Skinformer 7 (Wave)

Album

Skinformer 6 (Franciszka and Stars)

Skinformer 5 (Birthday)

Skinformer 4 (Franciszka and Fire)

Terror

The latest, typo-photo-graphic per­for­mance by Aneta Grzeszykow­ska is an up-to-date political choreography. Using excerpts from her film works, the artist prepared an effec­tive screenprint.

Skinformer

Skin­for­mer by Aneta Grzeszykow­ska offers a radical elaboration of ear­lier soft sculp­tural objects created by the artist, a phenomenal view into the separate existen­tial universe created by her.

Face Book

The new photography series by Aneta Grzeszykow­ska is another radical self-​portrait of the artist. The point of depar­ture this time is 19th- and 20th-century photographs documen­ting psycho-​physiological experiments on the human body and the medical archives.

Mama

A series of photographs showing the artist’s daugh­ter Fran­ciszka playing with a doll—a life-​size, waist-​up replica of the artist herself.

Beauty Mask

Using the cosmetic masks refer­red to in the title, the artist creates a gal­lery of denatured, grotesque images. The female face hidden under the mask is sub­jec­ted to clear defor­mation and loses its charac­teristic physiognomic features. The violent nature of advan­ced cosmetic treat­ments leads here to an association with extreme sexual prac­tices, combat sports, and criminal disguise.

Skin Heads

Leather dolls—or rather head studies—were made by Grzeszykow­ska using scraps of material retrieved from secon­dhand leather clothing found in thrift stores.

Untitled (model)

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.

Negative Make-Up

(Polski) 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.

Iranian Film Stills

74 photographs from the Iranian Film Stills series document Aneta Grzeszykowska’s stay in Iran in March 2015.

Franciszka 2021

The white woolen doll represents an image that the artist has of her own daugh­ter, Fran­ciszka – in year 2021.

Selfie

Grzeszykowska tworzy groteskowy, rzeźbiarski kalam­bur: na gładkich, skórzanych tłach eks­ponuje naturalistycz­nie opracowane modele frag­mentów własnego ciała wykonane ze świńskiej skóry. Na naszych oczach składa z części swój autopor­tret, nie­codzienne selfie.

Clock

Clock is a 12-hour long video in which Grzeszykow­ska per­forms choreographed dance compositions.

The video is shown in sync with hours of the day – the artist’s image is mul­tiplied number of times to cor­respond with the time of day. With each new hour, new com­position unfolds with another ‘copy’ of the artist added to the scene.

Franciszka

The white woolen dolls are hand sewn by Grzeszykow­ska. They represent an image that the artist has of her own daugh­ter, Fran­ciszka – in dif­ferent, future stages of her life. Each of the white dolls will be com­pleted by a photographic equivalent of Fran­ciszka when she reaches a par­ticular age.

Negative Book

Negative Book decon­structs positive photography and as such forms a con­tinuation of the artist’s reflec­tions on the charac­ter of the photographic medium and its various transformations.

Toothed Aneta 1981