Slavs and Tatars’ mid-career survey “Mouth to Mouth” evolves into “Nose to Nose” in Teheran
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.
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.
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.
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.
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.