Metaphorically and seasonally, the exhibition 1000 Hands suits the climate of the pre-spring thaw, illuminating a landscape of exhaustion and approaching, intuitively sensed change. In Polish literature this metaphor carries a political dimension. In the works shown together here by Rafał Bujnowski (1974–), Peter Puklus (1980–) and Zofia Rydet (1911–1997), what is vital is the very process of transformation, and the accompanying ambivalence, the temperature of interpersonal relations and the potential of the human hands from the title.
“Slippery” at Raster is Karolina Jabłońska’s first individual show in Warsaw. In her paintings girls wear rings and guys wear watches, but the stereotypical logic of dominance is reversed. The heroines here are idols, soothsayers and thieves, and relationships and passions explode as violently as they end, in emotion. Here exaggeration and hyperbole are the rule for both composition and life.
Joint exhibition of Rafał Bujnowski and Michelle Rawlings is organized by Raster in Tokyo’s Shibuya Hikarie
warsaw gallery weekend 2018
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.
Raster is among nine renowned galleries from Europe and Middle East to take part in the Condo Unit show in Athens.
W ramach kolejnej odsłony cyklu ORNO, dedykowanego spółdzielni jubilerskiej, która przez kilkadziesiąt lat użytkowała lokal przy Wspólnej 63 – obecną siedzibę Rastra – prezentujemy prace współczesnych artystów wykorzystujące tkaninę – materię ściśle związaną z tzw. sztuką użytkową.
Contemporary visual culture treats the body as a plastic material that can be formed, shaped, distorted and deformed as needed or desired. The images gathered for our exhibition are a special collection of such bodies subjected to various treatments and forms of subduing and controlling the body.
The cosmetic masks photographed by Grzeszykowska effectively reshape the artist’s face. The school lessons in anatomy in Koťátková’s collages results in deconstruction of the holistic unity of body and psyche. Araki’s nudes frankly address sexual practices grounded in domination.
“Friend of a Friend” is a concept based on the principle of friendly collaboration between contemporary art galleries. It puts together Warsaw-based spaces as hosts with international guests, and thus aims to establish an alternative platform for commercial galleries to present contemporary art. The group exhibition prepared at Raster will include works by Breyer P-Orridge (1950, UK) from Zurich’s Galerie Bernhard, Andrea Kvas (1986, IT) and Nick Bastis (1985, US) from Vienna’s Ermes-Ermes gallery, as well as Olaf Brzeski.
In his latest series of paintings, which he worked on nonstop for the past year or more, Matecki takes on the vastness of art. A tangible symbol of its fecundity is the heavy piles of superfluous exhibition catalogs and art magazines which the artist browses through in search of inspiring material for his own work. Matecki gives new life to reproductions, transforming them into sharp, witty miniature oil paintings. The treatments he applies generate surprising effects. Here art is submitted to an authorial compression and regains its vigor. Often with a single gesture, Matecki extracts the essence from the work of other artists and creates entirely new paintings exuding energy and humor, a kind of contemporary, masterly capriccio.
Oskar Dawicki, a literary and film figure, an artist known as a practitioner of total performance, presents this time a dystopian narrative: a kind of script, or more precisely a reconstruction, of a performance originally directed in a dream. The central figure in his vision is a pregnant woman, the heroine of our times, nourisher of the unborn but also caretaker of the dead. As befits a doubting artist, the world of his creation is full of ambivalence.
warsaw gallery weekend 2017
Sourced from the multiple architectonic and technological realities that exist in Warsaw, the subjects of Tajima’s exhibition—machine, book, and body—are unseen. Instead they provide the underlying technical material for the hardware-laden sculptures and abstract woven textiles in AIR. Together the objects intimate a still obstinate and unreadable body in transformation. Skin perforated. Mind laced. Input ready. Configured for performance—work, pleasure, war. Not yet fully machine.
The exhibition at Raster will be the first individual show of the artist’s works in this part of Europe, premiering September 2017 as part of Warsaw Gallery Weekend.
warsaw gallery weekend 2017
In 1977, Krzysztof Pruszkowski, a Polish-born photographer residing in France today, was not yet a legal resident. As a man without a country, he began a project that bore the stark, Polish title Barierka (Barrier). Over several months, he produced a few hundred black-and-white photographs depicting the streets of Paris, cut off at various angles by the metal blockades residents have come to know so well. The exhibition of photographs and album reveal a series of images as in a silent film, with only one hero – barierka in the title role.
Rawlings seeks in her work a new, contemporary female identity: creative, subjective, intuitive, and perfectly at home in the digital world. Her intimate painting combines visual brilliance and multiplicity with reticent contemplation.
The main element of her “Girl Talk” exhibition is an installation prepared from a range of objects of varying sizes modeled on the structure of room dividers. The paintings accompanying these sculptural pieces are made of silk, hand-embroidered, painted and printed, in the spirit of a diary of images. The exhibition is completed with characteristic, small easel paintings by Rawlings, a continuation of her intimate color studies.
The fabric of the skin, wrinkles, hand gestures. The joint exhibition of works by Zofia Rydet (1911–1997) and Aneta Grzeszykowska (born 1974) is a show of two artists who use the camera to construct captivating and rhetorically rich images of the female body.
Hellish Road, Earthworms, The Nightmare, Strangling, Snake & Tit—we are showing these and other works painted in recent months, weeks and days in an exhibition of three young artists working in the Kraków district of Zabłocie. The “potency” from the title is the name of the small gallery they founded together and have operated for the last couple of years, but also an expression of a ravenous appetite: for unfeigned emotions, for painting every day and grabbing pictures by the throat. A Warsaw premiere of the most promising painting formation to rise up in recent years.
Włodzimierz Borowski’s Artons, from which the title of Jan Smaga’s exhibition is taken, is one of the most intriguing and original series of works in the history of Polish modern art. Their striking materiality and amorphous, introverted structure inspired Smaga, a photographer often working with exhibiting institutions and well-known for his experimental documentation techniques, to conduct his own creative process based on the legendary works of Borowski. Using photography, Smaga broke the Artons down into elementary particles, in order to reassemble them into a new, two-dimensional whole—a kind of visualization of the cosmos interwoven in the material of art.
Warsaw Gallery weekend 2016
The works of Rafał Bujnowski continually engage in a dialogue with the fundamental properties of painting. The artist is interested in what paintings are essentially for, how they function in architectural and social space, but also the manner of their creation. These considerations have led him to radical solutions and far-reaching formal restraint. The phenomenon of his painting consists in the constant balancing between representation and the illusion of representation. The painting process, often purely mechanical, leads to surprising results and launches another, symmetrical, process of reading the completed painting, which depends on the variable lighting, distance, and the involvement of the viewer.
“The Epic Love Story of a Warrior – A Trilogy and Epilogue” follows the events and conflicts of the 20th century seen through the eyes of a Central and Eastern European family but told through a fictitious story based on actual events, just transformed by an associative process.
For their second show at Raster, the Slavs and Tatars collective presents an installation in the form of a pickle-juice bar. The title Society of Rascals (Towarzystwo Szubrawców) was drawn from the name of a now-forgotten literary society of 19th-century Vilnius, famous for its heavily ironic, caustic displays of satire that stood counter to the self-important stance of the romantics, their soothsaying and exalted engagement in the nationalist discourse. The pickled juices served by the artists along with provocative lexical gymnastics are meant to suggest an antidote for the pathos of Polish patriotism, while also expressing their own soured regard for any politics based on the oppositional binary of us-versus-them.