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.
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.
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.
One Piece Too Little is a treatise on the essential nature of creativity. Dawicki raises the question of where the limits of spectacle are set with regard to art and to life – of the difference between a show and one’s destiny, between representation and recreation, between a work of art and its profanation.
The starting point for the exhibition were works made by Matecki in collaboration with other artists: Tomasz Ciecierski, Zbigniew Rogalski and Paweł Susid.
Raster presents the first solo show of works by Milena Korolczuk (born 1984), an artist originally from Zabłudów, near Białystok in the north-east of Poland who resides today in Oakland, California. Her films and photographs seduce the viewer with their uncanny clarity and maturity. At once emotional and serene, they compose a striking and highly characteristic portrait of a new generation of artists.
Rafał Bujnowski’s newest paintings are set in the dark of night. The artist, with his characteristic reticence and precision, constructs paintings using the most basic means – black paint and white chalk.
This exhibition is an examination of the contemporary potential of abstraction – both in life and in art. Through a range of examples across a variety of genres, we observe the tension that is created between objects and materials that are familiar to us from our everyday lives and the language of abstraction.
Libera illustrates the presentiments and fears that arise in our considerations of what the future has to hold.
Slavs and Tatars’ first solo show in Warsaw takes on the performative use of language.
The exhibition takes its cue from an intense period of artistic and political activity at the end of the 1950s in Japan.
The exhibition is effectively the premiere of a collective project by Aneta Grzeszykowska and Jan Smaga that has been conceived in parallel to each artist’s individual projects over the past few years.
Much like his earlier works, Budny’s ‘Żywica’refers to the human presence. It drives and strengthens our sensibility towards the architecture surrounding us.