Libera’s full-length film debut. A cinematic extension of the artist’s futuristic and post-humanistic thoughts about the end of civilization of the white man, created by Libera as a result of the Film Award of the Polish Film Institute and the Museum of Modern Art he has won in 2011.
A photographic diptych, made for the exhibition of the same title at the Zachęta National Gallery in Warsaw. Zbigniew Libera himself plays the part of the savage artist, caught by railwaymen in the vicinity of a gated community. Self-portrait of an artist in a distorting mirror of today’s society.
Libera measures up to the nightmarish visions of the future by illustrating fantasies, dreams and fears that arise in our considerations of what the future has to hold.
Libera refers to the history of photography, anthropology and colonialism to create an evocative portrait of the ‘savage’ Europeans.
(Polski) Libera kreuje obrazy, które odnoszą się do niepewnej przyszłości naszej cywilizacji, ale wynikają bezpośrednio z współczesnego doświadczenia historii i towarzyszących nam dziś lęków.
Series of photographs depicting images, almost like abstract landscapes, created between the pages of glossy magazines or photo albums.
(1897-1962), the Polish communist poet. The artist’s contribution to „Broniewski” project at Raster gallery – all participants of the project
Series of photographs restaging the famous historical press photos in a “positive version” – repeating the original in terms of composition, but changing the characters and the general meaning of the captured events. “
Mother – a piece of earth obsessively photographed by the artist during a stay in Greece – an archetypal source that we come from, and the tempting abyss towards which we measure.
In the upper-left corner of each box we find the following statement: “This work by Zbigniew Libera has been sponsored by Lego” – as the project was made possible thanks to the bricks presented by the polish department of the Danish company.
The piece was first exhibited at the exhibition “Bakunin in Dresden”, Kunstpalast Duesseldorf (1990).
Series of Libera’s self-portraits employing the – unknown in Polish art at the time – queer genre, and at the same time, referring to the classical photographs of Claude Cahun.