Sylwia Serafinowicz

  • picks October 07, 2013

    “A Journey through London Subculture”

    For the exhibition “A Journey Through London Subculture: 1980s to Now,” various artists, musicians, and designers who contributed to London’s creative scene in the 1980s have curated over fifty vitrines that each embody the diverse picture of the DIY aesthetic of the era’s punk movement. The mode of the show’s display, though archival in form yet rebellious in content, allows its visitors to wander freely from one case to another, echoing this period’s dazzling network of influential people, whose place of encounter were often only clubs. The displayed objects range from films and documentary

  • “Piotr Uklánski: ESL”

    Piotr Uklánski himself will be directly involved in organizing this extensive survey of his work from the past fifteen years, which will also incorporate items the artist has selected from the Bass Museum’s collection. Titled with a nod to Uklánski’s own ESL (English as a Second Language) status, the exhibition will investigate the valences of cross-cultural translation in the work of an artist who has long straddled American and Polish contexts, being based in both New York City and his hometown of Warsaw. The overlaying of avant-garde tactics and pop-cultural

  • “Jiří Kovanda: I Haven’t Been Here Yet”

    Known for his Minimalist “action interventions”—for example, building a farcically modest stack of sugar cubes, as though staging a riposte to Donald Judd’s aggressively scaled structures—Jiří Kovanda first presented his work outside of his native Czechoslovakia in 1976, inWarsaw. For this retrospective—fittingly staged at another Polish venue, this one in Wrocław—he will be represented by a selection of paintings, photographs, and documents, as well as extant objects from his performances. Rather than fetishizing these materials, curator Adam Dominik

  • Julian Józef Antoniszczak

    Julian Józef Antoniszczak (1941–1987), who signed his films Julian Antonisz, was a cofounder of the famous Studio Filmów Animowanych in Kraków, and known as an animator, a composer, and the inventor of multiple non-camera film techniques, to mention just a few of his creative pursuits. Walking through his recent show in Warsaw, which was the first retrospective presentation of his oeuvre, at times felt like being inside a steam engine. Gallery rooms pulsated to the rhythm of multiple animations and sound tracks accommodated by Paulina Tyro-Niezgoda’s industrial-style exhibition design, based on

  • Daniel Malone

    Daniel Malone’s show “The Proof Reader/Śledź zmiany” was an insightful study of the mechanisms of translation. Malone has over five years’ experience in editing and proofreading texts for numerous Polish art institutions. The Polish phrase in his title literally means “Track Changes,” a reference to the ubiquitous digital editing tool he uses for this work, as visualized in Untitled (Pages/Strona), 2013. It is a wordprocessing document mounted on foamcore, tracing Malone’s changes to the English version of a famous text, dokumentacja (documentation), written in September 1971 by Wiesław Borowski

  • Radek Szlaga

    Radek Szlaga paints his canvases with such a dense layering of colors that the figures he portrays seem to melt into the viscous surface, even as the entire tableau glows with an inner light. But while the sheer materiality of these works indicates that painting is quite literally Szlaga’s primary medium, his recent show in Warsaw, “Freedom Club,” exhibited other components of his practice. For example, Guerilla Potato Plantation, 2012, which entirely occupied one of the show’s four rooms, consisted of slides projected on two walls of the room and, standing in the middle of it, a greenhouse.

  • picks October 20, 2012

    Bjarne Melgaard

    “A House to Die In,” Bjarne Melgaard’s visually seductive new exhibition, is a collaboration with Snøhetta, the Norwegian architectural firm that designed the 9/11 Memorial Museum in New York. This work, which is expected to be finished in 2014, is a house that the artist will live and labor in. The show presents the building’s facade and a portion of its interior design in two galleries. In the lower space, visitors encounter a structure made with burnt oak. This specific piece began with Snøhetta’s three-dimensional interpretation of Melgaard’s drawings of a “super-black” house. The form was

  • picks August 02, 2012

    “Image Counter Image”

    This exhibition significantly updates a decades-long theoretical reflection on the relationship between the production of knowledge and its visibility. Investigating the past twenty years of visual representation of armed conflicts, the curators suggest that two events in recent history mark the shift in image technologies and the methods with which violence is depicted: the Gulf War in 1990 and 1991, and the September 11 attacks in 2001. The exhibition also proposes that, in contrast to those of the past, contemporary models of image production are rhizomatic, triggered by the development of

  • “Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957–1984”

    Assembling some forty experiments in film, sound sculpture, design, and graphic notation, “Sounding the Body Electric” exposes the fertile relationship between experimental art and new music in Eastern Europe during the Cold War, when state support of technological advancement opened a loophole for relatively uncensored artistic practice.

    Assembling some forty experiments in film, sound sculpture, design, and graphic notation, “Sounding the Body Electric” exposes the fertile relationship between experimental art and new music in Eastern Europe during the Cold War, when state support of technological advancement opened a loophole for relatively uncensored artistic practice. In Lodz, curators David Crowley and Daniel Muzyczuk mine nearly three decades of material—including Slovakian Milan Grygar’s acoustic drawings, Serbian Katalin Ladik’s sound poetry, and a reconstruction of a 1970

  • Pravdoliub Ivanov

    The first Warsaw exhibition by Bulgarian artist Pravdoliub Ivanov was announced by the Polish word PÓŁPRAWDA, “half-truth,” whose upper portion could be read above the bridge between two parts of the apartment building in the center of the Polish capital that houses the Le Guern Gallery. This inscription, made of self-adhesive foil, is one part of a thus-titled two-element work, 1999/2011. The lower half, made of painted cardboard, was displayed on the gallery wall, so close to the ceiling that it seemed to be vanishing into it. For Ivanov, showing the word half-truth in two locations is an

  • Eva Kot’átková

    Eva Kot’átková’s solo show in Raster’s new gallery, located in the former seat of the ORNO jewelry artisans’ cooperative, contained elements reminiscent of stage design (curtains, benches made in situ), fragments of older works, and new collages and sculptures. Together they created an unusual and enchanting setting for her exhibition. The two rooms on the first floor were devoted to the installation Dílo přírody/Work of nature, 2011, which also gave its name to the show as a whole. The first space was dominated by geometric sculptures, some of them on the floor, others suspended from the ceiling,

  • picks December 01, 2011

    “Side by Side”

    This exhibition, a collaboration between the Royal Castle in Warsaw and the Martin-Gropius-Bau in Berlin, studies the dazzling cultural ties forged between Poland and Germany through over seven hundred works of art produced in the past one thousand years. The first room of the show presents objects from the eleventh century, an era that marked the beginning of the neighborly relations between the two countries. Here, the focal point is the martyrdom of Saint Adalbert, a Czech Christian missionary who was killed in 997 by the Baltic Prussians. Otto III, the king of Germany, visited Saint Adalbert’s

  • Honza Zamojski

    Honza Zamojski is among the artists nominated this year for the prestigious Spojrzenia award from Deutsche Bank and the Zaçheta National Gallery of Art in Warsaw, intended to showcase emerging artists. For his recent show “Me, Myself & I,” he filled the exhibition space with drawings, photographs, and found objects, which were all presented as components of the self. In a pile of drawings titled Rośnięcie to strata czasu (Growing Is a Waste of Time), 2011, and Człowiek-drzewo (Human-tree), 2011, drawn on a massive roll of cardboard, he abstracts the features of a face into a basic graphic

  • 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

  • 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

  • Thea Djordjadze

    Thea Djordjadze, a Berlin-based Georgian artist, is a former student of Rosemarie Trockel at the Kunstakademie Du_sseldorf. From 1999 until 2003, she was part of hobbypopMUSEUM, a collective known for combining different media and artistic strategies. Djordjadze recently stepped forward as a sculptor before a wider audience, with the works Deaf and Dumb Universe and Fold B (Large), both created in 2008 and shown at the Fifth Berlin Biennale. She continues to explore sculpture and installation in three exhibitions this year: the solo show “Capital Letter” at the Foksal Gallery Foundation, and