warsaw

View of “Simone Ruess,” 2010. From left: Okno (Palace Window), 2010; Żyrandol (Chandelier), 2010; Kaseton (Ceiling Panel), 2010.

Simone Ruess

Galeria Studio

View of “Simone Ruess,” 2010. From left: Okno (Palace Window), 2010; Żyrandol (Chandelier), 2010; Kaseton (Ceiling Panel), 2010.

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 and rooms to investigate the remnants of the past and the traces of the country’s ongoing transformation.

Displayed on the gallery’s ground floor, the installation Centrum (Center), 2008–10, gathered photographs, drawings, and cardboard objects relating to the palace’s surroundings. The

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