Krzysztof Zieliński

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.


Michał Budny, Kajetan Sosnowski

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.



In what way does the family life of artists merge into their art? Star­ting with the total prac­tice of KwieKulik, a pair of artists who introduced their own child and other relatives into their poetic-​structural “activities with a camera” in the 1970s, we take a look at how family ties and relations are tested in the public forum through the medium of art. So, does art work to create distance, or, conver­sely, does it con­tribute to a deeper under­stan­ding, empathy and unraveling of familial tensions?


Michał Budny

When con­sidering Budny’s works, one is con­sisten­tly awed by the noble, sub­dued power packed into those simple, natural gestures, materials and forms. The latest exhibition develops the fun­damen­tal themes within the prac­tice of this extraor­dinary artist in a new way—struggling with the material and the space, the emotions and the architec­ture. “Crown” is an exac­ting com­position of individual objects that cor­respond and, in turn, provoke one another. They are all con­nec­ted through a striking manifestational quality, precision and uncom­promising character.


Olaf Brzeski

The disrup­tion of scale and weight, the fan­ciful use of material, the trans­ference of drawing into the physical space and an obses­sive imagination that revolves around the human figure—these are the stan­dard elements of Brzeski’s craft. “Megalomania” exhibition is a sculp­tural study of size, ambition and fragility – in which the artist will face off with figures and materials that appear in various ways hyper­bolic or imagined even.

2015 exhibitions

Michelle Rawlings

Relatively small in size, Michelle Rawlings’ pain­tings come together as a sequence of images, much like a blog or instagram feed. Raw­lings referen­ces various styles and genres of pain­ting, adap­ting them to her individual scale and nar­rative. The realm of her visual pur­suits is in large part focused on represen­tations of young women and girls – artists, actors and models – as well as the formal lan­guage of con­tem­porary art.

2015 exhibitions

Janek Simon

Simon’s many exotic trips over the past dozen years have served to develop his para-​artistic endeavors, vested on the frin­ges of economics, art and post-​colonial thought. His newest exhibition is an offshoot of these ear­lier experien­ces, as it also inverts the per­spec­tive of the artist as observer. Simon’s main topic of interest shifts from inter­cul­tural exchange towards the sub­jec­tive observations of a researcher-​traveler: exploration, and con­fabulation, too, of which the experien­ces of recognized travelers, repor­ters and artists are full of.


Sławomir Elsner, Zbigniew Rogalski

A joint exhibition by Sławomir Elsner and Zbigniew Rogal­ski reveals images that customarily only artists are privy to – inside the studio and across land­scapes viewed from the depth’s of the painter’s eye. Each of these artists is fascinated by the conven­tions and the ethereal aspect of pain­ting, while the works on show also exhibit a self-​reflection on the typicality of the space in which art is created, and on the delusory nature of mankind’s visual apparatus.


Błażej Pindor

In the 60 years since the erec­tion of Warsaw’s Palace of Cul­ture and Science, this peculiar architec­tural struc­ture remains an impenetrable aesthetic phenomenon. Błażej Pindor’s photography project is the first ear­nest attempt at an artistic inter­pretation of the space within and around the Palace. The essence of his photography is an analysis of the impact the struc­ture has on the viewer – dominating, rescaled, sel­fish and opulent beyond measure, at the same time raw and seductive.


Jan Tomza-Osiecki

Jan Tomza-​Osiecki is part of a generation for whom the inten­sive experience of vir­tual reality – via new media, the Inter­net, simple program­ming lan­guages, gaming, and 3D graphics and design – is key to creating works of art. His point of depar­ture is the abs­tract sculp­tural form, which he animates through the introduc­tion of sound, endowing it with real­ness and dynamism; the func­tioning of his interac­tive objects is based on a feed­back effect, which is typically con­sidered undesirable among engineers. The noisome issue of feed­back is now at the heart of the object’s pur­pose, opening up the field of experimen­tation and creating possibilities for gaining a new under­stan­ding for familiar spaces and the movement’s of one’s own body.


Aneta Grzeszykowska

(Polski) Mistyfikacja należy do ulubionych metod twórczych Anety Grzeszykow­skiej. Artystka kon­sekwent­nie, wręcz obsesyj­nie rozkłada na części swój wizerunek, znika bądź pod­szywa się pod cudze tożsamości. Analiza procesów autokreacji­ – jed­nego z fun­damen­tal­nych tematów sztuki, ale także pod­stawowej kwestii dla kon­dycji dzisiej­szego, post­medial­nego społeczeństwa – ­jest również prze­wod­nim motywem naj­now­szej serii zdjęć.

raster editions


A limited edition of Zbigniew Libera “Photographs” album with an original 2004 photograph by the artist, signed and num­bered on the back.

raster editions

Ogórek Trocki

Slavs and Tatars call for a rescue of the 400-year-old Trakai cucum­ber which sadly didn’t survive the second World War.



(Polski) Znany z per­skiej mitologii motyw lwa pożerającego wojow­nika prze­niesiony w świat współczesnych kolek­cjonerów sztuki.