Sylwia Serafinowicz-Wesolowska

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  print February 2011

  Simone Ruess

  To be at the top of Warsaw’s 1950s Palace of Culture and Science—still Warsaw’s dominant architectural presence and Poland’s tallest building—is not to be lifted out of the city’s grasp. Quite the opposite; it is to be in its neglected heart and at the source of its tensions. German artist Simone Ruess spent two years walking Warsaw’s streets with a camera and a sketchbook. Quite naturally the palace, built to serve as a sign of Soviet political influence in Poland, and of which Galeria Studio is a part, became a subject of her study. The artist plunged herself into its endless corridors

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  previews January 2011

  Three Women

  Despite their different backgrounds and heterogenous, multilayered oeuvres, Polish artists Maria Pinińska-Bereś, Natalia LL (Lach-Lachowicz), and Ewa Partum were grouped together from the 1960s through the ’90s by critics who discussed them in terms of their works’ common feminist agency.

  Despite their different backgrounds and heterogenous, multilayered oeuvres, Polish artists Maria Pinińska-Bereś, Natalia LL (Lach-Lachowicz), and Ewa Partum were grouped together from the 1960s through the ’90s by critics who discussed them in terms of their works’ common feminist agency. In this show, titled after a work by Pinińska-Bereś (who passed away in 1999), selections from each artist’s primary medium—sculpture, photography, and text/language, respectively—as well as documentation of ephemeral actions, will offer a broad view of the three practices following