Oskar Dawicki (b. 1971 in Poland) was educated as a pain­ter, but he quickly broadened his scope of interest onto per­for­mance, video works, photography, documen­tation and, finally, objects and instal­lations. All of his works have a post-​conceptual charac­ter and emanate a sligh­tly grotesque, ironic and even absurd aura. The self-​reflection over his own institutional status as a con­tem­porary artist is tigh­tly inter­woven with reflec­tion on his own iden­tity, or rather on its trans­itoriness, conven­tionality, and weakness. 


The primary medium in which Aneta Grzeszykow­ska (b. 1974 in Poland) works is photography. However, she treats it instrumen­tally, as a tool for the realization of advan­ced, artistic and ontological exer­cises, emphasizing the per­for­mative dimen­sion of her activities. The artist is interested in the role photography plays in creating and documen­ting a per­sonal iden­tity. The motifs which she obses­sively returns to in her works are absence, invisibility, disap­pearing, and the con­fron­tation of body and thought with non-​existence.  


Peter Puklus (b. 1980) lives and works in Budapest, and is now finishing his doctoral studies in photography at MOME. He is among a generation of artists for whom photography isn’t taken as a straight­for­ward medium, but a tool bogged down by a trail of cul­tural, artistic, com­mer­cial and political associations and cor­relations. Puklus primarily operates in his immediate environ­ment and his basic medium of expres­sion is the outwar­dly clas­sic tech­nique of studio photography. The objects col­lec­ted and con­struc­ted specifically for the pur­pose of his photos often take on a second life as individual works, sculp­tures or instal­lations in their own right.


Zofia Rydet (1911-1997) is one of the most prominent charac­ters in Polish photography. From 1978 for almost the rest of her creative life she worked on her most significant artistic achievement, “Sociological Record”, a monumen­tal record of man and society, enc­losed in dozens of thousands of negatives, and taken individually across a number of regions in Poland and abroad, such as Douchy in France and New York. Her work can be found amongst the most impor­tant Polish col­lec­tions, as well as the Museum of Modern Art in New York, the Centre Geo­r­ges Pom­pidou in Paris, The Museum of Modern Art in Kioto, and many others.

Peter Puklus, Golden Decadence, 2013.

Peter Puklus, Nude dancing with cardboard sheets IV, 2014

Zofia Rydet, from the Sociological Record cycle, 1979





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