The Drawers, Warsaw
The Drawers 3.09- 17.09 2015, Kasia Michalski Gallery, Poznanska 16 Warsaw
The Drawers 3.09- 17.09 2015, Kasia Michalski Gallery, Poznanska 16 Warsaw
Maess, The perfect elevator waits, 152 x 120 cm, marker and pen on paper, 2014
curated by Heather Hart, Steffani Jemison, and Jina Valentine.
The Intuitionists is a collaborative artist project inspired by Colson Whitehead’s 1999 novel of the same name—a work of speculative fiction that explores the relationships between progress, technology, and difference. The exhibition considers how the collection, the database, and the aggregate serve as complementary models for the organization of information and objects in flux.
artists: Shaun Acton, Valerio Berruti, A.J. Bocchino, Dana Boussard, Hannah Burr, Maria Bussman, Enrique Chagoya, Joyce Chan, Catalina Chervin, Hannah Cole, Kenny Cole, Vincent Colvin, Hollis Cooper, Cui Fei, Gabriel Delgado, Wendy DesChene, Asya Dodina and Slava Polishchuk, Debra Drexler, Derek Dunlop, Elisabeth Eberle, Lisa Endriss, Rodney Ewing, Tory Fair, Douglas Florian, Nicholas Fraser, Carl Fudge, Brett Goodroad, Barry Gray, Stephen Grossman, Nathan Haenlein, Patrick Earl Hammie, Skowmon Hastanan, HENSE, Elizabeth Hoak-Doering, Cynthia Ona Innis, Tatiana Istomina, Hedwige Jacobs, Chiaki Kamikawa, Manfred Kirschner, Kimia Kline, Nicholas Knight, Kang Joo Lee, Kate Tessa Lee, Cynthia Lin, Hung Liu, Maess, Mario Marzan, Linn Meyers, Nyeema Morgan, Paul Morrison, Seamus Liam O’Brien, Alison Owen, Jenny Perlin, Mel Prest, Jo Ann Rothschild, Anna Schachte, Fausto Sevila, Jill Shoffiet, Thomas Slaughter, Chris Spinelli, Karen Tam, Caroline Tavelli-Abar, Scott Teplin, Jen Urso, Kris Van Dessel, Kara Walker, and Margaret Withers
Supported by Adam Mickiewicz Institute
Maess has been awarded the Leipzig International Art Programme Residency for Jan -March 2014.
At LIA, both open studios and interdisciplinary panels offer the opportunity for a wider audience to access the world of art and to experience the place where art is created. In this way LIA aims to build a more personal connection between the artist and the audience encouraging discussions about art in the artists actual studio. Guest critics, such as professor of aesthetics, Bazon Brock, who attended in November 2008, are invited to contribute to these discussions. LIA enjoys fruitful partnerships with prestigious international art institutions such as: The Christoph Merian Foundation, Basel; The Japan Foundation, Tokyo; The New York Academy of Art, NYC; and The Fonds BKVB, Amsterdam. Together, alongside the programme’s main sponsor, BMW Plant Leipzig, our partners made it possible for thirty five artists from fourteen different countries to take part in the LIA programme in 2008. Amongst others the artists were from Australia, Ethiopia, China, Puerto Rico, USA and the Ukraine.
Arsenal City Gallery, Poznan
opening: 17.01.2014, . 6pm
exhibition through February 2.2014
Artists: Azorro, Basia Bańda, Wojciech Bąkowski, Agata Bogacka, Monika Drożyńska, Pola Dwurnik, Aneta Grzeszykowska, Elżbieta Jabłońska, Zuzanna Janin, Łukasz Jastrubczak & Małgorzata Mazur, Katarzyna Józefowicz, Katarzyna Kozyra, Robert Kuśmirowski, Maess, Cecylia Malik, Malwina Niespodziewana, Hanna Nowicka, Joanna Pawlik, Joanna Rajkowska, Wilhelm Sasnal, Maciej Sieńczyk, Janek Simon, Mariusz Tarkawian, Zorka Wollny, Ewa Zarzycka, Erwina Ziomkowska, Artur Żmijewski
curated by: Magdalena Ujma
Partner: Galeria BWA Sokół in Nowy Sącz
The exhibition is part of the Lower Silesian Art Festival OKiS
Curated by Magdalena Ujma
Coordinated by Agnieszka Chodysz
Azorro, Basia Bańda, Wojciech Bąkowski, Agata Bogacka, Monika Drożyńska, Pola Dwurnik, Aneta Grzeszykowska, Elżbieta Jabłońska, Zuzanna Janin, Łukasz Jastrubczak & Małgorzata Mazur,Katarzyna Józefowicz, Katarzyna Kozyra, Robert Kuśmirowski, Maess, Cecylia Malik, Malwina Niespodziewana, Hanna Nowicka, Joanna Pawlik, Joanna Rajkowska, Wilhelm Sasnal, Maciej Sieńczyk, Magdalena Starska, Mariusz Tarkawian, Zorka Wollny, Ewa Zarzycka, Erwina Ziomkowska, Artur Żmijewski.
The exhibition and the publication are subsidized by the Minister of Culture and National Heritage and the Government of the Lower Silesian Voivodship.
The exhibition is dedicated to autobiographical accounts in new Polish art. Participating artists relate their own stories. These are real life stories, mostly first-person narratives. On the one hand, the tension between the figure of the author and the subject of the work and, on the other, between the fiction and the truth of representation constitute the axis of this exhibition.
The phrase “the day is too short” comes from a director of an art gallery, who is also an artist. It was a remark he made referring to the impossibility of performing both functions simultaneously. These words are an expression of frustration experienced by a person consciously observing events occurring in his life and commenting on them as they happen, doing his best not to overlook anything. His perturbation may be termed as a diarist’s worry.
The autobiographic character of newest art constitutes a fairly broad topic, encompassing multitudinous trails and potential artistic or research approaches. Two paths have been marked out for the exhibition. The first has already been mentioned: contradictions that cannot be avoided when one records one’s own life, the frustration of a diarist. Is there a way to note every single thing down? Or should some things be omitted? How can one know what will appear significant in the future? The other path is delineated by history, whose reflections are to be found in personal notes as well as in chronicles of everyday matters. The feeling of disappointment felt by critics, whos after the restoration of independence in 1989 expected great novels, films and other narrative works describing the times of major transformation to be created in Poland may turn out to be unsupported as those days are present in personal relations, which may not be directly devoted to history but they relate it in an indirect fashion.
After 1989, references to the figure of the artist have become commonplace in Polish visual arts. Bożena Czubak points out that the death of the author never occurred in Poland and the subject was never deconstructed, sustained by modernist discourses, which never stopped being popular. * Admittedly, the tumultuous 1980s witnessed attempts to demythologize the figure of the artist, which subsequently came under harsh criticism in the 1990s that markedly eased off after 2000. Defined in a variety of ways, the figure of the author was still going strong nevertheless.
Autobiographical narrations may be a product of the gradual erosion of the myth of a creator. In recent years, and especially after 2000, art inspired by everyday ordinary lives has been particularly popular. First-person narratives originating in private lives, documentary and quasi-documentary reports hide a series of problems crucial for contemporary art scene. They may feature references to history which affects not only individual lives but also art, references to memory, to the status of the author and artist. Filtered through everyday life, history seems to decline in importance, while noting down daily events suggests that the content of these works is supplied by life itself, that all an artist has to do is to report them as they happen.
The exhibition “The Day Is Too Short ” focuses on selected examples of personal documents. It is going to present cases of suggestive use of first-person narration to pose the question why contemporary artists chose their own autobiographies as the basis of their creation, revealing themselves as narrators of the stories.
Strabag Kunstforum – founded in the 1990s, when the group was still headquartered in the Austrian town of Spittal/Drau – has successfully built bridges between art and business, including via its annual art prize to support young artists. First awarded in 1994, the competition was initially limited to Austria. Since 2009, when it became the Strabag Artaward International, it has also been open to artists from selected European countries.
jury: Goschka Gawlik,
Works of Maess presented at Volta Basel by Program Gallery, Warsaw
Foire Internationale du Dessin 2012 laureates’ exhibiton.
Artists: Andreea Ciobica (laureate) ; Steaven David, Nathalie Duivenvoorden, Marlene Huissoud, Maess et Clémentine Poquet (Grand Prix nominés).
Curated by Réjean Dorval and Serghei Litvin
Vernissage: 13 th of Octobrer 2012 18h30.
Exhibition from 13th of October to 4th of November 2012
Rue du Bourdon St-Jacques 18 Tournai
Since 2007, FID has been discovering young artists working in the medium of drawing and helping to launch their career, nationally and internationally.FID international drawing fair (onlineFID.com) is aimed at art schools, young artists, advanced students and recent graduates all over the world.
Our mission is to show drawing as it is being made today: drawings for the future.
Jury: Jan-Philipp Fruehsorge, galerie Fruehsorge, Berlin
Réjean Dorval, galerie Twilight Zone, Tournai
Éléonore Chatin, galerie Catherine Putman, Paris
Victor Mendes, galerie LWS, Paris
Andrew Hewish, Center for Recent Drawing, London
Teresa Carneiro, Drawing Spaces, Lisboa
Maurits van de Laar, Galerie Maurits van de Laar, De Haag
Radu Solovastru, Université d’art et design, Cluj-Napoca
Alan Bamberger, artbusiness.com, San Francisco
Andreea Ciobica, Keita Mori, Juliette Mogenet
Steaven David, Nathalie Duivenvoorden, Marlene Huissoud, Maess , Clémentine Poquet
25th September – 16th November 2008
Maess, Inverted 4, pencil on paper, 42 x 29 cm, 2008
The “Inverted” exposition is a result of the artist’ s residential stay in Argentina and it consists of collection of drawings based on a unique topography of the city of La PlataMaess treats the ideal city design with multiple transformations, violating existing realities. An exploration of space between the starting point and the final result invites the viewer to embark on his/her own intellectual adventure of perception beyond the habitual limits. The artist’ s key aim is not to reach a predetermined goal, but to observe the moments and places where imperfections and errors in the inversion process occur. Inversion can refer to a particular case of abstract thinking and can also be considered a result of instinctive human penchant for putting contrasting objects of concepts together. This kind of definition does not however allow to multiply all possible situations or circumstances and to adjust them to such thinking. Commonly used intuitive processes of inversion cannot always be reduced to a common denominator, since, for instance, contradiction such as good/evil is of different nature than day/night. Simple act of reverting inversion also does not lead to a zero sum situation, but creates a web of transformations with varying interrelations. Such manipulations can be best observed in visual arts – the most effective way of reaching a semantic or formal effect of surprise is to seek out the stubborn constant that hides in earlier solutions and invert it by 180 degrees.