maess anand
Seeing sounds, feeling freedom Artists: Maess Anand, Ruth Anderwald + Leonhard Grond 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 Freedom is Fragments 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 very close to her artistic practice and musical sensitivity.

Exhibition opening 19.09.2019 /Do./18.00
MMC KIBLA, Maribor

Drawing as an organism
Tina Konec, Maess Anand
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.


Nina Jeza, Artists & Poor’s

Yaddo, maess anand

Yaddo, Frankenthaler studio, 2018

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.  

Photo: private archive

July-September 2018

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.

maess anand

Nietota exhibition view, photo: W. Woźniak

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.

curatorial work

Jeremie Paul , Biennale de la Biche

Jeremie Paul, Biennale de la Biche


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.

More information about this event can be found in Guardian (EN) Artribune (IT),  Hyperallergic (EN) Beaux Arts Magazine (FR), Szum (PL) , Ming Pao (CN) and our website

artists: Karolina Bielawska (PL), Norbert Delman (PL), Michal Frydrych (PL), Styrmir Örn Guomundsson (ICE), Maess (PL), Ryts Monet (ITA), Jéremie Paul (FR), Lukasz Ratz (PL), Lapo Simeoni (ITA), Saku Soukka (FIN), Aleksandra Urban (PL), Yaelle Wisznicki Levi (USA/PL), Alex Urso (ITA), Zuza Ziółkowska-Hercberg (PL).


art_cancer_contemporary_drawing,art and medicine
art_cancer_contemporary_drawing,art and medicine

Metastasis II, 180 x 150 cm, marker and pen on paper, 2014

. 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.

Maess_contemporary-drawing, cancer in art,illness in art, medicine in art

Beautiful things are afoot, 100 x 70 cm, marker and pen on paper 2013

maess_carcinoma,art and cancer,illness in art,art in medicine

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

maess, contemporary drawing,art and medicine,art and cancer

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

contemproary drawing,domestic violence in art
Able Gallery, Berlin, Germany, 2009, Foundation for promoting Contemporary Art / Gallery program, Warsaw, Poland 2011, Wroclaw Contemporary Museum 2013 

Michal Fopp 2009

contemproary drawing,domestic violence in art

 Excessive, 28 x 21 cm, pencil and crayon on paper, 2009

. Every square inch of these drawings captures pure violence. Dance macabre of red and black. It is a clash of two forces conflicting in every aspect. Pinturas negras demonstrate the ” fear of influence” , through violence closing like a circle of sterile, mechanical, fetishistic repetition. Feverish scarlet, the explosion of creative energy, both euphoric and forewarning is, on the other hand, harder to grasp. The red part, it is a cut ,a tiny change, perhaps purely to spite repetition, academic structures and patriarchal subjection. It could be, however to illustrate the moment when the limit of endurance is reached and no other manoeuvre is possible. This particular move allows to search for new life forms. A mischievous error interpreted as the explosion of re-creation, in the Agambenic sense of the word. Nobody waits for revolution or epiphany anymore; what they do wait for is an unexpected break that will reduce the unbearable, oppressive dialogue to silence.Decompression that disturbs the cycle of violence and system of terror. What is the fundamental stake in this game” Artistic immortality” It is not true what Beckett says, that ” to be an artist is to fail as no other fail.” Of course, all that strategy is not free from narcissism, and Maess knows how to use it in her own way. It brings to mind ivy, or a spider’ s web; content-wise, the drawings are very dense, concentric, coherent and strong. They absorb everything around them. They feed on any metaphors that brush against them. They are like a sequence of battle plans, sectional views of shapes created by a dynamic shift in pressure. The created work is the result of a perpetual power friction, a breach of the domination. An ever-changing front line of a battle.Gentileschi also searched for the bloody floating shape in the streams of the vital fluid gushing from the neck of her victim-executioner. It is not easy to grasp, because fragments of it are deliberately used as part of a broader narrative, of affinity and rivalry. This way the feverish scarlet of the drawings is justified also by the blood of the dead lover/phantasm.The figure which, cringing like a prawn on a fork, is present in some of the drawings has its origins also in a rather modern myth. It is taken from the final sequence of The Last Tango in Paris by Bertolucci. Iti s one of the inspirations, references, but also precursors of the series. The relation between the work of Bertolucci and Maess drawings is somewhat troublesome. Shooting the lover/abuser in his desperate try to escape leaves a scarlet spatter of blood and letter fragments. That convulsively twitching larva/beast obsessively repeats ” I Want You, I want you, I want you. J ai tres envie de toi. JTEDT “. Not even the remains of a language but of a typography. Utterances, like a seal on the lips of the obscene desire. It is worth remembering that Bertolucci ‘ s film, apart from the story of a man and a woman, tells the story of tyranny of the film itself, and the topics mirror each other. The strategy of analyzing the line between film and drawing without the medium of animation or comic strip craze, seems to be a source of great pleasure for Maess, as she has been successfully using it for a long time now. It is also just one of the riddles/traps set by the artist. Just like the slightly provocative technical virtuosity and Maess-specific asceticism. As a result, her drawings surprise with their force and intensity. The surface is covered with the explosion of red, pulsating energy set free, eliminating any obstacles between the idea and the artist, between the idea and the receiver. Looking at those explosions I can’ t get this statement by Paul Valéry. out of my mind: “First of all, and above all, the painter takes his body with him “. [txt: Michał Fopp] [trad. Karolina Moens]


dessin contemporain,Violence conjugale dans l'art et la culture

Excessive, 28 x 21 cm, pencil and crayon on paper, 2009

dessin contemporain.:Violence conjugale dans l'art et la culture

Excessive, 28 x 21 cm, pencil and crayon on paper, 2009

dessin contemporain, Violence conjugale dans l'art et la culture

Excessive, 28 x 21 cm, pencil and crayon on paper, 2009

dessin contemporain, Violence conjugale dans l'art et la culture

Excessive, 28 x 21 cm, pencil and crayon on paper, 2009

dessin contemporain, Violence conjugale dans l'art et la culture

Excessive, 28 x 21 cm, pencil and crayon on paper, 2009

dessin contemporain, Violence conjugale dans l'art et la culture

Excessive, 28 x 21 cm, pencil and crayon on paper, 2009



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.