Sylwia Serafinowicz

  • Christian Jankowski, Heavy Weight History (Brotherhood of Arms), 2013, ink-jet print, 55 x 73 1/2".

    Chistian Jankowski

    At the heart of Christian Jankowski’s exhibition “Heavy Weight History” was a project encompassing seven black-and-white photographs and a twenty-five-minute-long video realized in the summer of 2013 in Warsaw. Jankowski, in close collaboration with the Centre for Contemporary Art Ujazdowski Castle, selected seven city monuments and organized a group of professional weightlifters to attempt to raise them. In this symbolic way, through a sort of sports competition open to the public, he proposed lifting the burden of the complex and turbulent history whose remnants lurk in every corner of Warsaw.

  • Grzegorz Kowalski, Calendar II, ca. 1970, collage, graphite pencil, ballpoint pen, india ink, tempera, and tape on paper and plastic sheet, 22 1/4 x 15".

    Grzegorz Kowalski

    Klisze amerykańskie” (American Stills) was a selection of works by the Polish artist Grzegorz Kowalski, most conceived during his stay in the United States for the academic year 1970–71, when he was a recipient of a scholarship from the University of Illinois at Urbana-Champaign. During this relatively short period of time, Kowalski accumulated an impressive quantity of press cuttings, books, and vinyl records (his eclectic collection of the last included such classics of the era as the sound track from the musical Hair). A selection of these materials, which reflect the social moods and protest

  • LUXUS No. 5, 1985, handmade one-page magazine, tempera and marker on newsprint, 20 7/8 x 14 1/2".


    “At the heart of the apocalypse, there’s no time for a striptease,” writes acclaimed Polish writer Jerzy Pilch in his most recent book, Wiele demonów (Many Demons), published in 2013. But the artist group LUXUS, established just before the imposition of martial law in Poland in 1980, had long since proved otherwise. Choosing a name that slyly evokes both Fluxus and luxury, the group based its practice on the combination of enthusiasm for life and art with a deeply ironic and critical attitude toward the iconosphere of the 1980s. As one of the territories taken from Germany and joined to Poland

  • Jeffrey Hinton, Latrine at Large, 2013, transparencies, synthetic hair, 4’ x 2’ x 9”.
    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

  • Pages from storyboard for Julian Józef Antoniszczak’s Jak działa jamniczek (How a Sausage Dog Works), 1971, ink, tempera, and marker pen on paper, open 16 1/2 x 21 1/2".

    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, The Meal of a Diver with Eyes Wide Open (GOOGLE), 2013, mixed-media installation with sound, dimensions variable.

    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, Guerilla Potato Plantation, 2012, mixed media. Installation view.

    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.

  • View of “A House to Die In,” 2012.
    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