Kornelia Dzikowska, solo show: Power Play, CCA Warsaw
Setting to work for the Project Room, Kornelia Dzikowska decides against staging an exhibition. Instead, she creates a site-specific installation, all elements of which comprise a single work. Despite claiming the whole space, it is extremely ephemeral and will leave no trace in the form of an art work. It is like a blinking warning light, turning on and off. At the very centre of this experience is the colour red filling the space – alarming, garish, dominant, and attention-riveting. Often used as a symbol of life, blood, the heart, warmth, or intimacy. Dzikowska turns the Project Room into the interior of a trembling organism, as if she wanted to get under the skin of the institution.
She thus brings forth an aesthetic situation woven with seemingly delicate tensions. Writing a red room into the white cube, she juxtaposes two parallel worlds. Separated by a wind-blown fabric, they function in a close interrelation. When the fabric swells, one annexes an ever larger space, while the other’s territory diminishes. This escalation can, however, progress only up to a point as a rip appears in the middle of the fabric, signalling what is on the other side.
Dzikowska uses the Project Room space to raise the issue of power, the domination of one group, person, or emotion over another. A fascination with the ability to generate tensions and watch the public’s reaction is also evident in her earlier works – in a striving to control time or one of the elements and to overcome one’s own limits. In the present work, Dzikowska confronts the issue of power directly – evincing a trial of strength, relativity, and temporariness. She focuses on a liminal moment, where the outcome of a situation hasn’t been decided yet and the roles can be reversed at any time.
The artist invites the visitor to step out of the role of spectator and become a participant instead; she doesn’t, however, provide any clues as to the rules applying in the new situation. Creating an installation around opposites, she avoids the question of whether either of the represented worlds offers a guarantee of security. Speaking of co-opting the unknown, she faces uncertainty towards change.
5 March – 12 April 2020
Curator: Ewa Kozik
Małgorzata Gurowska, group show: Zoepolis. Design for Weeds and Pests
Exhibition ‛Zoepolis. Designing for Weeds and Pests’ puts in the center of attention, affirms and gives concern to species living very close to man, but despised and often excluded. Taking Nośna's space and its nearest surroundings as the starting point of exhibition, participating artists explore the periphery and the borderland, cooperate with non-human inhabitants and propose design interventions that seek to rebuild broken ties with our closest neighbors. The central point of Alicja Patanowska’s, as well as Katarzyna Roj’s and Czarny Latawiec’s interest becomes water and soil – sources of life, complex ecosystems, and at the same time habitats, which extraordinary vitality raises human fear. Anna Siekierska and Małgorzata Gurowska turn their attention to beings that can be seen and yet from which we look away: common, but endowed with unusual powers plants inhabiting wild lawns and cracks in cracked concrete, as well as despised co-inhabitants of human habitats: pigeons, fruit flies, spiders ...
‛Zoepolis. Designing for Weeds and Pests’ is another installment of the project initiated in 2017 by the exhibition ‛Zoepolis. Design for Plants and Animals’ that took place in the Dizajn BWA Wrocław gallery as part of the project titled ‛Cartographies of Strangeness, Otherness, and (ex)(in)clusion. The Perspective of Contemporary Philosophy and Art’ implemented by the University of Warsaw's Philosophy and Sociology Faculty and co-financed by the Ministry of Science and Higher Education under the National Programme for the Development of the Humanities.
‛Zoepolis’ is devoted to design beyond the anthropocentric paradigm and the search for solutions that can become a platform for creating a radical human-non-human community. Challenging man's central position in design is an empathy exercise that our species can also benefit from. The project proposes an experiment in the field of changing perspectives and thinking about design that, without excluding humans, would approach non-people subjectively.
Artists: Czarny Latawiec, Małgorzata Gurowska, Alicja Patanowska, Katarzyna Roj, Anna Siekierska
Curator: Agata Szydłowska
Curatorial cooperation: Małgorzata Gurowska, Monika Rosińska
Substantive cooperation: Anna Czeremcha
Institutional cooperation: BWA Wrocław
Joanna Borkowska, solo show, National Museum, Szczecin, Poland
In the Realm of Slow Painting
Joanna Borkowska's solo show.
14 November, 2019 - 5 January, 2020
National Museum in Szczecin - Museum of Contemporary Art, Szczecin, Poland
Press Information and photo credits: National Museum in Szczecin - Museum of Contemporary Art
Magdalena Bielesz, solo show at Zachęta Project Room in Warsaw
Magda Bielesz is an artist who mainly concerns herself with painting. But she also creates video art, and sometimes uses crayons, markers, or even modelling clay. In her art, Bielesz overcomes her own fears and limitations. Insightfully and consistently she studies two areas — womanhood and childhood. She looks for their common features and differences between the two, which she expresses in a formally characteristic style, adding a metaphoric dimension to her art..
Oct 26, 2019 - Jan 5, 2020
Zachęta Project Room
Maria Kiesner, group show: Gdynia - Tel-Aviv, POLIN Museum of the History of Polish Jews
13 September 2019 - 3 February 2020
Location: POLIN Museum of the History of Polish Jews, Warsaw
Curated by dr Artur Tanikowski
Production curator: Ewa Witkowska
Gdynia and Tel Aviv are almost 3,000 kilometres away and yet, despite the distance between them, the two cities are strikingly similar. Both were founded in the early 20th century and quickly became modern seaside resorts and ports. Both boast characteristic modernist architecture. It turns out they also share a common Polish-Jewish history. At the Gdynia – Tel-Aviv temporary exhibition visitors will get acquainted with both the similarities between the two cities and the unique features that make each one so special.
Press Information and photo credits: POLIN Museum of the History of Polish Jews in Warsaw.
Magda Bielesz brought a suitcase full of pieces of her family's clothes to Argentina from her homeland, Poland. They are not simple fabrics, they are pieces of her own story as she conceives it, a constellation of symbolic identities: kinships, stories, own or transmitted memories, myths.
In "The Legend" she approaches the color firmly, either to present us a large piece of woven wool such as an umbilical cord, an unequivocal symbol of family ties, as well as schematically planed paintings that refer to the perception of colors in her daily life, as well as to the ones she found in La Plata upon arrival to the residence. Magda invites us to peek out into her life (her lives) to experience time in a truly expanded way.
Let's accompany her. Inauguration:
August 24, 2019
Polish Female Artists First - chapter II
One of the guiding principles of the Wall Gallery is diversity – to us, this category is the most precious. Just like the acacia plant family, known for its calming and fortifying properties, and comprising over 1200 species including both tree and shrubs. We need to replant our acacia so that it can fully put down its roots according to our assumptions – Polish Female Artists First chapter II. We change the face. How? You will discover the answer next week. First, I would like to thank Rabbithole Art Room, the first space that hosted our project, as well as H15 Boutique Hotel and all our partners for their support.
Kornelia Dzikowska, the deity of mine, solo show
Zona Sztuki Aktualnej, Szczecin
curator: Magdalena Adameczek
Jul 20 - Aug 24, 2019
A guided tour through the PFAF
We cordially invite you to join a guided tour through the Polish Female Artists First exhibition at the welcoming space of the rabbithole Art Room in Warsaw.
Jul 13th, at 12 pm.
Małgorzata Gurowska, group show: MYCOsystem
“MYCOsystem” is based on interspecies cooperation. This is a study of just one material – wood – as seen from the vantage point of a variety of species. For us, timber is a construction material; while fungi may understand wood as food; to another representative of the kingdom, wood is the flesh of a living plant, offering co-operation beneficial to all the participants. From the perspective of trees, there is no timber. There is only flesh.
“MYCOsystem” also talks about the tree’s/wood’s place in the broader context of an organism, ecosystem, planet, in deep time. In order for the installation and prints to be made, trees had to be cut down. Branches, bark, and roots were destroyed. As the tree was cut down, the home that it constituted to birds and mammals, insects, fungi, and other plants – disappeared. Those animals which were not killed, were subjected to stress and chased out. The removal of the tree also caused changes to the surrounding environment, to the soil and level of lighting affecting other organisms. The remains of prehistoric trees, now in the form of petroleum, were used to transport elements of the display and to manufacture packaging and protective materials, among others.
If we think about interspecies cooperation in the context of the design and production of objects, plants and animals are no longer seen as resources and become partners. Would we be able to renounce our reign over materials and things so that other species could also make use of them? What would happen if people became only temporary users of the objects they produce? We would like to redefine the relationship between fungi, trees, and people so that it can be based on symbiosis, not competition nor exploitation.
The “MYCOsystem” exhibition was presented at the Polish pavilion during the 22nd Triennale di Milano, “Broken Nature. Design Takes on Human Survival”, in 2019. It was initiated by the Adam Mickiewicz Institute, which was responsible for preparing the national pavilion. Thanks to the cooperation between the National Centre for Culture and the Adam Mickiewicz Institute, the “MYCOsystem” project will now be presented for the first time also to the Polish audience – at Kordegarda. The Gallery of the National Centre for Culture from 27 February until 29 March.
Exhibition authors: Małgorzata Gurowska, Maciej Siuda, Agata Szydłowska
Music: Joanna Halszka Sokołowska
Olsza Grochowska's residency in Mallorca
Wall Gallery is happy to present you the detailed information about our residential program which starts in November 2019. Olsza Grochowska (b. 1985, Warsaw, Poland) is our first Artist in Residence. During her residency in Wall Gallery Studio in Mallorca Olsza will work on photo series dedicated to the place. Mallorca has a very long and unique history. Came to its present configuration, around million years ago being a favourable place for thousands of botanic species. Until now there is over 140 species of endemic plants (often now endangered due to climate changes) coexisting with almost 2,000 species of the Mediterranean spread over a variety of habitats and 130 introduced from outside the islands. The oldest traces of people activity in Mallorca date back to 5000 B.C. Talaiots, Phoenicians, Romans, Arabs – each of them had its own impact on balearic biodiversity and style of floral cultivation. How does it look right now? What changes where introduced to the island environment by nowadays „touristic” culture and global warming? While Olsza’s artistic residency she would like to dig into this botanic history of the island and find out and photograph the botanic evolution of this region.
"Dibujo" Wall Gallery group exhibition in Mallorca
The beginning, casual – a sketch, an image of a thought – a record. An academic foundation and a tool of anarchist artistic expression. Drawing, in its many forms, is the topic of “Dibujo”, the latest group exhibition of the Wall Gallery.
Featured artists: Magda Bielesz, Gosia Bartosik, Kornelia Dzikowska, Małgorzata Gurowska, Katarzyna Szumska, Natalia Żychska and guest artist Konrad Smoleński.
18 October – 15 December 2019
Wall Gallery Studio
Plaza Major, Sa Pobla
Magdalena Bielesz is an artist who mainly concerns herself with painting. But she also creates video art, and sometimes uses crayons, markers, or even modelling clay. In her art, Bielesz overcomes her own fears and limitations. Insightfully and consistently she studies two areas — womanhood and childhood. She looks for their common features and differences between the two, which she expresses in a formally characteristic style, adding a metaphoric dimension to her art.
Gosia Bartosik is an artist from the generation of beginners in their thirties. She paints and draws, and treats both disciplines equally. So far, she created several series of drawings, including “Red Drawings”, “Intymnik” and “Psia Mać”. Gosia likes to explore “in between” spaces: between what is true and imagined, human and animal, male and female. She presents serious subjects in a sometimes brutal manner, but never devoid of humour.
Kornelia Dzikowska works mainly with forms in space; she creates objects and installations with great attention to their visual side. The artist is driven by the constant need to command matter. What has become her greatest challenge are elements which she often features in her work. Recently, Kornelia has been trying to master time, which results in her latest series of digital drawings, “Notes from the passing time.”
Małgorzata Gurowska is a visual artist, lecturer, and curator. Graphic design, video art, installations, sculpture, and drawing form the backbone of her artistic practice. Her work “Clean hands” featured in the exhibition is a series of pencil drawings on parchment paper. The scale of portrayals refers to the human head, while forms themselves—although drawn from actual shapes—become abstract and thus evoke multiple associations. The synthesis of thought and form is the best way to describe Gurowska’s activities which allude to the perspective of new materialism and post-humanism.
Katarzyna Szumska works in painting, stage design, photography and video art. Since 1992, she has been a co-creator of Cinema Theatre, an avant-garde group active at the intersection of visual arts and the theatre of movement. Szumska is interested the most in the portrait – both “alive” and “dead”. Putting a filter on the image makes every subject matter, even if whispered, resound with screaming. The “Dibujo” exhibition will feature watercolours from the artist’s drawer that will reveal her previously unknown interests.
Natalia Żychska is the author of the series of pieces titled “Porn icons” which has been in the works for over 15 years. In an innovative way she creates images concerning love, using frames rarely applied in visual arts. The artist has developed her own method which makes her works very distinctive. The motif of a religious painting on wood, known since early Byzantine times, became the main point of reference in Natalia’s art. When painting her icons, she uses unusual tools: markers, nail polish, wood stain, or acrylic paint.
The piece which completes the exhibition is a work by Konrad Smoleński “Drawing”, video, 3’30”, 2001.
Konrad Smoleński (b. 1977) active in the area of visual arts, working with sound, video and performance. His works operate frequently between the potential inherent in the energy charge and the physical limitations of the surroundings. Lives and works in Warsaw (PL) and Bern (CH).
Gosia Bartosik and Basia Bańda show at Fundacja Salony in Zielona Górna, Poland
Wall Gallery has a pleasure to inform that in October you can visit an exhibition of our artist Gosia Bartosik in the company of another great artist Basia Bańda. The exhibition is dedicated to drawing as a very important tool for both of them.
Oct 5 - Oct 31, 2019
Zielona Góra, Poland
Joanna Borkowska: Resonance at 20|20 Gallery, New York
August 28 – September 8, 2019
Opening Reception: Wednesday, August 28, 6 –10 PM
Location: 20 I 20 Gallery, EFA Center, 323 West 39th Street, 5th Floor
Curated by Michelle Levy
Resonance, the title of Joanna Borkowska’s solo exhibition opening on August 28, refers to a new series of paintings the artist has created in New York during the past year. Borkowska’s artistic practice vacillates between painting, alchemy, and forms of meditation. Her unique philosophical approach to painting is inspired by nature, which she understands as everything that exists, from the molecular to the cosmic, with all its forces and processes. She has been exploring the “resonance theory of consciousness,” which describes how the vibrating frequencies of discrete entities experience moments of synchronization when they come in contact with each other. Through precision of color, consistency, atmosphere, and flow, Borkowska acts as a mediating force that transfers and translates the invisible onto the canvas. The result is a mysterious effect: monochromatic planes that reveal, upon closer look, intricate patterns with luminescent depths that interact with light and the movement of the viewer.
Polish Female Artists First Studio
Wall Gallery is pleased to announce that our inaugural exhibition has a new edition and become a pop-up in Mokotów! Polish Female Artists First Studio, viewing by appointment only. Tel. +48692967152
Joanna Borkowska I Residency Unlimited I NYC 2019
Joanna is an artist in residence at Residency Unlimited in New York untill the end of September.
Gazeta Wyborcza recommends PFAF
The biggest Polish newspaper -- Gazeta Wyborcza -- recommends our exhibition Polish Female Artists First!