Dominika Olszowy prepared a video and costumes for the play “Fear” in TR Warszawa.
An animated film in progress, with new footage constantly added to it. Coffee – a beverage with a strong emotional and visual identity attached to it – is the central reference.
The collective’s monograph includes all major art works, publications and lecture–performances from the past ten years, with a special screenprint by Slavs and Tatars in limited edition of 100 copies.
Performance for camera made during Weltschmerz residency at Opole Contemporary Art Gallery.
The sculpture is a fetish object, made in an attempt to disenchant a poor financial status the „talisman of financial liquidity”, with water gushing from the insides of fake designer bags.
Janek Simon’s exhibition is organized as part of Not Cancelled Warsaw and takes place in a virtual space.
Artist has just completed the costumes and set design for a contemporary adaptation of Monteverdi’s opera Il ballo delle ingrate, a perverse morality play starring ancient gods.
Sculpture marked Brzeski’s launch of a new series of works to be created in the seclusion of private gardens.
Emilia Kina focuses on the margins of depiction, of what is merely a frame for the proper view, what hides it or merely appears. Her relief compositions, painting/screens captivating in their material beauty, divert attention from the digital inflation of images and messages.
Wąbrzeźno, an ordinary little town starting with W, down near the end of the alphabet, in a language where “w” could stand for wszędzie—anywhere, portrayed by the photographer after a decade of systemic changes up to the eve of Poland’s joining the European Union, became a visual synonym for the creeping transformation. Working on colour negatives and alluding to the minimalist poetics of topographic photography, Zieliński created an image of the post-socialist countryside that is the first of its kind, moving and empathetic, constructed from mist and a thousand and one shades of grey.
At the joint exhibition Equivalent Arrangement Michał Budny and Kajetan Sosnowski meet for the first time. The works of both artists, seemingly abstract, in various ways defy easy classifications of genre. They operate through images and masses but use little painting or sculpting. Their compositions generally finds its origins in an abstract drawing—noted on paper or only conceptualized—as a type of minimalist score, the simplest recording of an idea.
The Pickle Politics show by Slavs and Tatars launches the exhibition activity of Sugar, a new curatorial project in Toronto.
EXHIBITIONS IN POLAND
Third component of a larger series within the Prototypes project, through which different artists are working with the collection of Muzeum Sztuki in Łódź. Carolina Caycedo presents her work in context with that of the Polish photographer Zofia Rydet.