FEATURED ARTIST: Phillip Lai, Monument of possibles, 2012….

FEATURED ARTIST: Phillip Lai, Monument of possibles, 2012….

 

Jesse Fleming at 356 Mission

Jesse Fleming at 356 Mission

 

The State in Which You Find Yourself: Mamela Nyamza and Meryem Jazouli

The State in Which You Find Yourself: Mamela Nyamza and Meryem Jazouli

 

“Renegade Histories: Memories of Indigenous and African Descent”

“Renegade Histories: Memories of Indigenous and African Descent”

 

Vitra—Design, Architecture, Communication

Vitra—Design, Architecture, Communication

 

.3 + 10. MNAC.: 13 years of existence, 
10 years in the Palace of Parliament

.3 + 10. MNAC.: 13 years of existence, 
10 years in the Palace of Parliament

 

Qu Guangci

Qu Guangci

 

Art Experiment: 32 Questions from Cage

Art Experiment: 32 Questions from Cage

 

Light & Space: Liz Deschenes’s Gallery 7

Light & Space: Liz Deschenes’s Gallery 7

 

Where in the World Is Leonardo Drew?

Where in the World Is Leonardo Drew?

 

WHAT’S ON:  Four Shoulders and Thirty-Five Percent…

WHAT’S ON:  Four Shoulders and Thirty-Five Percent…

 

“Maybe It’s a Hum” at Atelier Rouart

“Maybe It’s a Hum” at Atelier Rouart

 

Laura Hughes at PSU

Laura Hughes at PSU

 

Because i always wondered what an artistic residency in the Arctic might be like…

Because i always wondered what an artistic residency in the Arctic might be like…

 

TheArtblog needs you! Take a two-minute survey to help us with our site redesign

TheArtblog needs you! Take a two-minute survey to help us with our site redesign

 

The New Yorker’s Passport 2014

The New Yorker’s Passport 2014

 

Nina Beier at David Roberts Art Foundation

Nina Beier at David Roberts Art Foundation

 

Johan Gelper

Johan Gelper

 

The Female Gaze at the Atrium Gallery at Haverford College

The Female Gaze at the Atrium Gallery at Haverford College

 

STUDIO VISIT #26 – Beatrice Marchi

STUDIO VISIT #26 – Beatrice Marchi

 

Irma Blank and Amalia Pica, and call for submissions for MOSTYN Open 19

Irma Blank and Amalia Pica, and call for submissions for MOSTYN Open 19

 

Whorled Explorations: participating artists and programmes

Whorled Explorations: participating artists and programmes

 

From the Margins: Lee Krasner and Norman Lewis, 1945–1952

From the Margins: Lee Krasner and Norman Lewis, 1945–1952

 

Wu Tsang

Wu Tsang

 

Matthew Barney: RIVER OF FUNDAMENT

Matthew Barney: RIVER OF FUNDAMENT

 

Better Read: Sincerely Yours, An Epic Scholarly Smackdown By Rosalind Krauss

Better Read: Sincerely Yours, An Epic Scholarly Smackdown By Rosalind Krauss

 

New Work Friday #168

New Work Friday #168

 

_Six Degrees_ Resident: Introducing Janna Graham

_Six Degrees_ Resident: Introducing Janna Graham

 

FEATURED ARTIST: Phillip Lai, Me and my hyperbole, 2014….

FEATURED ARTIST: Phillip Lai, Me and my hyperbole, 2014….

 

Willie Doherty at Alexander and Bonin

Willie Doherty at Alexander and Bonin

 

TheArtblog Board Honors Service of Co-Founder Libby Rosof upon her Retirement

TheArtblog Board Honors Service of Co-Founder Libby Rosof upon her Retirement

 

Venture down the rabbit hole into PeevesPlayHAUS at Crux Space

Venture down the rabbit hole into PeevesPlayHAUS at Crux Space

 

Stefan Tcherepnin at Real Fine Arts

Stefan Tcherepnin at Real Fine Arts

 

Chris Ofili: Night and Day at the New Museum

Chris Ofili: Night and Day at the New Museum

 

Always I Trust. Cheng Ran

Always I Trust. Cheng Ran

 

Open call: 16th Media Art Biennale WRO 2015

Open call: 16th Media Art Biennale WRO 2015

 

Campanas, Rafael Lozano-Hemmer, and Anders Sunna

Campanas, Rafael Lozano-Hemmer, and Anders Sunna

 

Bloomberg New Contemporaries at Institute of Contemporary Arts

Bloomberg New Contemporaries at Institute of Contemporary Arts

 

Alfredo Jaar

Alfredo Jaar

 

A House of Several Stories

A House of Several Stories

 

Opportunities

Opportunities

 

Retail poisoning, a disruption of consumerism

Retail poisoning, a disruption of consumerism

 

READING ROOM: Town-Gown Conflict, ed. Beatrix Ruf (JRP Ringier,…

READING ROOM: Town-Gown Conflict, ed. Beatrix Ruf (JRP Ringier,…

 

Michel Auder at De Hallen Haarlem

Michel Auder at De Hallen Haarlem

 

Google, Water, Color

Google, Water, Color

 

Weekly Roundup

Weekly Roundup

 

Nam June Paik: Becoming Robot at the Asia Society, New York

Nam June Paik: Becoming Robot at the Asia Society, New York

 

Susan Philipsz at Eastside Projects

Susan Philipsz at Eastside Projects

 

Postcard from Warsaw Gallery Weekend

Postcard from Warsaw Gallery Weekend

‘Imagoria’ at Foksal Gallery Foundation
With their premises in the midst of a radical makeover, Foksal Gallery Foundation briefly moved in to a newfangled building built for the Warsaw Academy of Fine Arts on the bank of the Vistula that was yet to be officially opened. In one corner of the buildings grey, concrete-walled lobby stood a wooden cage-like structure designed by architect Andreas Angelidakis; its interior housed a mesmerizing collage of several dozen paintings by Jakub Julian Ziolkowski. This was the second iteration of a massive survey, ‘Imagorea’, held earlier this year by the municipal gallery BWA in the city of Zielona Gora. Presenting works made by Ziolkowski since early 2013, the show offered a good chance for the Warsaw audience to become acquainted with the artist’s recent work. This was a mixture of abstract shapes, biological forms, portraits and landscapes that felt surprisingly coherent when presented en masse.

Postcard from Warsaw Gallery Weekend

Installation view at Monopol, Warsaw

‘Andrzej Partum / Zbigniew Warpechowski / Roman Dziadkiewicz’ at Monopol
If I had been really pressed for time (as many of my colleagues often are) Monopol may not have made this list, quite simply because one had little chance to see the show on the Gallery Weekend. Well past noon on Saturday the place was still shut, but displayed signs of a long and successful opening the day before. However, since (unlike some of my colleagues) I go past Monopol several times a week, I heroically tried to forget this (for the time being) – the WGW takes place once a year and if you go to the lengths of participating, make sure you are in the gallery when it happens, not elsewhere. But enough nagging. Launched early this year, Monopol is a new arrival on the Warsaw scene, but their scope of interest seems quite defined and ambitious, representing, in large part, artists born in the 1930s. This show sought to draw out the personal connection between Zbigniew Warpechowski (born in 1938) and Andrzej Partum (1938–2002). The former is a father figure of Polish performance and a student of the Krakow Technical University and Academy of Fine Arts; the latter was a maverick, self-taught artist, musician and poet born and raised in Warsaw. Seemingly poles apart, the artists established a close relationship, which was brought to the foreground here through archival materials with the help of a younger-generation Krakow artist, Roman Dziadkiewicz. A ‘gem in the process of polishing’ – the expression used to describe the exhibition by Marcin Krasny in the magazine Obieg – aptly sums it up.

Postcard from Warsaw Gallery Weekend

‘Zombie Formalism’ at Piktogram, Warsaw

‘Zombie Formalism’ at Piktogram
For the group show ‘Zombie Formalism’ at Piktogram/BLA (the latter stands for Bureau of Loose Associations), curator Michal Wolinski went out on a limb to combine works by four diverse artists: Szymon Malecki, Tomek Sacilowski, Jacek Sempolinski and Kajetan Sosnowski. Taking its cue from the eponymous text by Walter Robinson, the show could be read as taunting the idea of exhibitions based on far-fetched juxtapositions and formal affinities that, in the end, seem to ‘sit well together’. Except, in this case, the two younger artists (Malecki and Sacilowski) have received no formal training, and their works are displayed alongside those of two major historical figures of 20th-century Polish painting (Sempolinski and Sosnowski), concerned with issues of colour and abstraction. While questioning the nonchalance of superficial market practices aimed at bestowing unexpected formal genealogies upon new artists, and thus offering them a safe landing in the world of art, Wolinski drew viewers’ attention to artistic practice itself. It is the focus on the process, he seems to suggest – the treatment of the material, be it chemical, photosensitive, or physical – that is at the heart of the game.

Postcard from Warsaw Gallery Weekend

Antje Majewski at Pola Magnetyczne

Antje Majewski at Pola Magnetyczne
Pola Magnetyczne, or Magnetic Fields, a gallery on the northern fringes of the well-to-do villa neighbourhood of Saska Kepa, opened its doors in December 2012. Since then it has already earned a reputation as a site of singular presentations. With each visit, the space on the first floor of the house (home not only to the exhibition space but to the gallerists as well) seems utterly different. This time is no exception. Arriving to see the solo presentation by Antje Majewski, I was greeted and offered tea by the gallerists, after which we stepped into the exhibition space. ‘What is your first memory of a museum?’ asked Patrick Komorowski, as my eyes wandered across a low plinth topped with what seemed like fairly random findings from a Sunday stroll through a flea market and a forest. I gave him an honest answer: it was a small municipal museum in my hometown. It was only a few minutes into our conversation that I realized he had changed roles, making a perfect segue into a scripted narrative – a short story written by Sebastian Cichocki of Warsaw’s Museum of Modern Art. Taking me on the journey on which I had unwittingly embarked, Komorowski guided me through a fascinating tour of Majewski’s The Museum in the Garage – a medley of objects from the Museum of Prehistoric Thira in Santorini, the Ravensbrueck Memorial Site and the studio of Jeanne Mammen, the Weltkulturen Museum in Frankfurt as well as the artist’s own collection. None of them random, each and every one of them with a story waiting to be told.

Piotr Lakomy at Galeria Stereo
After their move from Poznan, Galeria Stereo hadn’t enjoyed their new Warsaw exhibition space in a modest, Modernist pavilion for long before they were forced to look for another venue. For WGW they came up with an unlikely site: what used to be the largest printing facility in the Polish People’s Republic. For his show ‘Tomorrow Will be Smaller’, Piotr Lakomy produced a group of minimal sculptures and installations involving light, colour and mass-produced building materials that blended seamlessly with the post-industrial nooks and crannies, inviting viewers to re-examine it time and again.

Postcard from Warsaw Gallery Weekend

Erwin Kneihsl, guest appearacne of SVIT (Prague)

Erwin Kneihsl at Svit
For the first time (and hopefully not the last) WGW witnessed a gallery from abroad parachuting into the event. Prague’s SVIT made an appearance with works by the Austrian photographer and filmmaker Erwin Kneihsl. Presented in an empty apartment in a tenement house overlooking the most salient of Warsaw’s monuments, the hulking Palace of Culture, this forgotten rocket left sitting on its massive landing pad made Kneihsl’s Universe look very much at home. Several dozen black-and-white works were hovering in mid-air on nylon thread. Clusters of aircraft, churches, suns or moons, and one intensely orange (if memory serves) gorilla appeared like offhand snapshots taken by an amateur. Much like the artists presented at Piktogram, Kneihsl is interested in the physical and chemical processes that lead to the emergence of an image.

Aneta Grzeszykowska at Raster
Aneta Grzeszykowska’s ‘Selfie’ was a powerful series of photographs that originated as sculptures. The artist used pig skin to painstakingly model fragments of her own body, most notably, her head. Shot against backgrounds of smooth, toned leather, the eyes, fingers, lips and chins form a fragmented self-portrait in which carnality and objecthood play the lead roles. The show marks another stage in the artist’s exploration of her own identity, which she began with the series ‘Album’ (2005), in which she erased her figure from over 200 family photos, and continuing in different forms and media, including video and hand-sewn sculptures. Here, the body is both fetishized (modelled, painted and photographed with obsessive attention to detail), as well as degraded (through the emphasis on using animal remains).

Postcard from Warsaw Gallery Weekend

Warpechowski at Zacheta National Gallery, Warsaw

To be sure, there was plenty to be seen outside of this selection. The exhibitions at the Museum of Modern Art – ‘Private Settings’ (a compelling show of post-internet art featuring stars of this trend, such as Ryan Trecartin), and Maria Bartusova’s ‘Provisional Forms’ – as well as the retrospective of Warpechowski in Zacheta, are worth noting. This year’s edition of the Warsaw Gallery Weekend is meaningful for a number of reasons, one of them being the decision to formalize the collaboration between the growing number of spaces participating, which resulted in the establishment of an association of art galleries (SGS), whose role is to coordinate the event as a common effort. Apparently, the organizers take their job seriously, and so, I hope will the gallerists. I’ll be there to see the next move, and I hope many others will be, too.

Krzysztof Kosciuczuk is a writer based in Warsaw, Poland.

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Mladen Stilinovic

Mladen Stilinovic

 

Paul Cowan

Paul Cowan

 

From the Archive – Psychopaper at Piktogram

From the Archive – Psychopaper at Piktogram

 

Matt Mullican

Matt Mullican

 

2015 exhibition programme

2015 exhibition programme

 

Ruya Foundation announces Philippe Van Cauteren as curator of the National Pavilion of Iraq for the 56th Venice Biennale

Ruya Foundation announces Philippe Van Cauteren as curator of the National Pavilion of Iraq for the 56th Venice Biennale

 

Marte Jonhslien

Marte Jonhslien

 

Just as money is the paper, the gallery is the room

Just as money is the paper, the gallery is the room

 

FEATURED ARTIST: Phillip Lai In his varied sculptural practice…

FEATURED ARTIST: Phillip Lai In his varied sculptural practice…

 

Keiichi Tanaami at NANZUKA

Keiichi Tanaami at NANZUKA

 

News post – Syrian collective wins Vera List Prize, Gravers Lane goes big, Michelle Post brings “Mucky Mucks” alive, opportunities and more!

News post – Syrian collective wins Vera List Prize, Gravers Lane goes big, Michelle Post brings “Mucky Mucks” alive, opportunities and more!

 

Petra Cortright at Société

Petra Cortright at Société