Oskar Dawicki (b. 1971 in Poland) was educated as a pain­ter, but he quickly broadened his scope of interest onto per­for­mance, video works, photography, documen­tation and, finally, objects and instal­lations. All of his works have a post-​conceptual charac­ter and emanate a sligh­tly grotesque, ironic and even absurd aura. The self-​reflection over his own institutional status as a con­tem­porary artist is tigh­tly inter­woven with reflec­tion on his own iden­tity, or rather on its trans­itoriness, conven­tionality, and weakness. 


The primary medium in which Aneta Grzeszykow­ska (b. 1974 in Poland) works is photography. However, she treats it instrumen­tally, as a tool for the realization of advan­ced, artistic and ontological exer­cises, emphasizing the per­for­mative dimen­sion of her activities. The artist is interested in the role photography plays in creating and documen­ting a per­sonal iden­tity. The motifs which she obses­sively returns to in her works are absence, invisibility, disap­pearing, and the con­fron­tation of body and thought with non-​existence.  


Peter Puklus (b. 1980) lives and works in Budapest, and is now finishing his doctoral studies in photography at MOME. He is among a generation of artists for whom photography isn’t taken as a straight­for­ward medium, but a tool bogged down by a trail of cul­tural, artistic, com­mer­cial and political associations and cor­relations. Puklus primarily operates in his immediate environ­ment and his basic medium of expres­sion is the outwar­dly clas­sic tech­nique of studio photography. The objects col­lec­ted and con­struc­ted specifically for the pur­pose of his photos often take on a second life as individual works, sculp­tures or instal­lations in their own right.


Zofia Rydet (1911-1997) is one of the most prominent charac­ters in Polish photography. From 1978 for almost the rest of her creative life she worked on her most significant artistic achievement, “Sociological Record”, a monumen­tal record of man and society, enc­losed in dozens of thousands of negatives, and taken individually across a number of regions in Poland and abroad, such as Douchy in France and New York. Her work can be found amongst the most impor­tant Polish col­lec­tions, as well as the Museum of Modern Art in New York, the Centre Geo­r­ges Pom­pidou in Paris, The Museum of Modern Art in Kioto, and many others.

Oskar Dawicki, Desecrator's Gymnastics, 2013

Aneta Grzeszykowska, Negative Make-Up, 2016

Aneta Grzeszykowska, FRAU (Birgitt Jürgenssen), 2011/2015

Peter Puklus, Golden Decadence, 2013.

Peter Puklus, Nude dancing with cardboard sheets IV, 2014

Zofia Rydet, from the Sociological Record cycle, 1979





Karl-Farkas-Gasse 19
A – 1030 Vienna


booth E34