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.
Jan Tomza-Osiecki is part of a generation for whom the intensive experience of virtual reality – via new media, the Internet, simple programming languages, gaming, and 3D graphics and design – is key to creating works of art. His point of departure is the abstract sculptural form, which he animates through the introduction of sound, endowing it with realness and dynamism; the functioning of his interactive objects is based on a feedback effect, which is typically considered undesirable among engineers. The noisome issue of feedback is now at the heart of the object’s purpose, opening up the field of experimentation and creating possibilities for gaining a new understanding for familiar spaces and the movement’s of one’s own body.
16-23 January 2015
A roving art event that moves from city to city every couple of years, the VILLA project works with international art galleries to create a temporary, ongoing art community. This January VILLA touches down in Toronto to present an exhibition of contemporary art at Union Station.
The exhibition explores the lyrical and political properties of matter that co-created certain legends of industry – and its demise. Aluminum – a lightweight, non-corrosive metal – appears in a range of forms, both as an artistic medium and an industrial material, a ready-made of sorts. Its artistic legacy is intrinsically connected to the idea of depersonalizing the act of creation.
(Polski) Mistyfikacja należy do ulubionych metod twórczych Anety Grzeszykowskiej. Artystka konsekwentnie, wręcz obsesyjnie rozkłada na części swój wizerunek, znika bądź podszywa się pod cudze tożsamości. Analiza procesów autokreacji – jednego z fundamentalnych tematów sztuki, ale także podstawowej kwestii dla kondycji dzisiejszego, postmedialnego społeczeństwa – jest również przewodnim motywem najnowszej serii zdjęć.
This exhibition of Marcin Maciejowski’s latest work is a mature and sophisticated painterly study of compositions – of how combinations of forms, colors, people, situations, and behavior enter into mutual relationships and generate the content of a life.
(Polski) Wystawa prezentuje fotografie dwójki praskich artystów – Lukáša Jasanský i Martina Poláka – którzy od 1985 roku wspólnie testują konwencjonalność medium fotograficznego. Ich prace czerpią zarówno z tradycji sztuki konceptualnej jak i klasycznej fotografii studyjnej, krajobrazowej czy ulicznej, niezmiennie przy tym uwodząc subtelnym poczuciem humoru. Ludzie podglądani na ulicy i starannie komponowane, choć bardzo codzienne martwe natury – zwyczajność staje się tu przedmiotem wysmakowanej gry. Prowadzi ona do zaskakujących, estetycznych przygód, ale i bardziej generalnej refleksji na temat istoty fotografii, jej relacji do rzeczywistości, funkcji dokumentalnej i kreacyjnej.
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.
We are pleased to announce that from now on, Olaf Brzeski will be one of Raster’s represented artists. His first solo show at the gallery, entitled ‘At Heart’, will feature only one artwork – an extreme test of the sculptural genre, as well as a characteristic figure of the impossible, both lyrical and oppressive all at once.