For LISTE 2019, Raster presents a selec­tion of recent works by the gallery’s artists, focus­sing on humans’ flexible iden­tities in the con­text of digital imagery and analogue crafts.

Dominika Olszowy, who will have her first solo show at the gal­lery in Sep­tem­ber, deals with prophecies, omens and economies of ear­thly com­fort and eter­nal rest. She creates objects, instal­lations, per­for­man­ces, animations and theatrical stagings alluding to the sur­realist imaginarium but com­posed into con­tem­porary, post­humanist nar­ratives, seduc­tive in their sense of humour.

In the ambiguous pain­tings from the series The Last Day of Summer, Rafał Buj­now­ski explores the theme of the politics of light and pain­terly illusion in the con­text of human skin colour.

Janek Simon’s Polyeth­nic is a series of sculp­tures prin­ted at home using a 3D prin­ter and represen­ting figures that merge ethnic motifs from India, Africa, South America, Europe, and Poland. The prefix poly-, from the Greek polus, means “much,” “many,” “mul­tiple”; ethnic denotes affiliation with a par­ticular cul­ture, com­munity or nation. The sculp­tures decon­struct seemin­gly homogenous iden­tity con­cepts, which in reality emerge through com­plex sym­bolic and cul­tural proces­ses, con­stan­tly (re)constructed and (re)negotiated.

Michelle Raw­lings’ intimate-​scaled works are a study of con­tem­porary visual cul­ture from a woman’s or girl’s per­spec­tive. Raw­lings is interested in the col­lision of the traditional pain­terly medium and the moder­nist lan­guage of abs­trac­tion with digital reality: the struc­ture of pixels and the dynamic of social media. Her works com­bine the light­ness of vir­tual images with festishistic quality of materials, the canon of art history with the spon­taneous and random nature of the Instagram profiles of teenage girls.