In Katarzyna Karpowicz’s paintings, art and medicine intertwine into an inseparable magical story, medicine becomes magic, and the personal experience of illness and recovery makes the story touchingly true.
The Gods of Minecraft
Long live the senses, long live excitement! There is no room for boredom, discouragement or indolence in Dionysus’ procession. What’s more, everyone will find a place for themselves here: they can lose themselves into the joyous crowd or take the lead to impress others and themselves.
The tango as an excuse
The theme of this exhibition is the tango, the most sensuous dance in the world. Seductive, sexy, filled with desire and jealousy, a desire for power, the wish to dominate the partner but also a longing for love and intimacy. He and she, the story that unfolds between them on the dance floor for a few moments.
In Katarzyna Karpowicz’s works, the painting is always the result of deeply experiencing reality, of observations and feelings. The seemingly unreal scene flows from events, meetings and conversations. Life experiences give rise to new painting series.
The labyrinth is a recurring theme in Łukasz Majcherowicz’s art. With each painting the artist ventures deeper on the journey into his unconscious, down the byways of reality. He tries to understand himself and the world. He poses questions but offers no answers.
The tone of Magdalena Sawicka’s drawings is personal; the artist herself declares that there is no such thing as a communal sensitivity; each person has their own experiences, thoughts, feelings; and even when she draws inspiration from the global internet community, she interprets the existing interpretations.
The Pink Cloud
‘I am a Colourist painter,’ says Murawska. And this simple definition should be enough. We should accept it as sufficient explanation in itself, if we wanted to explain her art at all, this art which simply seduces with colour at first sight.
Late symptoms of death
Divagations on art and death. The ART Gallery cordially invites you to the exhibition of paintings by Łukasz Huculak, entitled ‘Late Symptoms of Death’ – an artistic accent during Holy Week. For a long time, Huculak believed that the gravity of a skull – this crown of still life – is inevitably suffused with the grotesque. For years he would treat painting skulls as a painter’s training, almost meditational, until the motif grew in strength and the painting reached the appropriate state of matter. The existential burden and the chill of constructivism merged into a painting.
The effects of colours
Stendhal syndrome is a psychosomatic disorder which causes rapid dizziness, heartbeat, confusion or hallucinations when a sensitive individual is exposed to works of art and architecture accumulated in a relatively small space.
Coral reefs, or Twenty Thousand Leagues Under the Sea
The paintings by Krzysztof Pająk begin where the light is about to stop. At first, there is the dive into the abyss – the big blue, navy blue – almost blackness, darkness. Next comes the experience of a brand new world of coral reefs. A revelation, a fairytale, a day-dream, the pulsation of colour, and sensuality so different from the one on the surface.
What fascinates me, above all, are the geometricised objects in distinctive colours that emerge from the thick background, penetrating it in their drive to ‘break free’ to the surface.
Paintings in interiors
The majority of the exhibited paintings would not fit in your homes. The smallest canvases are of 2 metres in height and, thus, we could merely pack thirty eight of these in the 800 square metres of the exhibition hall. Series No 25 alone consists of over 300 paintings, most of which were painted within 6 years. That means almost 50 large-format canvases a year! And at the same time Edward Dwurnik was developing his other series of paintings.
In the light of trees, in the colour of corals...
Trees – corals. So colouristically exotic in the Polish landscape, and yet of familiar, almost Mazovian shapes… Phenomenal pseudo-willows, artefact-like organisms glaring with internal energy. A colourful colony of luminous quasi-botanical specimens.
Jacek Łydżba treats religious symbols without any rebellion, personal disagreement or excessive rigour. As befits a pure-blood artist, he has his own vision and his own expression. He takes those gypsum figurines and dresses them up with garments in strong and expressive colours, emphasising their beauty and kitsch.
I had a dream
An atelier full of paintings – of life and dreams. No devising – intuition instead. There is no need to devise things as themes, since ideas just pop up on their own. And most often in sleep. Everyday life is reflected in dreams, and dreams can see themselves in the paintings.
An idea hidden in things
Buildings, edifices, objects. Anchored in our memory, in our thinking about cities, outskirts, in images of different journeys, in perception of a rural road, a sea shore, a terrace, a backyard. The roughness of concrete, the smell of timber, the vermillion of brick, the colour of neon. A house, a palace, a factory, a station. An arbour in the park, a gateway, a swimming pool, a springboard, a gasoline station. Light falling onto the floor, walls, the asphalt of the road. Encoded views, landscapes complemented with architecture.
Let’s go to sleep!
Curled up on bare ground, under navy blue skies, lulled by the silence of the night, the characters in Kasia Karpowicz’s paintings are calm and safe – locked in their own world of dreams. Meditative, oneiric pictures have their symbolic depth, the rhythm of a placid breath of a sleeping girl, a man, an animal.
For those who are seeking new places, experiences and heights. For art connoisseurs and party animals. Jacek Łydżba’s exhibition in Soho Factory – the trendiest destination in Warsaw’s Praga – is an invitation to enter an energetic orbit of painting. Łydżba seduces his audience with bold colours and a repertoire of his favourite motifs. This is going to be a gathering of gorgeous female cyclists, tamed wolves and cult aeroplanes. For one evening that huge post-industrial hall will be filled with paintings and Jacek’s male and female fans. The guests will also have a chance to enjoy beer and live music.
Following Joanna Pałys’s individual trail we are moved by a fading rhythm of “Nocturnes” and a bizarre harmony of a zigzag line of conveyor belts with almost cosmic space; we are struck by melancholy of monumental and quite mysterious architecture of recent “Objects”. This special painting sensitivity makes these paintings greatly expressive and this special way of perceiving the world makes them one of the most interesting entries in the young Polish culture.
State of affairs after 23 years (Bogna Gniazdowska & Mikołaj Kasprzyk)
To see what it’s like to live together and paint separately for 23 years, to judge ‘the state of affairs after 23 years’, one should visit the exhibition of works by Bogna Gniazdowska and Mikołaj Kasprzyk in the Konduktorownia Gallery in Czestochowa. Both being faithful to themselves, the artists keep autonomy of their own art.
All That Jazz
Portraits of musicians, bands and instruments by Krzysztof Kokoryn are being exhibited at the Levekusen Jazz Festival near Cologne. Kokoryn is excellent at translating sounds, rhythm and the concert atmosphere into the language of painting. Being a friend of many musicians (e.g. famous for Voo Voo’s videoclips), he does not paint without music.
When provincial Częstochowa is getting ready for bed, the painter – locked in his small flat – suffering from insomnia, has to work. He is painting a metropolis, big city lights, the city that never sleeps.
An Uncontrollable Midsummer Night’s Dream
After last year’s retrospective exhibition in BWA Gallery in Bielsko-Biała, Krzysztof Kokoryn was once more given space that allowed him to go crazy again. This time it was in the Slovak town of Liptovský Mikuláš, in Michal Bohun’s Gallery.
We'll kiss each other's lips
I do prefer to use photos. And we are all surrounded by them, aren’t we? These days people never stop taking photos with their mobile phones. That’s our world and this world inspires me.
Guitarists and drummers, wild beasts, green grass and matted groves, plus a decent amount of alcohol (or what’s left of it) – bottles with colourful labels and a dose of energising music. Never before has such a broad retrospective of Krzysztof Kokoryn’s art been shown under one roof. In July 2008 the BWA Gallery in Bielsko-Biała presented a wide range of his artistic activities.
I Met a Friend (Darek Pala & Szymon Parafiniak)
The day on the beaches of Miami. The night in jazz clubs. Strong cocktails and a total blast. Darek Pala and Szymon Parafiniak meet at an exhibition at the Café Kulturalna.
On The Revolutions of Colours
Concentric circles with multicoloured fragments, overlapping colours, luminosity, spinning impressions and kaleidoscopic volatility – the geometric compositions of Małgorzata Jastrzębska stem from the experience of the great abstractionists of the twentieth century – Robert and Sonia Delaunay, Francis Picabia and Frantisek Kupka. In her paintings, the colour is the form and the motif and the luminous spheres of purple and cadmium yellow, rose and green, black and white unfold according to a rigorous structure.
Abandoned routine transformed into an affirmation of everyday life: the last sip of coffee in a coffee cup is a memory of the morning, a map – an echo of a simple stroll or perhaps a longer journey. Jola Wagner not only sees, but also perceives. She does not allow any of these important things to slip by, things like delicate trinkets, an incidental pitcher, spoons or a small pair of shoes, lipsticks, dresses, and smells – the traces of our own selves carelessly left behind despite our best intentions, she reads them as essential and beautiful proofs of our presence. Unique signs.
Kaleidoscope (Under the Stairs)
Małgorzata Jastrzębska has rejected picturesque-ness of orphism. Her forms have sharp edges – one can tell she uses a masking tape when painting to make the separation of the colours unequivocal and definite. Although she paints with a soft brush and oil paints it looks as if she was using a compass and a scalpel. There are mathematics and physics textbooks on the table in her studio.
The Sepia Europe
A few years ago one of my acquaintances, a modern art and historic objects collector, showed me his last trophy he had bought from a Viennese antique dealer. It was a collection of old photographs. Over the several evenings that followed, we watched them together through a magnifying glass, scanned them producing maximum blowups so that we could see any and all details. It was fun, to an extent, but we wanted to solve the puzzle on the occasion.
The title of this exhibition is a number. MMVI in Roman numerals stands for the year 2006. Although 2006 is the date of creation of all the paintings presented at this exhibition, indifference of their creator toward any problems of the year 2006 is his firm manifesto.
Picture is festivity
Krzysztof Kokoryn’s manners are that of an anarchist. Yuppies from all over Europe are crazy about his paintings, indeed, but to be invited by any of them to a chic dinner - he wouldn’t accept such kind of things. He’d reject it in favour of a glass of beer in a cheap pub in a company of the Academy students and friends - the maudits, misunderstood by the middle class.
Beaches of Sanibel
It was 13 years ago that Darek first walked into the gallery I run. He was a young graduate of the Cracow Academy of Fine Arts then. I soon realized that collaboration with this artist would go far beyond the ordinary partnership of artist and gallery.
We long for provincial life: life that runs slowly, with quiet and unassuming happiness. Perfect provincial life exists in books by such authors as Bruno Schulz or William Faulkner. During a journey it may seem for a while that we see it from the train window.
The way young lovers do
For Agnieszka Sandomierz, as for several artists of her age, the starting point is a new pop-art. This can be seen in the frames of her paintings, in how substantive and ordinary they are. However, Agnieszka’s paintings exceed the limits of an impersonal pop-art. They tend to omit its rigours, rather than overcoming them.
What Maria Kiesner paints is townscapes. This classic painting genre has urban landscape and architecture as its topics. But Maria’s paintings tell us that architecture is not only there around us. It is also within us.
Zofia Matuszczyk-Cygańska has just turned ninety of age. But her exhibition Colour games is not an occasional hand-made birthday greetings card. Although it is but one of some three hundred exhibitions in which she has taken part, it is an unique event indeed.
Nell' ombra del Sud
Katarzyna Castellini’s paintings is not a report from a trip to Italy. It used to be one, though, some time ago. But the report was rather strange. The artist is an intelligent observer; she has recorded in her paintings many scenes and characters of Italian provenance. But with time, she ceased being keen on multiplying picturesque details. Instead, she started aiming at a synthesis; painting by painting, a concept was emerging to depict an image of mankind in general, though taking the Italian observations as a starting point.
Virtual existence of non-existent objects
Darek Mlącki, the most sought-for wall-painting and trompe-l’oeil specialist, was just finishing the work commissioned at a residence off Warsaw. He was painting frescos inside a swimming-pool building. Suddenly, someone jogged the bucket and a beet-colour painted got spilled over the beautiful travertine wall cladding, imported all the way from Italy. This was a disaster.
Childishsly easy paintings
The paintings by Anna Podlewska: hermetic for some, whilst spontaneous and childishly easy for others. Whether the promise expressed in the exhibition’s title may be kept, will only depend upon ourselves.
I first saw her tulips in 1992, in a small pub at Podkowa-Leśna. The painting hanged on the wall of a dark corridor, between the kitchen and the restroom. Next to the tulips, a sad cloakroom attendant was seated, unable to see that behind his head, the gate to a paradise was opening.
Adam Korszun likes to paint portraits. Their main characters are Girls – that is, closer and farther acquaintances of the artist, friends, dwellers of Biała-Podlaska. Adam conducts a never-ending casting session in his native town.
Chosen, arranged, secret...
I’ll never forget Łukasz’s first visit to our gallery. Two years ago he came in, straight from the street, just like that, with a sheaf of paintings under his arm. When he opened the portfolio and arranged an impromptu exhibition on the floor, I knew immediately that I wanted the pictures to stay. I couldn’t believe their author was just 24 years old. I had in front of me that rare phenomenon, early work which is already mature.
It was a year ago that Darek Pala first put up his easel in front of his aquarium. Instead of going on an exotic trip or just diving into the nearby ocean, he set up a home aquarium and started painting what he saw in it.
Under the Volcano
The Universe has perhaps not ceased to expand, but Adam’s Cosmos has long ago shrunk, assuming a safe size. For Adam, the horizon of Being is set forth by the floor-area of his bachelor flat. And it is within these confines that Adam amends the Creation.
Hawker Fury. The name was coined to add, or inspire, terror. In reality, the machine’s structure was tiny and rather delicate. The gentlemen who mounted it used to paint coloured chequered patterns on it. As if the plane was not supposed to fight, but rather, to race. These days, in the time of those flying buses, Hawker Fury’s shapely silhouette evokes nostalgic associations: with the ‘retro’ age indeed, the one of The English Patient, or, Farewell to Africa. But then, it did seem futuristic. Elegant, and cold. Pilots used to like Hawker Fury but treated it with respect, considering it to be an elitist plane.
There are several reasons for which I have decided to show you some sculptures by Leszek Jasiński.
Solapas de contratienda
Ciro Beltrán has something about himself which is called obsession by some, or mission by others. While talking to people, he would often mention ”hiding” and ”discovering”. He strives for discovering the truth, the one spelled with a block ”T”.
Polish cities. Works from 1966-1969
Edward Dwurnik painted his Moje podwórko (My Yard) in 1985 as he was back from his yearly scholarship in Germany. After his stay in the West he could all the more painfully feel a contrast between the European level of life and the Eastern-European style. His family town of Radzymin was, according to his paintings, a symbol of all that Eastern-European anarchy, chaos, and mess.
To be an artist in our times is to travel. The starting point of Agnieszka’s travels was her studio in her parents’ home in Gdynia. The house stood on a cliff over the sea. The studio, like studies in Romantic villas, had windows on four sides. One only had to lean out a bit further and set off on a journey.
When I first saw Aleksandra Waliszewska’s self-portraits, painted on scraps of cardboard, I felt as if I had blown off the dust covering a real treasure.
I am a busy man and don’t quite much socialise with others. So when I recognised my own self in a picture by Kokoryn, I was astonished. To get portrayed by Kokoryn has been a privilege o musicians, vagabonds, storytellers sitting around joints, or, young girls; at least this is what I always thought.
Do Darek Pala’s latest paintings deserve special attention? Or is the exhibition, Pala adieu, just a courteous farewell gesture on the part of the gallery towards an artist who’s moving across the ocean?