to extreme pressure.

Marcin Maciejowski
Kazimierz Domański has already had over 200 apparitions

Marcin Maciejowski
(Polski) Strajk (1) (za fb Ogólnopolski Strajk Kobiet)

Dominika Olszowy
To the Mud and Back

Dominika Olszowy
(Polski) Własne starzenie. Z serii Sny

Dominika Olszowy
Dominika Olszowy at the Foksal Gallery

“The future is dark, which is the best thing the future can be, I think.”

Olaf Brzeski
Olaf Brzeski
Wanderer

Monumental sculp­ture of a wan­derer made of steel pipes and rods is a story of a great jour­ney, a dream and a riddle of the future created by Olaf Brzeski.

Olaf Brzeski
It blows my mind

Emilia Kina
Untilted

Emilia Kina
Untilted

Dominika Olszowy
Marcin Maciejowski
Slavs and Tatars
Zofia Rydet
200 REVELATIONS

The new exhibition is devoted to the grey areas of the imagination—religious fervour and visions arising from an excess of metaphysical stimuli or, on the con­trary, from a scar­city of such stimuli and a lon­ging for spirituality in a world dominated by the economics of everyday pragmatism.

Paulina Stasik
Performance

The displayed situation may bare resem­blance to a moment of suspen­sion, a pause in a dance, an artful balance over the edge due to the joint bodies, a liminal point right before cul­mination, i.e. the col­lapse of the composition.