For years we have been talking and looking at each other's paintings. The joint exhibition we planned has come at a moment when events in Ukraine are shattering the belief that the world around us is safe, comprehensible and tamed. In this situation we return to what may have been of key importance for the painting of each of us – childhood. To a world which, contrary to received opinion, did not seem safe to either of us then either. As if we had found some old key to what we share. A child who draws does not speak; it gives itself over to half-magical rituals, tames the world it lives in. The pictures grow with it and speak their own mysterious language. That was, and has remained, our way of life. In the face of certain events, what can be said loses its meaning. We want to share a childhood ritual which, in order to tame the world, reaches for means other than what we can grasp, write, say and discuss. The words of commentary are closer to an attempt at interpreting dreams or describing plants. If anything can matter here, it is not discursive content but experience, which connects not so much painter and viewer as people with similar needs – to be at home in a shared world.

"The dirt fell away, I didn't want to let go, and everything flashed before my eyes. We went all the way to the end."

Stefan Kornacki : prints, drawings, video, poetry, installation.

Curator/ coach : Mariusz Waras

exhibition design: Tomasz Świetlik

performance : Ewa

concert: STOP

music: Kudłak, Michał Bryndal, Cezary Ostrowski, Homo Faber, Tomasz Januchta, Jerzy Wołowicz.

collaboration: Kwiaciarnia Grafiki, Kolektyw Pogoda

The mask is a form inseparably bound up with human culture. It can be object and subject. An ideological model, an archetype, an extension of the body.

The mask is a form of tribal belonging, a fact that takes on new meaning during the ongoing pandemic.

Michał Żabko-Potopowicz presents us with maquettes / models of sixteen masks.

These are masks stripped of their function. Sculptures focused on frontal expression. Forms approaching folk art / art brut, but zeroed out with white.

These primitive, raw objects are made on the scale of a slightly enlarged portrait, a theatrical or ritual mask. Each of the sculptures has a unique character of formal features that are fully open to interpretation.

The series was made in 2007.

An exhibition by graphic arts students of the Academy of Fine Arts summing up their work in the SITO/CYFRA Studio of Dr hab. Mateusz Dąbrowski and Łukasz Zembaty in the 2020/2021 academic year.

Małgorzata Bandurska, Gosia Bojko, Klara Borys, Julia Brzózka, Weronika Buling, Janek Dopierała, Sonia Dąbrowska, Patrycja Gos, Luiza Grabowska, Olga Grygiel, Olga Ilicheva, Klaudia Karpińska, Maria Karnkowska, Mikołaj Kiziniewicz, Marta Krupa, Zuzanna Las, Katarzyna Lenarczyk, Zofia Leszczyńska, Ania Lewandowska, Maria Lisicka, Julia Medoń, Katarzyna Mliczek, Nhat Anh Nguyen, Weronika Nowak, Liza, Maria Pakier, Zofia Pawlińska, Zuzanna Pieńkowska, Natasza Pleśniak, Zuzanna Podpora, Agata Popik, Karolina Porzycka, Agnieszka Probola, Maria Rutyna, Natalia Skipirzepa, Adam Skrzypiec, Maciej Sobański, Alicja Sobiepańska, Aleksandra Sowińska, Janek Stanisławski, Natalia Suchta, Basia Synak, Maria Tołwińska, Karolina Wyka, Basia Zientek

In 2017 groups of refugees from Chechnya gathered at the Polish border in Brest, trying to find political asylum in our country. Mainly women with children fleeing persecution and torture by Ramzan Kadyrov's regime.

The exhibition is a collection of reflections by artists connected with the Faculty of Sculpture at the Academy of Fine Arts in Warsaw on the "appropriation" of the title. Each work presents an entirely different face of the issue, showing how many possible transgressions lie behind it. Added meaning comes from the humanitarian crisis unfolding on the Polish-Belarusian border, to which the poster and graphic design of the exhibition refer.

The event belongs to a series of presentations connected with research into public space by the team of lecturers from the Department of Spatial Activities at the Faculty of Sculpture, Academy of Fine Arts in Warsaw.

The exhibition "Koniec świata też może być ładny" [The End of the World Can Be Pretty Too] is a collection of paintings about the end (or ends) of the world of the title. The artist draws on motifs recorded as his own memories and on those borrowed from mass culture, through "watching". A holiday memory mingles with a vision of the coming catastrophe and of a world in which only traces of human presence remain.

The exhibition title "Prace domowe" [Homework], which encompasses mundane chores such as cooking, washing or cleaning, refers here to practices of a sub-magical nature. Using everyday objects, the artists look for a way to domesticate the home space or to ground their origins.

"Paradoksalnie, życie wciąż zaskakuje mnie, albo i nie" [Paradoxically, Life Keeps Surprising Me. Or Maybe Not] - diploma exhibition by Antek Lisowski, presenting paintings that culminate his studies at the Warsaw ASP. The artist explores issues of identity, asking whether a series of formally varied paintings can maintain coherence in content. Painting practice meets performance; Lisowski seeks to establish a dialogue between both fields of his creative work. Assuming the alter ego Zenon Niezgoda, he engages the audience in a search for meaning in the space between the canvases.

Gap

Inflow

Flow

Passing