Janek Simon, Meta Folklore v0.2.5, 2022, print 3D, polymer PLA, 68 × 18 × 14 cm
Simon collected a large database of images from websites like Etsy and Ebay, that problematically categorize folkloric sculptures from around the world. He then used machine-learning programs, artificial intelligence, and 3D printing techniques to produce new sculptures that everyone and at the same time no-one can recognise themselves in. This way, Simon’s work is a gesture that brings focus to openness and common grounds, amidst the devastating geopolitical conflicts of current times.
Growing up in Poland during the 1980’s amidst post-war dichotomies, Simon developed an anarchist political position and a resistance to reducing the world into categories. Combined with his urge to intrude on overpowering, opaque technologies, Simon sees the DIY approach as a tool to reappropriate technology and to empower people to dismantle simplistic constructs of reality, categorization and hierarchies.
– 1646 Experimental Art Space
price: 6000 EUR + VAT
Aneta Grzeszykowska, Negative Make-Up, 2016, pigment ink on cotton paper, [2x] 100 x 70 cm, ed. 3 + 1 AP
In the series "Negative Make-Up" Grzeszykowska uses colorful makeup in a playful manner. In one of the photographs her lips are stained with lipstick while on the other it’s her whole face except her lips that’s colorful. The photographs that formally reflect official portraits used for documents are on the one hand a type of conventional and schematized photography and on the other they are a subversion of the portrayal of women in popular culture. By putting lipstick all over her face, Grzeszykowska, instead of making herself beautiful emphathizes her natural wrinkles.
price: 12 000 EUR + VAT
Dominika Olszowy, Final Push, 2022, tights, fake snow, ceramics, steel, wood, concrete, glue, epoxy resin, 212 × 65 cm
price: 6 000 Euro + VAT