Aneta Grzeszykowska
KARMA

Karma is a nar­rative of animalization, but also the per­sonification of bodies reduced to the role of objects.

Grzeszykowska and Simon in Tokyo

In cooperation with Tokyo’s Watowa Gal­lery, we presen­ted the first exhibition of works by Aneta Grzeszykow­ska and Janek Simon in the Japanese capital.

Aneta Grzeszykowska
WAVE

In her latest exhibition, Grzeszykow­ska returns to her first work, Album (2005), which serves as a kind of creed for the artist, com­prising photographs with an erased image of the artist. The new Album is a con­tinuation the history of her life, from the birth of her daugh­ter Franciszka.

OD PODSZEWKI. SOFT MATTERS

The exhibition of Aneta Grzeszykow­ska, Zina Isupova, Karolina Jabłońska, Emilia Kina, Małgorzata Mirga-​Tas, and Michelle Raw­lings. The exhibition looks at the other side of the images and reveals the for­got­ten physical and func­tional qualities of the canvas and the original role of the fabric — the material from which clothes are made.

Aneta Grzeszykowska
MAMA

“Mama” is the latest series of photographs by Aneta Grzeszykow­ska, who presents her daugh­ter in the activities with silicone sculpture-​doll – a hyper-​realistic image of the head and body of her mother-​artist.

Nobuyoshi Araki, Aneta Grzeszykowska, Eva Koťátková
FOREIGN BODIES

Contemporary visual cul­ture treats the body as a plastic material that can be formed, shaped, distor­ted and defor­med as needed or desired. The images gathered for our exhibition are a special col­lec­tion of such bodies sub­jec­ted to various treat­ments and forms of sub­duing and con­trol­ling the body.
The cosmetic masks photographed by Grzeszykow­ska effec­tively reshape the artist’s face. The school les­sons in anatomy in Koťátková’s col­lages results in decon­struc­tion of the holistic unity of body and psyche. Araki’s nudes fran­kly address sexual prac­tices groun­ded in domination.

Aneta Grzeszykowska, Zofia Rydet
HEAD, SKIN, FACE

The fabric of the skin, wrin­kles, hand gestures. The joint exhibition of works by Zofia Rydet (1911–1997) and Aneta Grzeszykow­ska (born 1974) is a show of two artists who use the camera to con­struct cap­tivating and rhetorically rich images of the female body.

ACTIVITIES WITH FAMILY

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?

VILLA TORONTO

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.

Aneta Grzeszykowska
SELFIE

(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.

Grzeszykowska and Budny on Twisted Entities show

Anega Grzeszykowska, Jan Smaga
PRIVATE ARCHIVE

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.