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.
A special auction of photography will be held at Raster on May 12, 2016, to support the Jerzy Lewczyński Institute and Raster’s publishing activity.
This exhibition takes on the, perhaps, dated formula of the artistic salon, setting the emotional focus on individual images—works of photography and their distinct strength in replicating, constructing and injecting a dose of magic into reality. We invited a few dozen contemporary artists to each exhibit a single work created in the past 2-3 years. The collection on show, thus, is not only an assortment of the most intriguing examples of new Polish photography, but also a record of the most magnetic – in the visual and emotional sense – obsessions that drive each individual artist to act within the medium.
Premiere of the Mister D. music video directed and designed by Maria Strzelecka accompanied by an exposition of the intricate set used in the clip.
In what way does the family life of artists merge into their art? Starting with the total practice of KwieKulik, a pair of artists who introduced their own child and other relatives into their poetic-structural “activities with a camera” in the 1970s, we take a look at how family ties and relations are tested in the public forum through the medium of art. So, does art work to create distance, or, conversely, does it contribute to a deeper understanding, empathy and unraveling of familial tensions?
When considering Budny’s works, one is consistently awed by the noble, subdued power packed into those simple, natural gestures, materials and forms. The latest exhibition develops the fundamental themes within the practice of this extraordinary artist in a new way—struggling with the material and the space, the emotions and the architecture. “Crown” is an exacting composition of individual objects that correspond and, in turn, provoke one another. They are all connected through a striking manifestational quality, precision and uncompromising character.
New editions by Brzeski, Grzeszykowska, Korolczuk, KwieKulik and Milach
WARSAW GALLERY WEEKEND 2015
The disruption of scale and weight, the fanciful use of material, the transference of drawing into the physical space and an obsessive imagination that revolves around the human figure—these are the standard elements of Brzeski’s craft. “Megalomania” exhibition is a sculptural study of size, ambition and fragility – in which the artist will face off with figures and materials that appear in various ways hyperbolic or imagined even.
WARSAW GALLERY WEEKEND 2015
Unfixed and unprocessed photographic paper marked by commingling darkroom chemicals remains continually sensitive to light and environment. Their images depict distorted impressions of ambiguous figures, a roving multiplicitous form. Aluminum sculptures interrupt. Surfaces are skins and bodies dancing to betray fixity, the in between the only constant.
The site of today’s Raster gallery formerly housed the flagship store, studio and workshop of the ORNO Cooperative of Artistic Handiwork. Drawing upon this legacy, the remnants of which are still embedded in the façade, the gallery is hosting an exhibition devoted to the legacy of craftsmanship in Warsaw.
Relatively small in size, Michelle Rawlings’ paintings come together as a sequence of images, much like a blog or instagram feed. Rawlings references various styles and genres of painting, adapting them to her individual scale and narrative. The realm of her visual pursuits is in large part focused on representations of young women and girls – artists, actors and models – as well as the formal language of contemporary art.
Simon’s many exotic trips over the past dozen years have served to develop his para-artistic endeavors, vested on the fringes of economics, art and post-colonial thought. His newest exhibition is an offshoot of these earlier experiences, as it also inverts the perspective of the artist as observer. Simon’s main topic of interest shifts from intercultural exchange towards the subjective observations of a researcher-traveler: exploration, and confabulation, too, of which the experiences of recognized travelers, reporters and artists are full of.
A joint exhibition by Sławomir Elsner and Zbigniew Rogalski reveals images that customarily only artists are privy to – inside the studio and across landscapes viewed from the depth’s of the painter’s eye. Each of these artists is fascinated by the conventions and the ethereal aspect of painting, while the works on show also exhibit a self-reflection on the typicality of the space in which art is created, and on the delusory nature of mankind’s visual apparatus.
In the 60 years since the erection of Warsaw’s Palace of Culture and Science, this peculiar architectural structure remains an impenetrable aesthetic phenomenon. Błażej Pindor’s photography project is the first earnest attempt at an artistic interpretation of the space within and around the Palace. The essence of his photography is an analysis of the impact the structure has on the viewer – dominating, rescaled, selfish and opulent beyond measure, at the same time raw and seductive.