In the third Warsaw edition of the Friend of a Friend project, Galeria Raster, along with The Breeder from Athens and Sophie Tappeiner from Vienna, is presenting an exhibition confronting the nature of pain and discomfort.
Stasik’s paintings essay a return to a lost, supra-sexual unity. The guides along this path are the caretakers from the title: female figures of shamans, seducers and syrens. The exhibition Protectresses is the first individual presentation of the artist’s works in Warsaw.
Adventure is a story full of personal experiences, ruminations on love and death, joy and loss, as well as small but meaningful sensations, like the pleasure from a complement.
“Maria Klassenberg” is a performance-installation-exhibition, built around the biography and work of Maria Klassenberg, a forgotten figure of contemporary art. The exhibition accompanying the performance presents the archives of Klassenberg prepared by Aneta Grzeszykowska in cooperation with Jan Smaga.
WARSAW GALLERY WEEKEND 2020
The heroine of the works of Karolina Jabłońska and Sophie Thun is a young woman, an artist seeking personal liberation and empowerment in art. Room Tour is an exhibitionist inspection of the space in which she creates. A room of one’s own, once a symbol of creative emancipation, now becomes a space of loneliness and melancholy in the time of the pandemic and the social isolation it has imposed.
Riga International Biennial of Contemporary Art
Dominika Olszowy takes part in the second edition of the biennial in Riga. Her project consists of two parts presented in the Latvian capital and an installation prepared at Raster.
The latest exhibition by Janek Simon at Raster has an open structure. Instead of a traditional, arranged showing of completed artistic objects, we are given a process, a situation suggesting a visit to the studio, where we can observe “live” the changing progress of work on each project.
The presentation of ten of Edward Dwurnik’s works on paper never shown before marks the beginning of the work on an intriguing archive of the artist, in which motifs and stories known from paintings are developed, or the reverse—drawings left by the artist include ideas and emotions later expanded on in his paintings.
Emilia Kina focuses on the margins of depiction, of what is merely a frame for the proper view, what hides it or merely appears. Her relief compositions, painting/screens captivating in their material beauty, divert attention from the digital inflation of images and messages.
Wąbrzeźno, an ordinary little town starting with W, down near the end of the alphabet, in a language where “w” could stand for wszędzie—anywhere, portrayed by the photographer after a decade of systemic changes up to the eve of Poland’s joining the European Union, became a visual synonym for the creeping transformation. Working on colour negatives and alluding to the minimalist poetics of topographic photography, Zieliński created an image of the post-socialist countryside that is the first of its kind, moving and empathetic, constructed from mist and a thousand and one shades of grey.
At the joint exhibition Equivalent Arrangement Michał Budny and Kajetan Sosnowski meet for the first time. The works of both artists, seemingly abstract, in various ways defy easy classifications of genre. They operate through images and masses but use little painting or sculpting. Their compositions generally finds its origins in an abstract drawing—noted on paper or only conceptualized—as a type of minimalist score, the simplest recording of an idea.
The show “Neither” is Budny’s latest radical statement, this time with a vector aiming upwards, “into space, far from earthly concerns and triviality, from the quotidian and everything that weighs us down and detracts us from what is important.”
Joint exhibition of Galeria Dawid Radziszewski and Raster Gallery is the first-ever in Poland for Lev Povzner, a painter from the movement of Russian nonconformists. He works in his own flat and uses domestic materials. Povzner’s elaborate, individual brand of surrealism represents a return to the political potential of the genre. At this exhibition we present a selection of his newest works.
warsaw gallery weekend 2019
This exhibition designed especially for the Raster space peers out from a dark lining of domesticity. Using hybrid objects and sculptures, disturbing images and mysterious passages, Olszowy creates her own vision of home.
“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.
(Polski) Serdecznie zapraszamy na wystawę inaugurującą stałą reprezentację spuścizny Edwarda Dwurnika przez galerię Raster. Wystawa przygotowana została we współpracy z Fundacją Edwarda Dwurnika, założoną przez spadkobierców artysty.
In the 2nd edition of the Friend of a Friend project, Galeria Raster invites you to an encounter of three artists from three continents: Flo Kasearu from Estonia, Sachiko Kazama from Japan, and Michelle Rawlings from the United States. Each of them works in a different medium and cultural context, employing an individual, expressive language. In varying ways, all of them negotiate the social and political dimensions of artistic work.
Metaphorically and seasonally, the exhibition 1000 Hands suits the climate of the pre-spring thaw, illuminating a landscape of exhaustion and approaching, intuitively sensed change. In Polish literature this metaphor carries a political dimension. In the works shown together here by Rafał Bujnowski (1974–), Peter Puklus (1980–) and Zofia Rydet (1911–1997), what is vital is the very process of transformation, and the accompanying ambivalence, the temperature of interpersonal relations and the potential of the human hands from the title.
“Slippery” at Raster is Karolina Jabłońska’s first individual show in Warsaw. In her paintings girls wear rings and guys wear watches, but the stereotypical logic of dominance is reversed. The heroines here are idols, soothsayers and thieves, and relationships and passions explode as violently as they end, in emotion. Here exaggeration and hyperbole are the rule for both composition and life.
Joint exhibition of Rafał Bujnowski and Michelle Rawlings is organized by Raster in Tokyo’s Shibuya Hikarie