WARSAW GAL­LERY WEEK­END 2023

Janek Simon
SIXTEENTH WORLD

The work of Janek Simon grows out of experien­ces of travel between diverse cul­tures, economies and visions of the future, which the artist com­bines using innovative digital tools and DIY practice. The sculp­ture series “Meta Folklore”, executed over the past two years, is an artistic, tech­nological and political fantasy—a vision of a new, univer­sal art created using artificial intel­ligence fed by a database of thousands of non-​academic sculp­tures from all over the world.

WARSAW GAL­LERY WEEK­END 2023

Oskar Zięta
COURTYARD SCULPTURES

Oskar Zięta’s design prac­tice derives from a moder­nistic ethos of innovation and tech­nology which drives aesthetics. The point of depar­ture for the project prepared especially for the Raster Sculp­ture Garden is the figure of the rug-​beating frame typically found in the cour­tyard of a housing com­plex, from which the artist explores a sur­prising space between func­tional garden fur­niture and an abs­tract, futuristic spatial forms.

EXHIBITIONS 2023

Alicja Pakosz
VORTICES

The first individual show at Raster by Alicja Pakosz (born 1996) is a nar­rative woven around the figure of a toxic landscape—obsessively retur­ning as a clas­sic motif from the history of pain­ting and also a vision evoking fear, an under­lying anxiety. An image appearing in the least expec­ted moment like hal­lucinations pres­sing under the eyelids. Something morbid and not entirely benign. The artist plays out this story like film frames in a series of pain­tings in two dif­ferent scales and a fully-​formed diorama.

EXHIBITIONS 2023

Zofia Rydet
ENDLESSLY DISTANT ROADS

Zofia Rydet (1911–1997), creator of the iconic Sociological Record and the fan­tastic World of Feelings and Imagination, was an artist gifted with a sense for observing the entropy of the world around her. This excep­tional photographic per­spec­tive is revealed in all its power in the series Endles­sly Distant Roads, executed in 1980. In the exhibition at Raster, we present a selec­tion of 40 photographs from this unusual and rarely shown collection.

2016 EXHIBITIONS

ACTIVITIES WITH FAMILY

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?

2015/2016 EXHIBITIONS

Michał Budny
CROWN

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.

WARSAW GAL­LERY WEEK­END 2015

Olaf Brzeski
MEGALOMANIA

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
A GENTLE CREATURE

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
PEOPLE WITH THE HEADS OF DOGS

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.

2015 EXHIBITIONS

Sławomir Elsner, Zbigniew Rogalski
VIEW FROM THE DEPTHS OF THE EYE

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.

2015 EXHIBITIONS

Błażej Pindor
PAŁAC LX

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.

2015 EXHIBITIONS

Jan Tomza-Osiecki
ISPC

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.

2014 EXHIBITIONS

Aneta Grzeszykowska
SELFIE

(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


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.

RASTER EDITIONS


Lion

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

RASTER EDITIONS


FRAU (Birgitt Jürgenssen)

(Polski) Grzeszykow­ska w swoim fotomontażu aktualizuje kon­cep­tualne studium autor­stwa Bir­gitt Jürgenssen z 1972 roku.

RASTER EDITIONS


From the “In the Car with R” series

(Polski) Fotografia powstała pod­czas wyprawy artysty do Islan­dii i przed­stawia hydroelektrownię Karahn­jukar położoną w odległym, przy­lodow­cowym terenie.

RASTER EDITIONS


From the “Ephemerophytes” series

(Polski) Artystka aranżuje misterne kom­pozycje lewitujących, polnych kwiatów polnych z osobistym, metaforycz­nym podtekstem.

RASTER EDITIONS


(Polski) Sztuka z nerwów. Sztuka jeszcze raz to samo. Sztuka wyrywania zębami tego co się należy

(Polski) Seria trzech oryginal­nych stem­pli z lat 1970. z hasłami ze słownika KwieKulik.

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