The installation consists of a free-standing, enclosed space measuring 3 x 4.5 m entered through an opening on the left in one of its walls. All the walls as well as the floor and the ceiling are white and covered in black letters, which contrast sharply with the background, lit by fluorescent light. The letters have been placed in horizontal and vertical rows so as to result in a regular grid. Many letters have been turned by 90 ̊ in relation to the vertical or horizontal axis. At first glance, the selection of letters may seem random; however, on closer scrutiny, only those letters have been included that are part of the word ”between” in Polish.
The series of photographs is a record of one of numerous actions that the two artists carried out in their own flat. It took place in August 1975, with the participation of Przemysław Kwiek’s sister Zofia Kulik and the artists’ son – Maksymilian Dobromierz. A cardboard tube was the centre of the action. It had been made to order as an advertising prop; after the action it went to the client.
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.
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.
The cycle Everyday news is a visual record of press cuttings, processed by the artist. Basia Bańda was inspired by the headlines from local, internet news portals of Lesser Poland (Kraków.wyborcza.pl, gazeta.pl), which became titles of thirty collages. Tragic events prevail amongst them: unfortunate accidents (The passenger lost her leg under the wheels of the train), acts of violence (A man from the coast beat a woman in Nowy Targ), disappearances (She disappeared around Wielka Krokwia), murders (Murder on Budryk Street. The police are looking for the stabber), incidents of devastation (He damaged 36 cars. Prosecutor: prison and damage repair). People’s dramas intertwine with equally catastrophic information from the world of nature (Dead fish in the Biała river – investigation discontinued). Most misfortunes chosen by the artist and described in the press concern individuals, and their impact on the life of the local community is negligible.