List of all exhibits. Click on one of them to go to the exhibit page. The topics allow exhibits to be selected by their concept categories. On the right, you can choose the settings of the list view.

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Zofia Kulik, “All the Missiles Are One Missile”

Photomontage using combination print. The composition is made through repeated imprinting of one or more negatives on an appropriately masked paper. Zofia Kulik’s collages are complex visual texts. Each carries a message that has been carefully devised and executed.

Pola Dwurnik, “Mercy!”

Twenty four colour self-portraits stand out from the crowd sketched in the background; each face plays out the spectacle of a different personality.

Jadwiga Sawicka, “HONOURABLE / disloyal”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions. Gender play is an additional device to manipulate meanings. The same adjective has different connotations depending on whether it is feminine or masculine.

Jadwiga Sawicka, “MADE IN POLAND / foreign”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions.

Jadwiga Sawicka, “NATIONAL / exclusive”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact.

Jadwiga Sawicka, “ETHNICALLY PURE / national”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions.

Jadwiga Sawicka, “IMPIOUS / infamous”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact.

Honza Zamojski, “Modernism”

Honza Zamojski’s video, entitled Modernism, is an attempt to critically look at the phenomenon of modernism in architecture. The artist reduces the ideas underlying this trend to a simple pattern of repetitive action seen on the screen. As a result of a looped gesture of arranging round cookies, placing one on another, a kind of a tower is created, which, in a distant association, evokes materialized assumptions of modernist architecture, manifested in simple geometrical forms, abandoning decorativeness and ornamentation, reducing the body of the building to an abstract structure.

Marcin Maciejowski, “The Doctor Said…”

The works by Marcin Maciejowski reveal interest in the present and everyday life of a human being. His pictorial commentaries on reality are the result of insightful and multifaceted observation of Polish society. The artist analyses customs, explores stereotypes and cultural patterns. He deals with media topics, presenting figures known from the first pages of newspapers (politicians, journalists, celebrities), topics of sensational events, as well as social and economic problems. He devotes much attention to the social reception of art and the role of the artist.

Karolina Kowalska, “A window onto the winter”

The motifs of urban everyday life as an illusory sign of economic prosperity prevail in Karolina Kowalska’s works. Streets, blocks of flats, and office buildings appear next to intimate apartment interiors and impersonal infrastructure. The architectural and media indicators of capitalism determine the area of human activity, rendering the world of nature a luxurious addition. The artist manipulates their images, pushing them into everyday realities and, with a hint of irony, transforming them. Thus, her photographs, films, installations, and objects reveal in a nuanced, jocular manner, the influence of urban cityscape on individuals and relationships and propose slightly improved variants. The projects realized by the artists combine music, visual art, and text at times.

Maurycy Gomulicki, “Beast”

In traditional culture, serpents represent a threatening and powerful symbol of the primal cosmic forces; they are representatives of chaos and death. They were often also the object of worship: for ancient Egyptians they symbolized the power of wielding life and death, decorating the crown of the pharaohs; the Greeks considered them to be the embodiment of the chthonic gods, and because of their annual skin moulting, they added them as an attribute to Asclepios, as a symbol of life, health, and rebirth. The Romans bred snakes in their homes, seeing them as the guardians of their home and family; The Aztecs made a feathered serpent — Quetzalcoatl — a co-creator of the world, the god of wind and earth. The primal cult of serpents also flourished in regions closer to us: for example, in the Krakowiak tribe from the right bank of the Wisła. The Judeo-Christian culture judged serpents rather negatively: in the story of Adam and Eve, they became cursed creatures; the Old Testament God sent them as a punishment to the Israelites, and then, through Moses, sent a serpent to their rescue, but one made of copper.

Tomasz Baran, untitled

The works made by Tomasz Baran seem to challenge the famous phrase emancipating the picture as an independent formal unit – they are a challenge to the flatness of the image and the order of colours that Denis recognized as one of the key properties. In his work, Baran analyses the issues of surface and colour, which are some of the basic elements building the form of the painting. By contradicting the traditional flatness of pictures, he brings painting closer to three-dimensional objects, he bends the loom, modifies the way it is attached to the canvas, trims painting edges in an irregular way, and creates spatial organisms by using them. In the work held in the Bunkier Sztuki collection, a sub-frame was created in a non-standard manner, which – apart from the place where canvas is stretched on a rectangular frame – was attached to two additional diagonally extending slats and to a cardboard layer covering the reverse of the painting, the elements inaccessible to the viewer’s eye. The outcome of this process is an uneven, spatial structure, consisting of convex and concave spots, usually absent from a smooth canvas plane.

Little Warsaw, “Yellow House”

As part of the project implemented in the Bunkier Sztuki Gallery, the Little Warsaw collective initiated a two-day public situation held inside the Gallery. For the performance, Gálik and Havas invited a group of over a dozen previously selected participants, with whom they commenced an artistic and research process. The latter referred to the titular Yellow House, which was the name locally assigned to the Lipótmező hospital, founded in 1868 in Budapest.

Jadwiga Sawicka, “Batman”

In Jadwiga Sawicka’s works, individual objects and phenomena appear belonging to everyday life, as well as words and phrases taken out of context, from newspapers, commercials or electronic media. Items of clothing, such as a shirt, trousers, skirt, gloves, and a jacket assume the painted form of a simplified, monochromatic image of clothing, having no particular features; they become more concrete while being photographed. In a series of photos from 1997, presenting casual clothing separately, they are captured on a uniform background of plastic foil and artificial leather: a leather coat, a colourful dress, a suit, trousers, a bathing suit.

Janek Simon, “Ryugyong Hotel”

Janek Simon’s interests include theories and models as well as scientific disciplines, such as geography and economics, which are subject to evolution along with civilizational changes. His works have an experimental and anarchic character, reflecting the clash of scientific theories with the reality of everyday life. His works are prototypes, models, and complicated electronic systems, created according to the principle Do It Yourself by the artists himself. He incessantly seeks extra-systemic solutions, which allow him to break away from contemporary art of a capitalist character.

Wael Shawky, “Digital Church”

In the film Digital Church Wael Shawky tries to connect two worlds, the Christian and the Islamic, by staging the surah devoted to the life of Mary, mother of Jesus, recorded in the holy book of Muslims, in the space of the Catholic church. The artist uses the sung recitation of verses, which is traditional for the Islamic world, using the Arabic language, until recently recognized as the only language in which the text of the Quran has a prayer value. Although the recited surah refers to events well-known to Christian believers, the form of its conveyance is strange and confusing to them, and may even – due to the choice of the place of recitation – be perceived as blasphemous.

Zorka Wollny, untitled

Zorka Wollny’s work situates itself between theatre, dance, music and visual arts. Her achievements include video films – distinguishing themselves with a pictorial vision – concerts and choreographic performances involving numerous actors (often realized together with Anna Szwajgier). In projects that refer to the form of an audiovisual show, the artist plays the role of director and producer, inviting musicians, actors, and dancers to cooperate, working with members of local communities, amateur clubs, and groups that share common interests. The essential element of her projects is space: works are created as a result of observing the existing conditions created by the architecture of the place, as well as penetrating its private, public, and institutional aspects.

Elżbieta Jabłońska, “Helping”

The works of Elżbieta Jabłońska are situated in the sphere of engaged art, commenting on cultural and social clichés. A number of her projects are related to the reinterpretation of the role of women in society, expressed at the same time with irony and fondness. In one of her most-famous works — Supermatka [Supermother], from 2002 – the artist recalls the figure of a woman-superhero, impersonating the characters of Batman, Superman, and Spiderman in a kitchen interior. Her everyday activities become the domain of her heroic activity, usually overlooked and taken for granted. Jabłońska’s activities also include a number of initiatives intended for people who need help. To initiate one of the actions, she was inspired by a job advert found in Łódź, stuck on the wall by a single mother with a child, in a difficult life situation. The artist failed to find the author of the appeal; however, another unemployed woman embroidered the content of the advert into a tapestry and was paid for it with the money from Jabłońska’s fee, (from the cycle Helping), in the exhibition, Kobieta ma duszę [The Woman has a soul], Manhattan Gallery, Łódź, (2003). In subsequent years, Jabłońska began to include other social groups in her actions, in particular, excluded and marginalized people.

Andreas Kaufmann, from the series “40 Gestures”

The artistic creativity of Andreas M. Kaufmann has evolved around such concepts as space, time, and the public sphere. It is manifested through a variety of means (both analogue and digital) and forms; the artist is particularly fond of using projection. The increasingly strong mutual penetration of the artistic sphere and technology has led the artist to undertaking reflections on the civilizational context in which current art functions.

Andreas Kaufmann, from the series “40 Gestures”

The artistic creativity of Andreas M. Kaufmann has evolved around such concepts as space, time, and the public sphere. It is manifested through a variety of means (both analogue and digital) and forms; the artist is particularly fond of using projection. The increasingly strong mutual penetration of the artistic sphere and technology has led the artist to undertaking reflections on the civilizational context in which current art functions.