Highlights from Warsaw Gallery Weekend 2018 – 华沙画廊周末2018

In late September, as Warsaw was easing into autumn with its regular protests, marathons and detours, its local and visiting galleries joined forces to open their doors for the eighth edition of Warsaw Gallery Weekend. Following a move in which a number of galleries established an enterprise with the aim of structuring the organizational duties and responsibilities, the three-day event brought exhibitions from 29 participating galleries. Here’s a look at some of its highlights.


Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018

Anna Orłowska, ‘Futerał’, 2018, installation view, Wschód. Courtesy the artist and Wschód, Warsaw

As well as a display of recent works by Jakub Czyszczoń in their main space, Stereo put on a smart pairing of works by Polish painter Piotr Janas and the younger Spanish sculptor June Crespo, the latter’s fragmentary ceramic casts of shop mannequins laid out on the floor, mirroring the bodily organ-like shapes in the former’s paintings. Stereo also gained new neighbours who have settled in the remnants of what used to be the largest printing house in the People’s Republic of Poland. The main focus of Wschód, which relocated from a tenement house across the river, is a photographic series by Anna Orłowska that looks at the hardly proud (but not untypical) history of a 16th-century castle in Łańcut which was nationalized by the communist authorities and turned into a museum that functions to this day; its web page has this to say about its last legal owner: ‘In 1944 Potocki had to leave Łańcut. He settled in Switzerland, where he died in 1958.’


Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018

Adam Rzepecki, Joanna Piotrowska, Ewelina Chrzanowska, exhibition view, Dawid Radziszewski Gallery, 2018. Courtesy: Dawid Radziszewski Gallery, Warsaw; photograph: R. Świerczyński

More movement on the gallery map is seen by Dawid Radziszewski abandoning his cozy cubicle in a socialist high-rise for a ground floor space in a brand-new residential complex. Radziszewski took advantage of his new surroundings by putting on not one, but three presentations that revisited historical works: from the 1985 ‘Exhibition for dwarfs’ (or gnomes) for which Adam Rzepecki displayed minuscule photographs of earlier works and life scenes on matchboxes hung low with a piece of thread (shown here on a new brick wall built in the gallery), through to an ultra-precise drawn rendering of parquet floorboards made by Ewelina Chrzanowska in 2008 (displayed on raw cement floor), to a reenactment of Joanna Piotrowska’s work from 2017, with performers carrying out choreographed movements based on self-defense techniques (presented here in a dark-painted corner between the two other works). The show brings to mind a deconstructed apartment with misplaced walls, floors and tenants caught in a loop of seemingly pointless activities. A different type of mix can be found at Raster, with a cocktail of works by 18 artists based on alcohol: at its heart was a photographic frieze by Jerzy Lewczyński commissioned in the 1980s by health authorities as a cautionary tale warning against excessive drinking, complemented by diverse objects that connect with the subject. For the gallery it is as much a return to a time when it served as a social hub – when artists, authors and journalists frequented Raster’s bar – as a reckoning with the fact that, as they put it, the ‘figure of the drunken artist is fading into the past, leaving behind a landscape littered with hallucinations, depravity, and shattered illusions.’


Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018

Agata Ingarten, ‘The House’, 2018, installation view, Piktogram. Courtesy Piktogram, Warsaw; photograph: K. Ceran

Michał Woliński of Piktogram also chose to make a statement. In this case one about the underlying conditions of the art market, addressed through the works of Daniela & Linda Dostálková, Krystian Truth Czaplicki, Zuza Golińska, Lindsay Lawson, Damon Sfetsios and Anna Uddenberg installed in an offhand manner in a slightly run-down space in close proximity to the gallery – which hosted a solo show by young artist Agata Ingarden, curated by Matylda Taszycka. As if in defiance to the group exhibition, this sprawling meditative installation, featuring sculpture and video works, focuses on the flow of time, measured by a slow dripping of caramel into the oyster shells of the show’s centrepiece. A different take on time and history could be found at Leto hosting a solo show of artist and designer Honza Zamojski. Deploying text and colour Zamojski created an immersive space seeking to involve the visitor in a conceptual exercise of puns, associations and afterimages.


Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018

‘The Theatre of Robert Anton’, 2018, installation view, Foksal Gallery Foundation, Warsaw. Courtesy: Bette Stoler Archive, New York

Foksal Gallery Foundation (FGF) put together a captivating display of works by Robert Anton (1949–84), curated by Anke Kempkes, featuring drawings as well as intricate puppets crafted by Anton in the 1970s – based on characters he observed around New York’s Verdi Square Park where he lived – which served as the protagonists of silent micro plays, inspired by musicals, films and earlier theatrical works meant for limited audiences. While no extant documentation of the plays exists except for single photographs, the expressive figures, clad in dark robes, with exaggerated, often grotesque features are powerful enough to set them in motion in gloomy imaginary scripts. The second display at FGF is Paweł Althamer’s larger-than-life sculpture of a dream-inspired white ox, crafted from metal, plaster and animal bones and hide. Staying in loose relation to Anton (puppets, however, marked an important point in Althamer’s practice) this creature seems to invite visitors to mount its back and be transported into the artist’s dreamscape.


Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018

Pawel Althamer, ‘Ochse’, 2018, installation view, Foksal Gallery Foundation. Courtesy: Foksal Gallery Foundation, Warsaw

After a dose of classical rediscoveries, including drawings and paintings by Łukasz Korolkiewicz at Monopol, works by Andrzej Szewczyk at Szydłowski, the Gliwice gallery ESTA presenting Stanisław Dróżdż and Wanda Gołkowska, and a modest retrospective of works by Georgian photographer Yuri Mechitov that revolves around the figure of his mentor, filmmaker of Armenian descent Sergei Parajanov in Asymetria, a visit to the Polana Institute offered a surprisingly refreshing look at some classic works in a pop-up group show scattered across two floors of a villa, taking as its point of departure Dara Birnbaum’s 1979 video comprising snippets of the 1970s television series Wonder Woman showing the transformation of the protagonist into the eponymous superheroine. Coupled with works by Maya Deren and Dawid Woynarowicz were new contributions by, amongst others, Olga Micińska, Magdalena Karpińska and Mikołaj Sobczak. It made for a fascinating show exploring gender and identity that managed to retain a vital energy while successfully steering clear of pomposity.


Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018

‘Wonder Woman’, 2018, installation view, Polana Institute. Courtesy: Polana Institute, Warsaw; photograph: P. Nieciecki/PION

This vitality, at times sorely lacking in this year’s Gallery Weekend, abounded in the makeshift open-air stand, located at the corner of Marszałkowska and Świętokrzyska, belonging to the Kraków-based collective Potencja. Its members offered their own, as well as their colleagues’ work for sale, clearly enjoying themselves and inadvertently mocking the ostensive professionalization of the event – with its VIP cards, programme and other trappings of exclusivity but with a dearth of genuinely captivating proposals. In spite of a growing turnout by a local audience, this was hardly the most riveting edition of Poland’s largest contemporary art event, whose press release boasted: ‘It’s become a tradition that, on the last weekend of the summer, Warsaw assumes the title of world capital of contemporary art.’ It’s understandable that, for the sake of progress, sometimes tradition needs to yield in the face of change. Still, let’s hope the next edition will rediscover the critical mass of strong presentations that managed to put the event on the map.

Main image: ‘If I Were the Moon’, 2018, Raster Gallery. Courtesy Raster Gallery, Warsaw

Krzysztof Kościuczuk

Krzysztof Kościuczuk is a writer and contributing editor of frieze. He lives in Warsaw.

Opinion /

Warsaw Gallery Weekend
Krzysztof Kosciuczuk
Dawid Radziszewski
Foksal Gallery Foundation
Polana Institute
Critic's Guide

9月下旬,随着华沙定期举行抗议、马拉松和绕道进入秋天,当地和来访的画廊联合起来,为第八版《华沙画廊周末》敞开大门。在许多画廊建立了一个旨在组织职责和职责的企业之后,为期三天的活动带来了29个参展画廊的展览。下面是它的一些亮点。2.jpg Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018 Anna Orowska, 'Futera_', 2018,安装视图, Wschd.对艺术家和Wschd,华沙表示礼貌,以及Jakub Czyszczo在他们的主空间中展示最近的作品, Stereo展出了Po的一对聪明的作品。英国画家皮奥特·贾纳斯和年轻的西班牙雕塑家琼·克雷斯波,后者的零碎的陶瓷模型铺设在地板上,反映了前者绘画中人体器官的形状。立体声还获得了新的邻居,这些邻居已经定居在波兰人民共和国最大的印刷厂遗址。Wschd的主要焦点是安娜·奥洛夫斯卡的一系列摄影作品,该系列摄影作品是安娜·奥洛夫斯卡从河对岸的一所公寓搬迁而来的,该系列摄影作品着眼于a cut一座16世纪的城堡,该城堡被共产主义当局收归国有,并变成了博物馆。直到今天,它的网页上都有关于它最后一个合法所有者的说法:“在1944,PotoCKI不得不离开一个切口。他在瑞士定居,1958年去世。'3.jpg Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018 Adam Rzepecki, Joanna Piotrowska, Ewelina Chrzanowska,展览图, Dawid Radziszewski画廊, 2018.礼貌:达维德·拉齐兹泽夫斯基画廊,华沙;照片:R.wierczyski。在画廊地图上,达维德·拉齐兹泽夫斯基抛弃了他在社会主义高层的舒适小隔间,在一座崭新的住宅建筑群中占据一层空间。拉齐兹泽夫斯基利用了他的新环境,不只画了一幅,还画了三幅重温历史作品的演讲:1985年的“侏儒展览”(或侏儒)中,亚当·雷泽佩基低低地挂着火柴盒上早期作品和生活场景的微小照片。这是一条线(这里展示在画廊里新建的砖墙上),通过2008年Ewelina Chrzanowska制作的拼花地板的超精密绘制(显示在水泥原地上),再到Joanna Piotrowska 2017年的作品的重现,由表演者完成根据自卫技术编排的动作(在这两个作品之间的一个黑暗的画角中呈现)。这出戏让人想起一间被拆毁的公寓,错置的墙壁、地板和房客陷入了一连串看似毫无意义的活动。在拉斯特可以找到不同类型的混合物,其中有18位艺术家基于酒精创作的作品:其核心是卫生当局在1980年代委托的杰西·刘西斯基(JerzyLewczyski)创作的摄影油条,作为警告人们不要过度饮酒的警示故事,并辅之以各种各样的目的。与主题连接的TS。对于画廊来说,这既是回到了作为社交中心的时代——艺术家、作家和记者经常光顾拉斯特的酒吧——正如他们所说的,考虑到“醉汉艺术家的形象正在逐渐淡入过去,留下一片乱七八糟的景色”。带着幻觉、堕落和破碎的幻觉。'5.jpg Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018 Agata Ingarten,'The House',2018,安装图,绘图。礼貌的绘图,华沙;照片:K.Ceran.Micha Woliski of Piktogram用软管做一个声明。在这个例子中,一个是关于艺术市场的基本条件的,通过丹妮拉&安普·琳达·多斯塔科娃、克里斯蒂安·查普里奇、祖扎·戈利斯卡、林赛·劳森、达蒙·斯菲西奥斯和安娜·乌登堡的作品在近距离的稍微破旧的空间中即兴地安装。Muto画廊-主办了一个独奏由年轻艺术家阿加塔英格登,由马蒂尔达塔斯齐卡策划。这套漫无边际的冥想装置,以雕塑和录像作品为特色,仿佛是藐视了集体展览,聚焦于时间的流逝,通过焦糖慢慢滴入展览中心牡蛎壳来衡量。在莱托主持的艺术家和设计师Honza Zamojski的独奏会上可以看到不同的时间和历史。Zamojski运用文本和颜色创造了一个沉浸式的空间,试图让访问者参与双关语、联想和余像的概念练习。7.JPG Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018’Robert Anton剧院’,2018,安装视图,福克萨画廊基金会,华沙。礼貌:Bette Stoler Archive,纽约福克萨尔画廊基金会(FGF)汇集了一个迷人的展示Robert Anton(1949 - 84)的作品,由Anke Kempkes导演,包括绘画,以及复杂的傀儡由Anton在70年代制作-基于字符他他住在纽约的威尔迪广场公园附近,那里是无声微型戏剧的主角,灵感来自音乐剧、电影和早期为有限观众准备的戏剧作品。虽然除了单张照片外,没有现存的关于这些戏剧的文献,但是那些身着深色长袍、夸张的、常常是怪诞的特征的富有表现力的人物足够强大,足以在阴暗的想象剧本中使他们活跃起来。在FGF的第二个展览是帕维·阿尔萨默创作的梦幻灵感白牛超凡的雕塑,由金属、石膏和动物骨骼和皮革制成。在安顿(木偶,然而,标志着阿尔萨默实践的一个重要点)的松散关系下,这个生物似乎邀请游客登上它的背,并被运送到艺术家的梦境中。8JPG Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018 PAWEL AlthAMER,“OCHSE”,2018,安装视图,福克萨画廊基金会。礼貌:福克萨尔画廊基金会,华沙经过一系列经典的重新发现,包括图纸和绘画由Ukasz KOOLKIEWICZ在莫诺波尔,由Andrzej Szewczyk在SZYD OWSKY,GLIWICE画廊ESTA展示Stasias AW博士,D D和WANDO GO KOKSKA,和A格鲁吉亚摄影师尤里·梅奇托夫(Yuri Mechitov)围绕导师、亚美尼亚后裔谢尔盖·帕拉亚诺夫(Sergei Parajanov)在《非对称》(Asymetria)的电影制片人这一形象创作的作品进行了温和的回顾,参观了波兰纳研究所,令人惊讶地重新审视了一些弹出组节目中的经典作品。穿越两层别墅,以达拉·伯恩鲍姆1979年的视频为出发点,该视频包括20世纪70年代电视连续剧《神奇女子》的片段,该片讲述了主人公转变为超级女主角的过程。除了玛雅·德伦和达维德·沃纳罗维奇的作品之外,还有奥尔加·米西斯卡、玛格达琳娜·卡皮斯卡和米柯亚·索布扎克的新贡献。这部电影是一部探索性别和身份的精彩节目,在成功摆脱浮华的同时,还保持了活力。9.jpg Highlights from Warsaw Gallery Weekend 2018 - 华沙画廊周末2018.`Wonder Woman',2018,安装图,Polana研究所。礼貌:Polana研究所,华沙;照片:P.Nieciecki/PION。这种活力,在今年的画廊周末时常严重缺乏,在临时搭建的画廊周中充斥。露天广场,位于马尔萨斯扎克斯卡和维克托克什斯卡的拐角处,属于克拉德基集体力量。它的成员们提供他们自己的工作以及他们的同事的销售工作,显然很享受自己,并且不经意间嘲笑了活动的表面上的专业化——用VIP卡、节目和其他专属的服饰,但是缺少真正吸引人的建议。尽管当地观众的参与率越来越高,但这绝不是波兰当代最大的艺术盛会的最吸引人的版本。波兰当代艺术盛会的新闻稿吹嘘道:“在夏季的最后一个周末,华沙成为当代世界首都,这已经成为一种传统。”可以理解的是,为了进步,有时传统需要在变化面前屈服。尽管如此,我们还是希望下一版能够重新发现那些能够将活动推向高潮的重要演讲。主要图像:“如果我是Moon”,2018,光栅画廊。华沙礼貌栅栏画廊,Krzysztof Kociuczuk他住在华沙。意见/华沙画廊周末华沙克日什托夫KoCuCuZUC立体声WSH D DWID RADZISZWSKI光栅PIKtoGrand莱托福克萨画廊基金会PARANA研究所C&A 039;S指南


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