Archives: Exhibitions

7.04 – 23.05.2022
opening: 7.04.2022, 18:00

competition exhibition of the Wrocław Drawing Triennial 2022
venue: Wrocław Contemporary Museum

curator: Patrycja Sap

artists:
Blažej Baláž, Grzegorz Bibro, Barbara Bodio, Marcin Czarnopyś, Tomasz Dobiszewski, Łukasz Głowacki, Grzegorz Grela, Jarosław Grulkowski, Marek Grzyb, Magdalena Grzybowska, Jakub Jakubowicz, Katarzyna Klich, Mateusz Kokot, Grzegorz Kozera, Igor Kubik, Andrzej Kulig, Grzegorz Kumorek, Dorota Kuźniarska, Agnieszka Łakoma, Grupa Łono, Mateusz Majchrzak, Justyna Mędrala, Marcin Mierzicki, Justyna Molska, Adam Nowaczyk, Izabela Olesińska, Alicja Panasiewicz, Adam Panasiewicz, Veronica Blanco Perales, Urszula Pieregończuk, Hanna Rozpara, Kasper Lecnim, Irmina Rusicka, Jędrzej Sierpiński, Paweł Baśnik, Justyna Baśnik, Miłosława Skomra, Jakub Słomkowski, Jarosław Słomski, Anna Szmuda, Michalina W. Klasik, Katarzyna Wójcicka

The title of this year's Drawing Triennial competition was chosen for its relevance as well as its capacity and multifaceted nature. It gives the participating artists the opportunity to explore various contexts and meanings, references to ancient and recent history, pandemic reality, new and old orders, culture, pop culture, religion, politics, and to take up personal issues. Among the works presented at the Wrocław Contemporary Museum, which are extremely varied not only in terms of the way of thinking about the medium, but above all on the level of meaning, three main issues stand out. These are: the past, the present and the future, which in this case are a kind of vectors without a clear direction and course, along which, in a non-linear way, the artists move.

In this context it is impossible not to take into account the location of the exhibition – once an anti-aircraft bunker, today the seat of the Wrocław Contemporary Museum, which is a silent testimony to the complicated history and identity of Wrocław. Thus, by looking at the most current artistic practices, we explore not only the potential of drawing as a medium immersed in and creating the present, but most importantly we look at artists' attitudes towards what will be, is and was.

It takes a certain amount of determination and ruthlessness to not look back. This raises some questions as to whether it is at all possible to actually, truly and fully reject the past and – thus – part of one's identity? This seems to be a kind of historical negationism in the context not so much of historical events, but in anthropological terms, it means rejecting the role of upbringing and society in the processes of formation of personality and collectivity in general. It is impossible to move only forward without acknowledging a part of yourself. The impossibility of gaining complete autonomy from the past is one of several perspectives adopted by the artists – on the other side, however, stand those who affirm the past, believing that recognition and critical self-reflection provide a substrate for awareness, positioning oneself in reality and taking actions that affect the future.

As if naturally, the most numerous works at the exhibition are those that can be understood as a kind of existential product, a product of the process of living, referring to the present, to the reality currently being lived or just experienced, serving as a kind of commentary to it, sometimes expressing disagreement with it, entering into a discourse with reality or even actively opposing it. The artists, moving in the area of broadly defined drawing, undertake a struggle for power, the possibility of shaping reality, self-assertion in reality.

Although the works presented at the exhibition represent varied artistic strategies, they are always reflections of the present, distorted by personal experience, images of a specific, highly individualized, personal perception of reali

The future, invariably unknown, nevertheless in its inevitability has an inexhaustible speculative potential, the space between the probable and the unreal is infinite. The future, according to the artists taking part in the exhibition, is closer to Mrożek's words that "tomorrow is today, only tomorrow", so one should look at it without excessive optimism, especially if one has a rather critical attitude to reality. Ironically, the works presented at the exhibition, which take up various topics related to the future, can evoke a sentimental sigh that "it didn't use to be like that" and provoke an urge to look back.

organizer: The Eugeniusz Geppert Academy of Art and Design in Wrocław
co-organizer: Wrocław Contemporary Museum

Co-financed by the Ministry of Culture and National Heritage

Project co-financed by the Department of Culture of the Wrocław City Hall

Exhibition by Monika Drożyńska, laureate of the Wrocław Drawing Triennial 2019

7.04 – 6.06.2022
opening: 7.04.2022, 18:00

curator: Katarzyna Krysiak
venue: Wrocław Contemporary Museum

This is an exhibition about welcoming visitors and the fear of visitors. An exhibition about gold and rotten teeth, bowel movements, German washing powder, sweat and Ponglish. It will feature works from the "Tablecloths" series that Monika Drożyńska has been developing since 2019. As she puts it: "The tablecloth is used to celebrate life in community and relationships. I set the table with a tablecloth when I want to celebrate the day. I set the table with a tablecloth when I am going to host someone. We sit down at the table. The tablecloth brings us together. We keep our hands, our arms, our food, our drinks on it".
Znajdą się na niej prace z serii „Obrusy”, którą Monika Drożyńska rozwija od 2019 r. Jak sama mówi: „Obrus służy do celebracji życia we wspólnocie i w relacjach. Nakrywam obrusem stół, gdy chcę uczcić dzień́. Nakrywam obrusem stół, gdy będę̨ kogoś gościć. Siadamy do stołu. Obrus nas łączy. Trzymamy na nim dłonie, ręce, jedzenie, napoje”.

The works were made using the technique of hand embroidery on fabric. Each is an "essay" written with words, characters and images. The artist uses many alphabets: Georgian, Hebrew or Cyrillic, Morse code and Braille, mixes phrases written in different languages: Polish, Ukrainian, German, English or Afrikaans, uses iconography taken from sign language, road and evacuation signs, iconography of political systems, logos of corporations and social movements, refers to the symbolism of prison tattoos or graphic interpretations of star constellations.

Monika Drożyńska's embroideries are a record of the causes and effects of migration, emigration, one-way travel, and the role language plays in this story. In a nutshell – why we keep rushing somewhere and what comes out of it.

Stay tuned!  

The project is a continuation of the exhibition "Dużo dobre/ Дуже добре" (Much Good), presented at the Foksal Gallery in the summer of 2021.

Monika Drożyńska (ur. 1979), a graduate and doctoral student of the Academy of Fine Arts in Kraków. Embroiderer, activist, visual artist. She is interested in language, which she explores through hand embroidery on fabric.

She has collaborated with, among others: Foksal Gallery, Zachęta – National Gallery of Art, Center for Contemporary Art Ujazdowski Castle, Wrocław Contemporary Museum, Mumok in Vienna, Ludwig Museum in Budapest, Bozar in Brussels, Sotheby's Tel Aviv.

Jej prace znajdują się m.in. w kolekcjach: Bunkra Sztuki, Muzeum Narodowego w Krakowie, Muzeum Sztuki Współczesnej Mocak w Krakowie, Muzeum Narodowego w Kijowie, Lentos w Austrii oraz w wielu kolekcjach prywatnych w Polsce i za granicą.

www.monika.drozynska.pl

organizer: The Eugeniusz Geppert Academy of Art and Design in Wrocław
co-organizer: Wrocław Contemporary Museum

Co-financed by the Ministry of Culture and National Heritage

Project co-financed by the Department of Culture of the Wrocław City Hall

20.05 – 28.08.2022

exhibition as part of the Wrocław Drawing Triennial 2022

venue: BWA Wrocław Główny
curator: Honza Zamojski

artists:
Uri Aran, Zuza Golińska, Koji Kamoji, Bety Krňanská, David Krňanský, Hanna Krzysztofiak, Przemek Matecki, Zdzisław Nitka, Julia Scher, Aleksandra Ska, Daniel Stachowski, Juliusz Studnicki, Andrzej Szewczyk, Marcin Wicha + Marian Misiak, Zbiorowy

Accompanying Events:

2.06, 6pm Curatorial tour, guided by: Honza Zamojski
1.06, 8.06, 15.06, 22.06.2022, at 5 pm Wednesday Visiting with Agata Kalinowska

7.07, g. 18:00 O kondycji współczesnego rysunku – debata w ramach wystawy WORLD(S).
Wrocław Drawing Triennial 2022
galeria BWA Wrocław Główny | I piętro Dworca Głównego
goście: Marcin Wicha, Honza Zamojski, Przemek Pintal
prowadząca: Kama Wróbel
dostępność: wydarzenie transmitowane online z tłumaczeniem na PJM.  Можливість шепоченого перекладу українською мовою в галереї (звертайтеся: a.kalinowska@bwa.wroc.pl доки 4.07.2022)
wstęp wolny

Parallax

In astronomy, parallax is a phenomenon of apparent change in the position of an object on the celestial sphere in relation to other objects, resulting from a change in the place of observation, caused by the movement of the observer. One can also assume that there are two or more observers tracking a distant space object with their eyes. Reversing the above situation and looking from a distant perspective at these theoretical observers, we find that we see not only them, but also the changing landscapes, conflicting emotions, competing technologies, and parallel worlds in which they live.

Worlds

There is probably nothing more trite than the statement: "one’s point of view depends on the place where one is sitting". Maybe this saying was coined by a researcher of parallax mentioned earlier, or maybe it was said by someone who was too stubborn to move. However, in fact – an ant will not look at the world through the eyes of a badger eating an anthill, a badger will not show empathy towards a highway crossing its territory, and a human is rarely able to put himself/herself in the other person's shoes.

We talk about things, even though most of the conversations are clumsy translations between languages. We view various cultural products even though we are not qualified to comprehend them. We listen to songs and don't understand the lyrics. We move between worlds every day, unwilling and unable to see their complexity. Meanwhile, inability and unwillingness are catalysts for various antagonisms. After all, it is easier to say THEY are awful than THEY are different. It is, indeed, easier to shout than to think and articulate a complex statement. In such a shaky and swirling reality of multiple worlds, subjectivity is increasingly difficult to come by, and any attempt to define anything or anyone is more of a struggle between forces greater than the individual. ONI są wstrętni niż ONI są różni. Łatwiej przecież krzyknąć, niż zastanowić się i wyartykułować złożoną wypowiedź. W tak rozedrganej i rozhuśtanej rzeczywistości wielu światów coraz trudniej o podmiotowość, a każda próba zdefiniowania czegokolwiek lub kogokolwiek jest raczej szamotaniną pomiędzy siłami większymi od jednostki.

Drawing

But where is drawing in all this? – someone will ask. Drawing always appears where words are lacking, as a universal method of communication. Drawing responds immediately with accurate commentary and is economically egalitarian – after all, all you need is a pencil and a piece of paper to draw something, write something, communicate something.

If one were to use the simplest definitions and express painting by color, sculpture by matter, and architecture by space, how would one define drawing, and are there properties of drawing that are attributed solely to it? Or perhaps, on the contrary, because of its democratic nature, drawing can unobtrusively appropriate what is most interesting in other disciplines. In this sense, drawing would be a creativity that is to some extent parasitic, but also negotiating with the others. Drawing as an inconspicuous middle man that often initiates painting, sculpture, or architecture projects. middle man, który często jest inicjatorem prac malarskich, rzeźbiarskich czy architektonicznych. 

WORLD(S)

The concept of the exhibition "W?RLD(S)" is closely related to the architecture of BWA Wrocław Główny gallery and its two wings of exhibition spaces. One part is occupied by the light world and the other by the dark world. These are not oppositions. Lightness and darkness of the rooms do not symbolize anything. Nor do they set themselves at opposite poles of discussion. The two worlds are different, but with similar parameters and composed according to similar principles. In each wing of the gallery, the same artists will present works at identical points in the space of each room.

The differences and similarities between the worlds can only be seen through small shifts in meaning and contrasts. Sometimes these contrasts result from the subject matter of the works, other times from their form. Some works play with the illusion of mirror reflection, some with the concepts of negative and positive. Thus, in the exhibition, drawing is present in every form, often positioning itself as a point of contact in communication between different and parallel worlds. Detached from the burden of formal solutions, it becomes words, emotions and emancipation. 

Honza Zamojski

organizer: The Eugeniusz Geppert Academy of Art and Design in Wrocław
co-organizer: BWA Wrocław Galleries of Contemporary Art

Co-financed by the Ministry of Culture and National Heritage

Signatures - see PDF

Featuring Artists: Abel Adam, Adamczyk Justyna, Allon Dan, Baśnik Paweł, Berte Filip, Cichoń Monika, Czarnopyś Marcin, Flis Miłosz, Grzyb Marek, Górny Bartek, Grulkowski Jarosław, Jamróz Natalia, Jorrit Paaijmans, Klich Katarzyna, Korzeniowski Piotr, Kowalski Piotr C., Lede Fabian, Łoznikow Grzegorz, Maciejewska Izabela, Marcinkowska Agata, Morawska Bogna, Nowczyk Jolanta, Rak Monika, Reich Johanna, Rusicka Irmina, Sroka Michał, Soja Michał, Suzuki Yuya.

One of our main aims of this competition is to present the current state of creative research in the field of drawing and related artistic areas.
The theme of the competition is "THE DRAWING AS AN OBJECT CONTAINING KNOWLEDGE."
8th of January 2016 The Open Call Jury including:
Natalia Lach Lachowicz, Dobromiła Błaszczyk, Sylwia Krason, Przemek Pintal, Ida Smakosz – Hankiewicz, Anna Stec, Daniela Tagowska, Krzysztof Wałaszek
has chosen the trio of winners:: Filip Berte, Marcin Czarnopysia and Fabien Lédé

The first prize winner (The Open Call Main Award TTT, The Eugeniusz Geppert Academy of Art and Design in Wroclaw Rector’s Award) is confirmed to be Filip Berte from Belgium. Born in 1976, he graduated from architecture and painting in Ghent (Belgium). After his graduation, he has been working as an architect. The means of creating architecture are not important to him. As a visual designer, he can act freely, discovering space in all dimensions. His works are characterized by the recurring theme of edges, migrations and borders. From 2006 to 2013 he worked on his own project of a visual research titled 'Eutopy', that took place in Europe. The final results were summed in the action of building a home. In 2011 Berte received the East Flanders’ Visual Arts Prize for his interdisciplinary art portfolio. The jury awarded his artworks from the 'Un-Home' cycle.

The second prize, founded by Arttrakt Gallery, goes to Marcin Czarnopys for the series of artworks: 'Icchok Lejb Symchowicz', 'Pamietniki Marii K' ('Marias K.'s Diaries') and 'Myj twarz i o mnie nie zapomnij' ('Wash your face and don't forget me'). Marcin was born in Przemysl, in 1989. He studied artistic painting at Maria Curie-Sklodowska University in Lublin. He continued his education at the Eugeniusz Geppert Academy of Art and Design in Wroclaw. He received his diploma in painting for the artwork 'Sign, matter, mood'.

The Contemporary Lynx Magazine Prize goes to Fabien Lede from France. He was born in 1981, Montbard (France). He illustrates books, creates murals and frescos, works as a visual and stage designer. His artworks are created in a peculiar 'naive' style, described by Fabien as raw couture and psychedelic electro-pop. He graduated from graphic design at Orleans Art School and Interdisciplinary Printmaking at the Eugeniusz Geppert Academy of Art and Design in Wroclaw. Fabien Lede established Gallery and Art Library Nu Koza in Dijon (France). Currently, he lives in Wroclaw and Dijon.

Exhibition of artwork from Open Call TTT Competition
ARTTRAKT Gallery

Exhibition of artwork from Open Call TTT Competition
Geppert’s Apartment Gallery

Exhibition of artwork from Open Call TTT Competition
Tetno Gallery

n_TROPY is a contractual, multidimensional space where n= ±∞ (n equals plus/minus infinity). It is also an exhibition space of the coexistence of different points of view, media and ways of looking through the basic forms such as a point, a line and a flat surface.

https://www.youtube.com/watch?v=uw-b9X7uH9w

07.01– 28.01.2016

Boleslaw Chrobry st., 24, Wroclaw
curators:
Jagoda Dobecka
Iwona Ogrodzka
Anita Welter

The purpose of the competition is to choose the most interesting and artistically valuable art diplomas from those completed within the last three years at art schools and art universities in Poland. In the end, seven art schools took part in the contest, including ASP Gdansk, ASP Katowice, ASP Krakow, UA Poznan, UMK Torun, ASP Wroclaw and ISW Zielona Gora.

Jury:
Associate Professor Radek Czarkowski, Associate Professor Elizbieta Jablonska, Associate Professor Piotr Kossakowski, Associate Professor Jakub Najbart, Jacek Szewczyk PhD, Maria Targonska PhD, Associate Professor, Przemek Pintal, Associate Professor Wojtek Pukocz

The winner of the prize funded by Dean of the Painting and Sculpture Faculty from the Eugeniusz Geppert Academy of Art and Design in Wroclaw (assoc. prof. Wojciech Pukocz) is:
Michal Sroka from ASP Krakow.

The exhibition presented after the contest included a number of artworks created by competitors listed below.

First Part hosted in the building of MD_S Gallery:
Ada Bednarek (ISW Zielona Góra)
Andrzej Dyja (ASP Wrocław)
Katarzyna Kulikowska (ISW Zielona Góra)
Liliana Piskorska (UMK Toruń)
Jolanta Płotkowskaj (UMK Toruń)
Michał Sroka (ASP Kraków)

Second Part hosted in the main building of the Eugeniusz Geppert Academy of Art and Design in Wroclaw, Plac Polski square:
Paulina Brelińska (UA Poznań)
Katarzyna Celek (ASP Kraków)
Zuza Dolega (ASP Gdańsk)
Łukasz Gierlak (ASP we Wrocławiu)
Emilia Kina (ASP Kraków)
Agnieszka Piotrowska (ASP Katowice)
.
The artworks created by other competitors were showed as a documentation in the main lobby of the Eugeniusz Geppert Academy of Art and Design in Wroclaw.

The winning diploma was presented in the MD_S Gallery.

04.12.2015 – 03.01.2016

STRUCTURES
curator: Daniela Tagowska

BARBARA, infopunkt
Swidnicka street 8c, Wrocław

11.12.2015 – 24 .01.2016
Below we present a set of artworks from the collection of Podlaskie Towarzystwo Zachety Sztuk Pieknych.

Arsenal Gallery in Bialystok collection
curator: Elzbieta Jablonska
Galeria CSU NEON,
Traugutta street 21

Artists:
Wojciech Bąkowski
Hubert Czerepok
Dan Perjowschi
Jadwiga Sawicka
Konrad Smoleński
Janek Simon

Drawing Performance meeting: 10th December to 11th December 2015
curator: Małgorzata Kaźmierczak

THE NATIONAL MUSEUM in Wrocław
Powstancow Warszawy Square 5

ARTISTS:
Day One:
Przemek Branas
Fiona Wright
Magdalena Grzybowska
Mineki Murata
Alastair MacLennan

Day Two:
Mehdi Farajpour
Seiji Shimoda
Dariusz Fodczuk
John Andrew Court
.