Frieze New York
Randall's Island Park
5-8 May 2017
preview: 4 May
ZUZANNA JANIN, EWA JUSZKIEWICZ AND NATALIA LL
Incarnations features works by three generations of artists: nestor of Polish conceptual art Natalia LL, Zuzanna Janin, established sculptor, installation and video artist, and young but already successful painter Ewa Juszkiewicz. We will present vintage prints of Natalia LL from her famous series Postconsumer Art and YES, as well as the photographs and video of Zuzanna Janin’s boxing fight with boxer Przemysław Saleta from the making of the video FIGHT at Zachęta in Warsaw. These works are juxtaposed with the static oil paintings by Ewa Juszkiewicz, inspired by portraits of the eigteenth-century painters: Franz Xaver Winterhalter, Anne Vallayer-Coster and Anton Einsle.
The artistic stance of Natalia LL and her works being a clear manifestation of female self-awareness, as well as her presence on the international scene of the 1970s were somewhat of a link between the reality of the communist state, where equal rights were still a myth kept up by the authorities, and the reality of democratic states, which were already witnessing the second wave of feminism. Janin’s artistic practice is centered on the universalization of her own experience and biography. For the needs of her project for six months she trained boxing, which she had known only from the stories of her grandfather. The paintings by Ewa Juszkiewicz bring to mind the question of a mask which, according to Hans Belting, transforms the human body into an image. In this respect, the artist creates a unique “aggregate” image encompassing the original painting, the work created by Juszkiewicz, and the image produced by applying a mask on the face of the portrayed character.
These three artists share the motif of incarnation, change of role or position. Natalia LL presents models delighting in bananas, pudding or ice-cream. Obviously, this seemingly innocent activity acquires a strongly erotic edge. Combination of a “cold” film recording with a “hot” sensual motif stands for a rejection of the purely analytical character of conceptual art. Janin’s moving video documents a match between herself, a petite woman, and a giant boxer. Juszkiewicz’s subversive gesture activates motionless figures-objects, lending them subjectivity by recognizing their status. The artist creates a herstory by depriving portraits of the wives, mothers, daughters of powerful men of their faces, thus asking: what has history preserved other than their images?
about lokal_30 at Frieze New York in Art Agenda: art-agenda.com/reviews/frieze-new-york-7
more info: https://frieze.com/fairs/frieze-new-york
28.04.2017 - 01.10.2017
MOCAK Museum of Contemporary Art in Krakow
ul. Lipowa 4
Art in Art is another exhibition in our series that confronts important areas of life with their perception by artists. This exhibition will, however, differ from the others. The previous themes were ‘taken from life’ and analysed received truths and manipulations thereof. History showed the drama of war, patriotism and national identification. Sport revealed human ambition and potential. Economy warned against the power of money and its ubiquity. Crime probed the evil that is in us. Gender projected the prejudices related to gender. Medicine demonstrated the complexity of body addiction. Each of these topics has proved a direct source of existential symbols, which one can employ in one’s own commentary on the world that we have been condemned to live in. They delineate the limit of our functioning and mark out the extent of our freedom and dignity but also our iniquity. As for Art – it has no power to influence our lives directly.
Art is there to provide reflection and both stimulate and provide depth to our critical perception of everything that existence entails. Such is the role of art, and this is the kind of art that MOCAK endeavours to show in all its activities. But art also has another, more ‘arty’ face – as one big conglomeration of familiar images of acclaimed pedigree, works with their own idiosyncratic context, in which they have thrilled and enraptured many. This collection includes masterpieces, representations of famous characters, specific compositional games and expressions and great scandals. Images taken ‘from art’ have considerable semantic capacity; each is a quotation as potent as a short text. Thus, artists frequently avail themselves of the art of others, for a variety of reasons, since this is an operation that can service all themes. The exhibition Art in Art does not wrestle with any particular existential problem but rather illustrates a sophisticated semantic game that is capable of dealing with a variety of issues. For this very reason, previous exhibitions in the series included works that contained ‘art in art’.
more info: https://en.mocak.pl/art-in-art
25.03 – 18.06.2017
Museum on the Vistula
Wybrzeże Kościuszkowskie 22, Warsaw
The Museum of Modern Art in Warsaw opens in its new premises on the banks of the Vistula with an exhibition entitled “The Beguiling Siren is Thy Crest”. It delves into the cultural connotations of Warsaw’s symbol, and its universality in the context of creating a modern urban identity.
Those visiting the newly opened pavilion can view historic materials – works of art and artefacts – as well as creations of modern artists inspired by the mythological siren. This exhibition, the first ever of this scale to discuss the siren, aims to portray and activate her potential as a symbol. It combines different takes on hybridity, national identity and mythology.
The title of the exhibition is a quote from a poem by Cyprian Kamil Norwid (one of the great Polish romantic poets), who addresses Warsaw by means of a personal invocation (“capital of my youth…”) and formulates a reminder that the mythological siren was originally a dangerous hybrid of a human and animal (specifically a bird with a woman’s head), that lured sailors to their doom. The poet calls upon the origins of Warsaw’s coat of arms to explain his multifaceted relationship with the city. This quote proved deeply inspiring to the exhibition’s creators.
Depictions of the siren have changed so often over the centuries, that the one thing they all have in common seems to be her dualistic, hybrid nature: she is both human and animal. Appearing on Warsaw’s medieval coat of arms is – surprisingly – a half-man, half-dragon figure. The image of the fish-woman became prevalent as late as the beginning of the 18th century. The exhibition focuses on this diversity of forms. The birdlike siren is depicted (among others) in Pablo Picasso sketches, the collages of Anglo-American surrealist Penny Slinger or the paintings of Dorota Jurczak.
Collector's edition was prepared on the ocassion of the "The Beguiling Siren is Thy Crest" exhibition at the Museum of Modern Art in Warsaw. The archival postcards from Polish seaside resorts were used in the collage.
Work was issued in edition of 50 + 4AP.
'Untitled' (after Rene Magritte)'
25.11.2016 – 31.12.2016
Museum of Applied Art and Design in Vilnius, Lithuania
The curated international exhibition of the 16th Vilnius Painting Triennial ‘Nomadic Images’, organised by the Lithuanian Artists’ Association, where invited artists from Lithuania and other European countries are presented, will show from 24 November to 31 December in the Museum of Applied Art and Design in Vilnius (Arsenalo St 3A).
The triennial’s organisers adapt the wandering world vision articulated by the contemporary thinkers Gilles Deleuze and Félix Guattari, in which reality is constantly changing, and is described using notions of the rhizome and the labyrinth, to the field of contemporary painting. In this way, we can understand forms of expression as a potential infinity that can take various configurations, grow freely, and develop in any direction. A conceptual approach towards the triennial’s content allows us to avoid a horizontal view of the field of painting, like an overview, and gives it an intellectual dynamic. Innovation in painting, and changes in forms of representation, format and materials, are emphasised, together with connections with other media and other fields of art.
The works will be shown in a structure like a labyrinth, proposing infinite possible associative combinations and ways of seeing the European painting scene. The show is curated by Linas Liandzbergis.
At last - the next instalment in the popular Vitamin series - the world's hottest painters, selected by international experts Since the publication of the first Vitamin P in 2002, painting has continued to evolve and excite, with new generations responding to its historic importance and taking it in unexpected directions. A central pillar of artistic practice, painting also has enduring appeal, dominating the art market.
Vitamin P3 takes the conversation forward, spotlighting more than 100 outstanding artists who are engaging with - and pushing the boundaries of - the medium of paint.
International experts include: Iwona Blazwick, Benjamin Buchloh, Marlene Dumas, Laura Hoptman, Geeta Kapur, Alex Katz, Tim Marlow, Sarah McCrory, Hans Ulrich Obrist, Beatrix Ruf, Nancy Spector.
FILIP BERENDT, EWA JUSZKIEWICZ, KATYA SHADKOVSKA
lokal_30 Gallery, Warsaw
September 23–November 19, 2016
Gauguin Syndrome showcases the work of three artists – Filip Berendt, Ewa Juszkiewicz and Katya Shadkovska. These are individual exhibitions with common threads running through them – anthropology and transformation, its requirements, impossibility or the very moment of change. (...)
Ewa Juszkiewicz creates paintings, drawings, collages and sculptures. Her works tend to be inspired by the portrait, mostly female portrait. The artist reinterprets famous historical paintings depicting women, at once destroying and recreating them – her point of departure are classic paintings which she then changes, deleting their obvious and well-known order. Masks constitute another crucial motif in Juszkiewicz’s work. The peculiar masquerade she performs aims at impugning the status and function of the old portrait as well as constructing a new image, or a collection of images, upon its ‘ruin’. Juszkiewicz’s latest cycle is based on archival photographs of works of art considered lost, stolen, destroyed by fire or during the war. The tension between destruction and creation appears stronger than before. Culture is founded on the legacy of the past and we tend to show great reluctance to accept the fact that what is old is replaced by new things, although we witness this phenomenon on a daily basis – urbanism and architecture have fed on ruins for centuries. The act of indirect – reinterpreting reconstruction of a destroyed or lost piece highlights the tension between nostalgic struggle against oblivion and the necessity of change and striving for novelty. The artist claims that her choice of original works was by no means random. During the preparation stage she went through lots of pictures, selecting those which she found related to her own memories of the vicissitudes of life. A representation may illustrate a particularly vivid memory or it may only trigger vague associations, evoking a specific aura. Lost works of arts and the longing for them have merged with a sort of ‘controlled nostalgia’ brought about by the artist’s personal experience which remains a secret, both hidden from and revealed to the public.
EWA JUSZKIEWICZ at “KREW – WERK” exhibition
Foksal Gallery Foundation,
25 June–3 September 2016
Saturday 25.06, 4 – 9 pm
25.06 – 03.09.2016
Tues – Sat 12 – 6 pm
Foksal Gallery Foundation
A year after the exhibition Palindrome, presenting alternative creative attitudes with a clear disfiguration and crumpling of reality, I have the pleasure to touch again upon the phenomenon of ‘creatimacy’, to see paintings that are not mine, experience someone’s practice, provoke encounters, discussions and manifestations of self. This is how I inaugurate KREW – WERK, another palindromic exhibition, a collection of works by professional artists as well as persons with a history of short- or long-term mental disturbance. Comprised of numerous artistic propositions, the show focuses on a single theme, quite important for all those usually preoccupied with invisible things. It is a show about the power of the eyes, a distorted perception of reality, enhanced visuality and its forced-upon deficit. It is a triumph of vision impairment with the beauty of such disability, an accumulation of works, established not by eyesight but by the contestation of the visible.
Consuming the exhibition, we may conclude that we are no longer its recipient. It is the collection that victimises us, introducing a sense of anxiety and long repressed shame. The number of gazes directed at the viewer can seem stifling. But it is only in such multitude that we can approach madness, promoted by a majority of the invited artists.
Curator: Robert Kuśmirowski
Elektryczna 13, Białystok
Curators: Jadwiga Sawicka, Magdalena Godlewska-Siwerska
We are happy to announce our participation in Frieze New York 2016. We hope to meet you at our booth B48.
Frieze New York
Randall’s Island Park
May 5 – 8, 2016
Preview: May 4
EWA JUSZKIEWICZ at CONTEMPORARY ART FROM POLAND exhibition
European Central Bank, Frankfurt am Main
17.03 – 19.06.2016
curated by: Britta von Campenhausen
Artists: Paweł Althamer | Ewa Axelrad | Tomek Baran | Rafał Bujnowski | Sławomir Elsner | Aneta Grzeszykowska | Łukasz Jastrubczak | Ewa Juszkiewicz | Zofia Kulik | Maria Loboda | Goshka Macuga | Agata Madejska | Katharina Marszewski | Mikołaj Moskal | Paulina Ołowska | Katarzyna Przezwańska | Jadwiga Sawicka | Mateusz Szczypiński | Radek Szlaga | Iza Tarasewicz | Jakub Woynarowski
Over the last 18 years European Central Bank (ECB), in cooperation with the national central banks, has organised contemporary art exhibitions, each one featuring works by artists from particular EU Member State. The aim of these exhibitions is to display a cross – section of the country’s contemporary art, presenting a variety of artistic media and giving prominence not only to the work internationally renowned artists but also to that of emerging talent. This year’s exhibition will focus on contemporary Polish art and is being organised in collaboration with Narodowy Bank Polski.
Ewa Juszkiewicz.The Descent Beckons
editing and concept: Ewa Juszkiewicz, Agnieszka Rayzacher
graphic design: Błażej Pindor
authors: Zofia Krawiec, Agnieszka Rayzacher, Natalia Sielewicz
publisher: Galeria Bielska BWA in collaboration with Fundacja Lokal Sztuki
hardcover, textile binding, 116 pages, Bielsko-Biała 2015
The first book devoted to the work of Ewa Juszkiewicz is an attempt to summarise the artist’s cycle developed since 2012 and inspired by the canon of classic paintings. The series comprises nearly 40 reproductions of works that portray women whose faces are transformed and replaced with polypore, ritual masks, folds of draped fabric or floral elements. This stage of the artist’s practice is discussed in the book in the interview conducted with Ewa Juszkiewicz by Zofia Krawiec.
The second part of the book is devoted to the latest cycle of works by the artist from 2015. Akin to the earlier paintings, her work is based exclusively on photographs. Here, those are mostly black and white poor quality images that originate from decades-old archival materials. Thus, Ewa Juszkiewicz is free to choose colours, formats, and other qualities, turning her modern-day versions of missing works into loose interpretations. As it was the case in the previous series of portraits, the original artworks provide a starting point and a material platform that serves as the basis for further research. Natalia Sielewicz concentrates on this cycle in her essay for the publication. The two stages of Ewa Juszkiewicz’s work are summarised in the text by the editor of the book, Agnieszka Rayzacher.
Apart from reproductions, the book also contains a photographic documentation of two individual exhibitions by Ewa Juszkiewicz – Curls at lokal_30 gallery in Warsaw from 2013, and The Descent Beckons at Bielska Gallery BWA from 2015.
WHAT IN ME IS FEMININE ?
November 19 – December 21, 2015
opening 19.11.2015 at 6 pm
Visual Culture Research Center
44, Hlybochytska Street
The Polish-Ukrainian exhibition of feminist art, dedicated to the topic of “femininity” in the society, will be held at the Visual Culture Research Center (Kyiv) from November 19 to December 21. Today we live in a world, where realization of political demand for equality of sexes has become possible despite real or imaginary differences between them. This implies a need for comprehensive reflection on cases of discrimination, as well as an analysis of “masculine” and “feminine” constructs. When talking about the “female”, it is important to give a voice to women themselves. The exhibition is aimed at presenting art works, through which women artists speak about the existence of women in history and at present, gender roles, as well as about women’s corporality, practices, and rituals of life.
Curator: Oksana Briukhovetska
Turin, 5-8 November 2015
Artissima 2015 / Present Future / booth: PF 14
THE DECENT BECKONS
Ewa Juszkiewicz’s dialectic between creation and destruction has been present in her creative activity since 2012 when she started her cycle based on old masterpieces created between the Renaissance and the 19th century. The artist characteristically draws her inspiration from portraiture, especially the female portrait. She processes, i.e. destroys and recreates, familiar female portraits by depriving them of their obviousness and familiar order, and thus creates her own galleries of new images. Juszkiewicz builds a new narrative by transforming, fragmenting, or changing the context of her selection of works.
The new cycle of paintings is based on the works of art considered missing or lost to theft, fire or war. As with the previous paintings, Ewa Juszkiewicz based her recent work solely on photographs, except that this time she used mostly poor quality, black and white photos, which she had traced in archival materials, often several decades old. This strategy gives the artist freedom in her selection of colours, format, media and other means of expression making these modernized versions of the missing works free interpretations, which as in the case of a series of portraits, become a leaven, material, on the basis of which she develops her exploration.
Ewa Juszkiewicz at Artists from Krakow: The Generation 1980–1990 exhibition
16.10.2015 – 27.03.2016
MOCAK, Museum of Contemporary Art in Krakow
MOCAK is embarking on a series of exhibitions showing the oeuvres of artists who live and work in Krakow. These presentations will encompass a variety of media. The series is inaugurated with a show of artists born between 1980 and 1990. In our next presentations, we shall be showing the previous generations of Krakow artists. For 2017, we are planning a presentation of artists born in the 1970s.
(...)The exhibition aims to demonstrate the leading trends on the Krakow contemporary art scene. This is also an attempt to take on board the artistic legend of the city, since the mid-19th century dominated by artistic giants. In the world of art, Krakow has been famous as the site of many ‘firsts’. It was in Krakow that the first Polish Academy of Fine Arts opened, the first national museum was funded and the first Institute of History of Art in Poland saw the light of day. The city has always been synonymous with quality painting and the selection of works presented by MOCAK for the present exhibition bears out this perception.
Curators: Delfina Jałowik, Monika Kozioł
4 September – 11 October 2015
vernissage: Friday, 4 September 2015, 7 pm
Bielska BWA Gallery
curator: Agnieszka Rayzacher
Ewa Juszkiewicz’s dialectic between creation and destruction has been present in her creative activity since 2012 when she started her cycle based on old masterpieces created between the Renaissance and the 19th century. The artist characteristically draws her inspiration from portraiture, especially the female portrait. She processes, i.e. destroys and recreates, familiar female portraits by depriving them of their obviousness and familiar order, and thus creates her own galleries of new images. Juszkiewicz builds a new narrative by transforming, fragmenting, or changing the context of her selection of works. portrait and the position of the sitter.
This cycle brings to mind the question of a mask which, according to Hans Belting, transforms the human body into an image. In this respect, the artist creates a unique “aggregate” image encompassing the original painting, the work created by Juszkiewicz, and the image produced by applying a mask on the face of the portrayed character.
The new cycle of paintings has been created especially for the exhibition at Galeria Bielska BWA, and is based on the works of art considered missing or lost to theft, fire or war. As with the previous paintings, Ewa Juszkiewicz based her recent work solely on photographs, except that this time she used mostly poor quality, black and white photos, which she had traced in archival materials, often several decades old. This strategy gives the artist freedom in her selection of colours, making these modernized versions of the missing works free interpretations, which as in the case of a series of portraits, become a leaven, material, on the basis of which she develops her exploration.
State Art Gallery in Sopot
Plac Zdrojowy 2, 81-720 Sopot
19 June 2015 - 16 August 2015
Launch on 19 June 2015 at 7.30 pm (the exhibit can be visited from 6 pm)
The Palindrome exhibition presents the work of two divergent art circles, demonstrating the diversity of means of artistic expression yet identifying their common visual denominator. It is a set of works by both renowned artists, artists at the beginning of their career path as well as persons with permanent or temporary mental disorders, often living in isolation rooms of psychiatric hospitals. One of the fundamental assumptions of the show is the presentation and skilful arrangement of the works with a view to preventing the recognition of those by a healthy, professionally active artist and those by a mentally ill patient, isolated and on medications prescribed during clinical trials. This confrontation is meant to assure a common aesthetic level of the works displayed and to pilot the processes taking place during the production of visual art, which processes are revealed to the individual and the general public.
The objects gathered in this way will enhance the understanding of the phenomena and facilitate a smooth transition between a professional approach to art and its unconscious equivalent. This is a confrontation of the invited healthy artists and those on the brink of a mental illness with persons with a clear creative turn, institutionalised and treated with psychotropic medications. The main objects on display are paintings, with an addition of sculptures, sketches, notes, and 3D models of different thoughts, meant to facilitate an insight into the artist’s intention and the road taken for the work to come into being. The works of the former and the latter groups are the object of interest of psychiatrists and psychologists, who treat them as precious additions to their patients’ medical files and psycho-pathological information on creative individuals; they are moreover studied by art historians and artists themselves, who seek in them higher artistic values and new forms of expression.
The show is a result of many meetings with the artists, patients, families, heirs, collectors, lawyers, therapists, and psychiatrists.
/Robert Kuśmirowski, exhibition curator/
State of Life. Polish Contemporary Art within a Global Circumstance
National Art Museum of China, Beijing
May 11 – June 24, 2015
Exhibition organized by Muzeum Sztuki, Łódź and Culture.pl
State of Life is an attempt to communicate the Polish experience to recipients from a different culture. The exhibition’s point of departure is the idea that the experience of a community living in a specific place and a specific culture can be transmitted using the language of art, thus becoming accessible for those who haven’t personally participated in it.
Presenting Polish art at the National Art Museum of China, State of Life aims to reflect the complex balance of forces and tensions shaping reality in today’s Poland as it undergoes modernization and globalization processes. The exhibition raises questions about what the Polish articulation of living through culture and art can contribute to global art, a heir of avant-garde, abstract, and conceptual traditions, as well as to globalized culture.
The exhibition features some 70 works by artists who concern themselves with the present-day situation in Poland yet work in a truly global vein. It is precisely the achievements of artists from generations enjoying full access to participation in global culture that the exhibition presents in the widest selection.
One of the show’s main themes is a reflection on the Polish landscape, both natural and urban, and social structures. Another is how subjectivity is shaped in Polish culture, and the key tropes here include personality formation, relations with other individuals, or the work of affects and memory.
curator: Jarosław Lubiak
Exhibition at Dom umenia / Kunsthalle Bratislava
27.02 – 30.06.2015
Curator: Sebastian CichockiProcedures for the head. Polish Art Today is a continuation of the exhibition As You Can See presented at the Museum of Modern Art in Warsaw at the beginning of 2014.
This exhibition was the first such extensive presentation of contemporary Polish art in more than a decade. Featuring more than 80 artists representing different generations, media and art centers, focus was attributed to the most important work, approaches and themes employed by artists. Sebastian Cichocki and Łukasz Ronduda, the exhibition’s curators, intentionally chose the conservative exhibition format of the art salon in an attempt to shift attention from curatorial experimentation to the works of art themselves. However, it was a rather unusual salon — critical, emancipatory, psychedelic, often brutal, perverse, self-confident and ambiguous.
Both exhibitions — in Warsaw, as well as in Bratislava — serve as a guide to the current direction of artistic events in Poland. These exhibitions were conceived at a specific moment — some time after Polish art emerged as a stable feature on the international scene, and, simultaneously, the period in which institutions became clearly more professional and radical. The current situation appears to fulfill the dreams of a previous generation of artists, for whom presence within the field of art was often related to the struggle for institutionalization and the position of the artist in society. However, the current situation does not resolve such problems, but, paradoxically, leads to new tensions between the institution and the artist, as well as the artist and the public. The result can be seen in the formation of the Civic Forum of Contemporary Art (Obywatelskie Forum Sztuki Współczesnej), which lobbies for legislation concerning the provision of social benefits to artists. This younger generation of artists enters the art world — which is already defined and professionalized — with a clearly articulated hierarchy and precise rules of operation.
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This exhibition has been organized by Kunsthalle Bratislava in co-operation with the Museum of Modern Art (Muzeum Sztuki Nowoczesnej) in Warsaw.
21.01. - 1.03. 2015
The exhibition will present works in which hair are the focus of all attention: in painting and drawing or where hair were used as material in video and installations. Hair become a motif which, depending on the context of their use of presentation, „speaks” volumes about identity, social conflicts, history, religious precepts and prohibitions, the status of women, sexuality, sensuality etc.
Curator: Marta Smolińska
Contributing artists: Krystyna Piotrowska, Aleksandra Ska, Servet Kocygit (Turkey), Sara Skaaning (Denmark), Paweł Matyszewski, Ewa Juszkiewicz, Małgorzata Wielek-Mandrela, Ula Kluz-Knopek, Beata Szczepaniak, Zofia Krawiec, Justyna Orłowska, Beata Szczepaniak, Sophia Pompery (Germany).
opening of the exhibition: click here
documentation of the exhibition: click here
curated by Maurizio Cattelan, Myriam Ben Salah and Marta Papini
In 2013 Artissima presented the first edition of One Torino comprising five independent yet interlinked group shows in collaboration with museums and foundations in the city and Palazzo Cavour, a magnificent historical venue in the town centre. An extraordinary exhibition project aimed at placing Torino at the centre of an important cultural dialogue about contemporary art by consolidating its position as an experimental and dynamic art capital and by promoting both its contemporary and historical identity.
The second edition of One Torino features a singular show rooted in Torino’s social, political and artistic heritage as much as in its contemporary scene and popular representations. The show takes place within a eighteenth century architectural gem: Palazzo Cavour.
Seeking to create an engaging and original project that actively involves the city and which addresses the notions of exhibition-making and contemporary art at large, Artissima has invited a “retired” artist with an inquisitive mind and a talent for discovery and display to act as the ‘non-curator’ for One Torino, namely Maurizio Cattelan. He chose to work in a team with Palais de Tokyo’s Myriam Ben Salah and independent curator Marta Papini.
Taking the city of Torino as its main inspiration, SHIT AND DIE lies on a narrative thread drawn by a series of objects that the curators have sourced from a selection of established yet unconventional institutions and collections in the city. SHIT AND DIE is conceived as a highly subjective, obsessive and irrationally non-exhaustive composition in which different stories, objects and artworks incorporate into one consistent narrative that visitors can read as a whole tale.
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SHIT AND DIE will open to public on November 6, 2014 until January 11, 2015, expanding the pull of Artissima over a longer span of time.
In the meanwhile:
Public View: Thursday 27 November 2014: 6-9pm
Exhibition Dates: 28 November - 17 January, 2015
1 Baldwin Street
London, United Kingdom
Beers Contemporary is extremely proud to announce the official release of a major publication, entitled, ‘100 Painters of Tomorrow’. Authored by Director Kurt Beers and published by the UK’s leading fine art publishers, Thames & Hudson, this unique and special publication is the culmination of an extensive project to find the most exciting, fresh and up-and-coming emerging painters currently at work worldwide. The book is an intelligent, wide-ranging and exhilarating survey of largely unknown talent, selected by a distinguished international panel including: painter Cecily Brown; Director of London’s Institute of Contemporary Arts, Gregor Muir; Head of Sharjah Biennale, Yuko Hasegawa, author of PHAIDON’s Painting Today, Tony Godfrey; and author of PHAIDON’s Vitamin P (Eds. I & II), Barry Schwabsky among others.
The 100 artists featured therein were gathered via an international open-call for submissions that drew over 4,300 applications from 37 countries including Argentina, Belgium, Brazil, Canada, China, Germany, India, Iran, Japan, Mexico, Poland, Singapore, South Africa, Turkey, the UK and the USA.
BWA Galeria Sztuki, Olsztyn, Poland
opening: 23.10., 6:00 PM
24.10. - 23.11.2014
In the English language the adjective strange is inextricably linked to the noun stranger. This peculiar lexical relation reflects a common connotation, spread rather widely, irrespective of culture and geography. A Stranger - an entity formed beyond the homogeneous structure of a group – is a carrier of different values. This is what makes him, in the eyes of "legitimate" citizens, a potential threat to the law and order which has been hammered out in a given community.
In the natural world some species are capable of adopting external physical characteristics which allow them for temporary metamorphosis and environment convergence – at the same time retaining the internal characteristics, typical of a given genus. In the modern world a Stranger camouflages in a huge agglomeration, in an anonymous crowd. Reality allows people to don masks of refinement and social correctness, tailor-made with the lining of culturally-embedded distance and discretion in private matters. This Superego costume is equipped with lining and pockets, cloaking rampant fantasies, repressed impulses of the animal Id nature and sometimes the gloomy abyss of misdeeds, which remain concealed.
Museum of Modern Art in Warsaw
Emilii Plater 51
Curators: Sebastian Cichocki, Łukasz Ronduda
“As You Can See: Polish Art Today” is the first show of current Polish art spanning such range for more than a decade. It centres around important works, attitudes, and themes commented on by visual artists over recent years.
We have purposely reached for the conservative format of an artistic salon, shifting the centre of gravity from exhibition experiments to artworks themselves, whilst allowing the salon itself to be particular: critical, emancipatory, psychedelic, occasionally brutal and perverse, dense and ambiguous.
The exhibition was designed as a guidebook facilitating the journey across the territory of current art phenomena. It was created with a broad audience interested in contemporary culture in mind. It focuses on a specific time and place, and is being held at a rather specific moment: several years after Polish art stabilised its position internationally, and simultaneously to the process of Polish artistic institutions becoming professionalised and rather radical. The current set of circumstances seems to be a dream come true for previous generations of artists, whose presence in the field of art often tied in with a struggle for the shape and form of the art institution, and for the artist’s position in society. The situation itself, however, does not resolve all problems: paradoxically, it leads to the creation of new tensions between institutions and artists, and artists and audiences, respectively. (...)
Opening of the exhibition: 31 January 2014, 7 pm
Exhibition on display until 23 February 2014
The exhibition displays the condition of art and contemporary painting. Despite the prognoses heralding its doom, painting remains an utterly vivid medium that is still active in its meaning and enters the dialogue between its history, demolishing the stereotypes. Recognised artists underline various ways of exploiting this particular medium. They emphasise the transgressive dialogue with traditional painting (Juszkiewicz, Zawicki), recession in the world of objects (Toman, Ciężki), longing and resentiment (Karapuda, Bielak, Przybylski), freeing from the limits of form (Korol, Rogalski), drifting in the world of images and texts (Duchowski, Szeszycka).
Curator: Marta Ryczkowska
Opening: 29th November 2013, 7PM
Breakfast with the artist: 30th November 2013, 12AM-2PM
The exhibition is open until 25th January 2014
lokal_30, Wilcza 29A, flat nº 12, Warsaw
Ewa Juszkiewicz (born 1984), the laureate of this year’s edition of the “Bielska Jesień” Painting Biennial in Bielsko-Biała, takes up drawing, collage, sculpture and animation: nevertheless, it is painting that is her major element. The artist was also, among other things, the laureate of the 40th Painting Biennial in Bielsko-Biała as well as “Przeciąg: the 3rd Festival of the Juvenile Art” in Szczecin. She also creates curator projects – in 2015, together with Paulina Ołowska, she prepared the exhibitions “Brudna woda” (“Dirty Water”) and “Piękna pogoda” (“Beautiful Weather”) which were shown in PGSW in Sopot and in Fundacja Galerii Foksal in Warsaw.
In her artistic output, she takes up a discussion with the tradition of the portrait, reinterpreting the images of women which are well-known in the history of fine arts. Basing on the classic works of painting, she carries out their transformations, deprives them of their self-evident nature and commonly accepted order and in doing so creates new, incredible galleries of images. By putting some personally selected paintings through transformation, fragmentation or by changing their context, on their basis, she builds a new narrative. She creates a specific herstory – she transforms the portraits of the women who are wives, mothers or daughters of the influential men. By depriving them of their faces, she poses a question – what remains in history besides the image? Was there anybody who devoted a while to their personalities, attainments or aspirations? As regards nearly every of the once portrayed man, we can find some information in books or archives: the only thing which has remained after women are their faces. (...)
Zona Sztuki Aktualnej
opening: 28.02.2013 at 7pm
10/06 - 09/09.2011
FOKSAL GALLERY FOUNDATION
opening: 29.04.2011, 7:30 pm
30.04 - 22.05.2011
Państwowa Galeria Sztuki
Plac Zdrojowy 2
The leitmotif of the exhibition "Dirty Water" is a portrait of a woman, art resulting from introspection, subjective emotions. Strange, waking ambiguous feelings. That causes anxiety. Mysterious, captivating, the magnetic, but also causing a vague feeling of discomfort. The works, which will be shown at the exhibition refer to surrealism, but in a subtle and obvious. They are moving away from realism toward the imagination, dreams, strange ideas. Discreetly teeter on the border between innocence and eroticism, beauty and ugliness. It is an art that causes strong emotions, however difficult and elusive to name. Recalls the mood of magic, strangeness or return to childhood. Strange phenomenon, far from ideal. The mood of a fuzzy dream. Drawing from what, in our deeply hidden and impenetrable.
Artists: Artystki biorące udział w wystawie: Agnieszka Brzeżańska, Bonnie Camplin, Ewa Juszkiewicz, Katharina Marszewski, Michele Di Menna, Magdalena Moskwa, Zosia Nierodzińska, Paulina Ołowska