FRIEZE NEW YORK

At FRIEZE ART FAIR in New York Raster has presen­ted works by Aneta Grzeszykow­ska, KwieKulik and Slavs and Tatars.

 

Press coverage:

Leigh Anne Miller, Inside Frieze New York with Michelle Grab­ner, “Art in America”, 2014

Joseph Akel, Top 10: Frieze 2014, “Interview magazine”, 2014

 

 

Project cofinan­ced by the Ministry of Cul­ture and National Heritage of the Republic of Poland


ART FAIRS 2014

FRIEZE NEW YORK

9-12.05.2014

www.friezenewyork.com

Randall’s Island Park, New York



RELATED WORKS

Activities with Dobromierz

Activities with Dobromierz

Just after their son Mak­symilian Dobromierz was born, KwieKulik star­ted to elaborate this unique and enig­matic body of work.

Negative Book

Aneta Grzeszykowska
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.

Madame MMMorphologie

Slavs and Tatars
Madame MMMorphologie

Standing tall book greets its visitors as a madame. A love story come to life, Madame MMMor­phologie winks at her pas­sersby, her long eyelashes linked to the quasi-​illicit amorous rap­port the book can compel in people.

Other Peoples’ Prepositions

Slavs and Tatars
Other Peoples’ Prepositions

Prepositions are a class of words that explain relation­ship; though per­haps no preposition is as cen­tral to Slavs and Tatars’ cosmology as ѿ [ot], literally ‘from’ in several Slavic lan­guages. Other People’s Prepositions attempts to restore this litur­gical indul­gence ѿ, com­bining the Greek omega and theta through a meditation on the preposition’s more car­nivalesque implications.

Love Letters

Slavs and Tatars
Love Letters

Love Let­ters series of car­pets address the issue of manipulation of alphabets across Arabic, Latin and Cyril­lic, through the Rus­sian Revolution’s most well-​known, if con­flic­ted, poet-​champion, Vladimir Mayakovsky.

Mail-Outs

Mail-Outs

Since 1973 KwieKulik have sent out more than 20 leaflets to represen­tatives of the art world, in which they critically com­men­ted on its struc­tures and addres­sed its cur­rent problems. “Mail-Outs” had a form of home-​made photographically reproduced postal mailings and were sen out in various quan­tities (from a few to several dozen copies).