In his latest series of paintings, which he worked on nonstop for the past year or more, Matecki takes on the vastness of art. A tangible symbol of its fecundity is the heavy piles of superfluous exhibition catalogs and art magazines which the artist browses through in search of inspiring material for his own work. Matecki gives new life to reproductions, transforming them into sharp, witty miniature oil paintings. The treatments he applies generate surprising effects. Here art is submitted to an authorial compression and regains its vigor. Often with a single gesture, Matecki extracts the essence from the work of other artists and creates entirely new paintings exuding energy and humor, a kind of contemporary, masterly capriccio.
A collaborative fashion-and-art project between Rafał Bujnowski and Bytom, Polish luxury menswear label. A full range capsule collection is launched in limited edition to celebrate the encounter of contemporary Polish art and fashion.
Matecki gives new life to reproductions from exhibition catalogs and art magazines, transforming them into puzzling, witty miniature oil paintings, with a format not exceeding a frame of a 20×20 cm square.
Oskar Dawicki, a literary and film figure, an artist known as a practitioner of total performance, presents this time a dystopian narrative: a kind of script, or more precisely a reconstruction, of a performance originally directed in a dream. The central figure in his vision is a pregnant woman, the heroine of our times, nourisher of the unborn but also caretaker of the dead. As befits a doubting artist, the world of his creation is full of ambivalence.
2017 art fairs
Raster at NADA Miami: Rafał Bujnowski, Aneta Grzeszykowska, Przemek Matecki, Michelle Rawlings, Mika Tajima. Booth #3.07
warsaw gallery weekend 2017
Sourced from the multiple architectonic and technological realities that exist in Warsaw, the subjects of Tajima’s exhibition—machine, book, and body—are unseen. Instead they provide the underlying technical material for the hardware-laden sculptures and abstract woven textiles in AIR. Together the objects intimate a still obstinate and unreadable body in transformation. Skin perforated. Mind laced. Input ready. Configured for performance—work, pleasure, war. Not yet fully machine.
The exhibition at Raster will be the first individual show of the artist’s works in this part of Europe, premiering September 2017 as part of Warsaw Gallery Weekend.
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.