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.
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.