EXHIBITIONS 2022

200 REVELATIONS

The new exhibition is devoted to the grey areas of the imagination—religious fervour and visions arising from an excess of metaphysical stimuli or, on the con­trary, from a scar­city of such stimuli and a lon­ging for spirituality in a world dominated by the economics of everyday pragmatism.

Riga Inter­national Bien­nial of Con­tem­porary Art

Dominika Olszowy
YAWN OF A SLEEPY HEART

Dominika Olszowy takes part in the second edition of the bien­nial in Riga. Her project con­sists of two parts presen­ted in the Latvian capital and an instal­lation prepared at Raster.

warsaw gal­lery week­end 2019

Dominika Olszowy
HOUSEHOLD SPIRIT

This exhibition designed especially for the Raster space peers out from a dark lining of domesticity. Using hybrid objects and sculp­tures, distur­bing images and mysterious pas­sages, Olszowy creates her own vision of home.

warsaw gal­lery week­end 2018

If I Were the Moon

The post-​romantic figure of the drun­ken artist is fading into the past, leaving behind a land­scape lit­tered with hal­lucinations, depravity, and shat­tered illusions. This is the story of the intimate ties between con­tem­porary art and vodka. Con­ceived as a medley of artworks and documen­tary con­tent, the exhibition features Krzysztof M. Bed­nar­ski, Olaf Brzeski, Michał Budny, Rafał Buj­now­ski, Oskar Dawicki, Edward Dwur­nik, Władysław Hasior, Jerzy Lewczyński, Honorata Martin, Dominika Olszowy, Zbigniew Rogal­ski, Wil­helm Sasnal, and others.

2014 EXHIBITIONS

Cipedrapskuad, Honorata Martin, Dorota Masłowska, Maria Toboła
SOCIETY IS MEAN

This exhibition takes place in a coun­try whose society has a rather poor opinion of itself. The society is mean, the society is aging, and the force which is driving us toward all this is the progres­sive stabilization, which seems to have effec­tively conquered us after years of figh­ting on various fronts. Life in Poland has become ter­rifyin­gly ordinary. The works making up the Society Is Mean exhibition are not essen­tially asocial, but they do bril­lian­tly render the distance between the individual and the society around him or her. The artists whose works we are presen­ting give us a wholesale revision of this con­sen­sus; the sphere of their con­fron­tation with society is its lan­guage, its living space, and its dominant, stereo­typical inter­per­sonal relationships.