An exhibition in conjunction with the 62nd International Festival for New Music “Warsaw Autumn”
Curator: Inés R. Artola
The exhibition is a visual homage to the “Warsaw Autumn”, one of the most important festivals of new music in Europe. The presented works do not illustrate the music, they refer to the sound at a more abstract level. The video by Austrian artist duo Ruth Anderwald + Leonhard Grond tells of freedom, improvisation and time in music. The pictures of Maess Anand show their exclusively visual approach to the music of Witold Lutosławski, a composer who is close to her artistic practice and musical sensitivity.
Drawing as an organism Tina Konec, Maess Anand KiBela / MMC KIBLA 10th of May – 8th of June 2019
opening on Friday, 10 May 2019, at 7 p. m.
The exhibition is conceived as a conversation between two drawing artists who perceive the drawing as a living organism and the subject of scientific and emotional exploration, which they develop to the point of visual culmination. On display is an oeuvre of drawings created in a traditional, analog way, while still retaining singularity of execution. Both artists work in the same medium, and both engage in the depiction of the microcosm of cells, or crystals. Maess Anand portrays the micro-realm of man fighting death, while the works of Tina Konec represent the contrast of various micro-lives within the natural world. Maess’s drawings of malignant tumors are highly expressive, she uses full-toned hues of red, which warn about the potential reality of danger already from a distance. Tina Konec’s drawings, on the other hand, are monochromatic, and thereby softer; in terms of execution they create the impression of floating in space. The exhibiton Drawing as an Organism features the works of two young award-winning drawing artists, who have knowingly chosen a path of “stubborn” persistence in developing and upgrading the traditional drawing. Maess Anand employs modern technology to add to the spatial effect of her works and enable visual access to otherwise invisible microfibers, whereas Tina Konec uses a photographic template to create a minimalist work of art in the traditional line drawing technique.
Maess’s work calls attention to the markedly segregational view on life, which is essentially different for sick and healthy people. In the case of cancer patients, this relationship is even more complex, mostly due to the still vague terminology of treatment and consequently the survial rate. The artist’s goal is a Cartesian one: it is an attempt at approaching the understanding of an otherwise scary reality by means of applying the power of artistic representation, an attempt at transgressing the earthly by means of an interdisciplinary adaptation of reality. The works of Tina Konec are marked, on one side, by her enthusiasm over cosmic creation and her sublime realization of the fragmented nature, and thus of the endless possibilities of the shapes of universe. Her creative starting point is represented by forms which may well be versatile (they are reminiscent of tree trunks or widespread treetops), however, it is only beyond their formal delineation (which is achieved by means of the abstract white, or dark drawing base, without frames, freed from any significance) that they truly come alive. Form becomes tangible, so to speak; enhanced with meditative intuition, it altogether establishes an additional social, in most cases intimate, dimention.
Yaddo is a retreat for artists located on a 400-acre estate in Saratoga Springs, New York. Its mission is to nurture the creative process by providing an opportunity for artists to work without interruption in a supportive environment. Collectively, artists who have worked at Yaddo have won 66 Pulitzer Prizes, 27 MacArthur Fellowships, 61 National Book Awards, 24 National Book Critics Circle Awards, 108 Rome Prizes, 49 Whiting Writers’ Awards, a Nobel Prize (Saul Bellow, who won the Pulitzer Prize in Fiction and Nobel Prize in Literature in 1976), at least one Man Booker Prize (Alan Hollinghurst, 2004) and countless other honors.
Residency Unlimited is an artist-centered organization that produces customized residencies for local and international artists and curators and that supports the creation, presentation and dissemination of contemporary art through strategic partnerships with collaborating institutions. RU’s tailored support and services includes: enhanced networking opportunities, production and technical assistance, exhibition opportunities, on-line resources, art and public education programs.
The residency is made possible with support from Adam Mickiewicz Institute and Sugar Hill Capital Partners Studio Program.
Friday, June 29, 2018 – 6:15pm to Monday, September 24, 2018 – 12:15pm
Artists: Paweł Baśnik, Olaf Brzeski, Łukasz Huculak, Robert Kuśmirowski, Marcin Łuczkowski, Maess, Kamil Moskowczenko, Łukasz Patelczyk, Laura Pawela, Hubert Pokrandt, Alex Urban, Małgorzata Wielek-M
Curator: Łukasz Huculak
The tradition of the visual has often overlapped with the inexpressible, and the confrontation was sealed by the “anarrative” modernist art.The title of the exhibition, which in Polish triggers association with dumbness or infant babble, refers to Tadeusz Miciński’s esoteric work from 1910s Nietota. The Mystic Book of the Tatra Mountains. The author used a word which commonly described lepidodendrons, an extinct genus of tree-likeplants from 300 million years ago. As folk superstition had it, especially in the Carpathian Mountains, they possessed magical powers.However, it is difficult to explain Miciński’s motivations when using the tradition of witchcraft in his visionary novel. Given the author’s personality, whose literary rendition can be found in one of the novels by Stanisław Ignacy Witkiewicz, he was not driven solely by ethnographic fascinations. The useof the neologism in the title of the book referred to a state of “non-sense” and infirmity, and to the habit of not using proper names, which is reflected in the strong belief in sympathetic magic, and indirectly in the supernatural power of representation. As the French philosopher and sociologist Edgar Morin claimed, in the old days there was no distinction between technology, magic, religion and art. While drawing on the relationship between art and the inexpressible, and the connections between artistic and magical practices, the exhibitionsimultaneously raises the problem of the persecution of antisocial individuals, and indirectly the aestheticisation of violence, which is present in the theatre-like setting of witch trials.The belief in the existence of secret knowledge and invisible powers is still widespread, irrespective of the technological advancement of civilisation. By modelling and representing reality, transmuting matter, the mystic aspect of the abstract, the performative character of gesture and the intertwining of mimesis and hermetic symbolism, the artistic practice penetrates many spheres of human spirituality.The exhibition will feature paintings, videos, objects and installations referring to the visual aspect of hermetic and mystical practices.
Biennale de La Biche is the smallest contemporary art biennale in the world. With my colleague Alex Urso we have selected fourteen artists from all over the world. Although differing from one another, each participant was asked to conceive an artwork able to coexist with the environment of the location: the enchanting Caribbean island of Ilet de La Biche near Guadeloupe.
The title chosen for the 2017 edition is In a land of. This sentence, suspended and imprecise, wants to be a suggestion, an incentive to grasp the essence of the island as a geographically isolated place, but above all, a spot distant from all the limits and conventions of the contemporary art system. Moreover, the location is a transitory place, because it is slowly disappearing: due to the rising sea levels, the island is in fact gradually submerging, and in a few decades, it is destined to disappear.
Metastasis II, 180 x 150 cm, marker and pen on paper, 2014[/caption]
I am interested in the experience of negotiating the physical and emotional balance between sickness and health. My drawings examine organisms attacked by cancer. Using scientific material that involves cancer related databases, microscopic views, histopathology images, Kaplan-Meier curves, 2D and 3D modeling,I combined these visual facts about cancer into expressive images in order to create something meaningful and emotionally insightful. The notion of “time arrow” is traditional to philosophy and art. However, it is closely connected with our life span expectation. Classical literature, such as “Magic Mountain” of Thomas Mann stress that time perception is very different for healthy and gravely ill persons. In the case of cancer patients it is further complicated by an “obscure” terminologies of oncology: stages, life expectation, therapy outcome, metastasis, remission etc. It is my goal to facilitate the comprehension of this realities by my art. Some of reactions of audience, but also my personal experience before I was given a free of cancer verdict, suggest that people in face of cancer may try to live more intense life, as it was formulated by a famous cardiologist Marek Edelman that one “To outwit God”. I first focused on studying cancer as an art subject in 2013. The works also elicited responses from many individuals about their experience with cancer. These stories, based on direct experience or those of loved ones, centered on the anxiety of waiting for results, facing the possibility of metastasis and the dawning awareness of how much time might be left to the patient and their families. I believe this anxiety, as well as the accompanying search for hope and strength, are universal human experiences and that art may help to alleviate.
Beautiful things are afoot, 100 x 70 cm, marker and pen on paper 2013
Histopathology, 3 x 42 x 29cm, pen on paper, 2015
Metastasis III, 180 x 150 cm, marker and pen on paper, 2015
Exhibition view, Platan Gallery Budapest
Exhibition view, Platan Gallery Budapest
Exhibition view, Platan Gallery Budapest
Fall of platelets, 100 x 70 cm, marker and pen on paper, 2013
Survival, 100 x 70 cm, marker and pen on paper, 2013
So fragile, 100 x 70 cm, marker and pen on paper, 2013
One page review by Bente Brattland Brierley in the Lancet Oncology on solo show “Abnormal Results” that took place at Platan Gallery in Budapest. The Lancet is the world’s leading printed independent general medical journal. The journal’s coverage is international in focus and extends to all aspects of human health.The Lancet has an Impact Factor of 39.207. The journal is currently ranked second among 150 journals in the General & Internal Medicine.
The Drawers, Kasia Michalski Gallery photo by Helena Justyna Majewska
The Kasia Michalski Gallery is presenting the first of a series of group exhibitions featuring works by nine Polish artists, illustrators and designers. The selected drawings, prints, collages and other experimental formats were created as unique pieces or limited editions and will be available exclusively at the gallery. The title of the presentation, THE DRAWERS, refers both to the place as well as to the subjects of the show. The majority of works were made on paper, although drawing is not the only medium the artists use. The works showcased at the exhibition aptly represent the artists’ individual styles and their various interests and activities. Artists : Rafał Dominik, Ewa Doroszenko, Michał Gayer, Ewa Iwaniuk, Maria Jeglińska, Piotr Krzymowski, Magdalena Estera Łapińska, Maess, Szymon Szewczyk