BWA Warszawa
BWA Warszawa
"It hurts when I laugh"
05.07.2019 - 14.09.2019
Martyna Czech, Leszek Knaflewski "We have nothing in common"
25.05.2019 - 30.06.2019
FOAF 2019: BWA Warszawa hosting Gianni Manhattan (Vienna) + Kristina Kite (LA)
06.04.2019 - 11.05.2019
Witek Orski "I would prefer not to talk about this"
14.02.2019 - 30.03.2019
Between Salvation and Constitution
11.11.2018 - 05.01.2019
WGW 2018: Agnieszka Brzeżańska, Jan Dobkowski, Zuza Krajewska "Goddesses"
21.09.2018 - 27.10.2018
Jadwiga Sawicka "Protest Reflex"
23.06.2018 - 31.07.2018
Ewa Ciepielewska "Emotional Support Animals"
12.05.2018 - 16.06.2018
FOAF: Jiří Thýn, Piotr Makowski, Witek Orski, "Line"
07.04.2018 - 28.04.2018
Adam Adach "Demos and Demons"
03.03.2018 - 04.04.2018
Agnieszka Kalinowska "Heavy Water"
27.01.2018 - 28.02.2018
WGW 2017: Yann Gerstberger, Sławomir Pawszak, Hanna Rechowicz "The Uses of Enchantment"
22.09.2017 - 25.11.2017
WGW2017: WYKWITEX
22.09.2017 - 24.09.2017
"Living in a Material World" Paweł Dudziak, Adrian Kolerski, Michał Sroka, Eliasz Styrna, Katarzyna Szymkiewicz
02.09.2017 - 16.09.2017
Małgorzata Szymankiewicz "Stretching of Concepts"
27.05.2017 - 29.07.2017
Ruben Montini "One Person Protest"
27.05.2017 - 27.05.2017
Wielka 19 Gallery
04.03.2017 - 06.05.2017
THE DYNAMICS OF DECLINE
28.01.2017 - 25.02.2017
Witek Orski & Maria Toboła "Spinning sex"
17.12.2016 - 14.01.2017
WGW 2016: Karol Radziszewski "Ali"
23.09.2016 - 19.11.2016
Small Sculptural Forms
19.06.2016 - 10.09.2016
Sławomir Pawszak "Heat"
12.03.2016 - 28.05.2016
Krzysztof Maniak "Snow Is What Comes To Mind"
06.02.2016 - 05.03.2016
Lada Nakonechna, Zhanna Kadyrova "Experiments"
05.12.2015 - 30.01.2016
WGW 2015: Ewa Axelrad "Minimum, Necessary, Objectively Reasonable"
25.09.2015 - 21.11.2015
Małgorzata Szymankiewicz "Postproduction"
26.06.2015 - 12.09.2015
Joanna Janiak, Piotr C. Kowalski "The Nature of Things"
25.04.2015 - 13.06.2015
Iza Tarasewicz "Reverse Logistics"
14.02.2015 - 19.04.2015
Karol Radziszewski "In the Shadow of the Flame"
29.11.2014 - 04.02.2015
WGW: Olga Mokrzycka-Grospierre, Nicolas Grospierre "A Glass Shard in the Eye"
26.09.2014 - 22.11.2014
Jadwiga Sawicka "Fragments of Stories"
24.05.2014 - 24.07.2014
Jakub Woynarowski "Saturnia Regna"
15.03.2014 - 17.05.2014
Sławomir Pawszak „Cannabis, whisky, ananas”
11.01.2014 - 08.03.2014
The Gardens. Laura Kaminskaite, Augustas Serapinas
23.11.2013 - 19.12.2013
Agnieszka Kalinowska "Eastern Wall"
27.09.2013 - 16.11.2013
Zuza Krajewska "Solstice"
29.06.2013 - 14.09.2013
WITHERED, Kisterem Gallery, Budapest
21.06.2013 - 15.08.2013
LITTLE WARSAW "Enter"
25.04.2013 - 21.06.2013
“Warsaw: The Day After..." Vartai Gallery, Vilnius
11.04.2013 - 11.05.2013
Self-Organization, vol.2: New Roman
23.03.2013 - 20.04.2013
Ewa Axelrad "Warm Leatherette"
26.01.2013 - 20.03.2013
Self-Organization, vol. 1. Certainty
05.01.2013 - 19.01.2013
Ziemilski / Marriott / The End of the World
21.12.2012 - 21.12.2012
Kama Sokolnicka "Rusty elements of our garden"
28.09.2012 - 30.11.2012
"ALPHAVILLE" Griffin Artspace, Warsaw
28.09.2012 - 30.12.2012
Krystian TRUTH Czaplicki "The Changeling"
21.07.2012 - 09.08.2012
Adam Adach "Reprezentacja"
21.04.2012 - 07.07.2012
Małgorzata Szymankiewicz, Przemek Dzienis "Sub Pop" BWA Warszawa
25.02.2012 - 14.04.2012
Nicolas Grospierre "The Bank"
03.12.2011 - 11.02.2012
Tribute To Fangor
05.11.2011 - 20.11.2011
"New Order", Art Stations, Poznań
29.09.2011 - 09.02.2012
Wojtek Ziemilski "New Order" performance
23.09.2011 - 24.09.2011
Agnieszka Kalinowska „Extinguished Neon Signs”
10.09.2011 - 30.10.2011
Jarosław Fliciński "Nobody Knows That For Sure"
25.06.2011 - 28.08.2011
THE OPENING "Plundering the Ruins of Reality"
07.05.2011 - 11.06.2011

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Małgorzata Szymankiewicz, Przemek Dzienis "Sub Pop"

25.02.2012 - 14.04.2012

Young artists, Małgorzata Szymankiewicz and Przemek Dzienis show, that classic theories are worth renewing. Being overwhelmed by the weight of the 20th century’s concepts, we are relieved to leave the postulates of preserving them. Szymankiewicz and Dzienis show them to us in a new and tempting way, they are not afraid to enrich their painting, sculpture and photography even by drawing from design or fashion. Their modernism is engaging, seductive.
For the first time Małgorzata Szymankiewicz (1980) and Przemek Dzienis (1984) met at the exhibition Tribute to Fangor in BWA Warszawa. Szymankiewicz graduated from the University of Arts in Poznań with a good knowledge of American abstractionists and colour field painting. After several years of strongly colourful, abstract painting she stopped using colour and focused on depicting the characteristics of various textures, and later surfaces. The newest large formats in white, black and sepia look like painted with strokes of a huge brush. Raw surfaces build mazes that go deep into the paintings.
In the ‘60s, Clement Greenberg was wondering, whether abstraction has to be flat. This American critic, one of the most important interpreters of modernism, analysed „flatness” as a distinctive quality of painting. Space in abstract expressionism was not to be flat, but at the same time not illusionary. Abstract painting does not create illusionary depth that we can walk into in our imagination, like in the traditional realist painting – he wrote – but the illusion created by the modernist painter can be seen by examining the successive layers of the painting, the surfaces put on top of each other.
Szymankiewicz approaches the flatness/depth game uninhibited. The black and brown geometrical arrangements, contrasted with the white background, look in her painting like technical drawings of a piece of furniture. The objects that accompany the paintings underline the suggestion of the movement from the flat canvas into the third dimension. Some of the sculptures look as if they are cut out of a single piece. Szymankiewicz in her three-dimensional realisations exposes either the texture of the textile, or the material - wood, or the spatial drawing made with the use of a metal bar. These sculptures could be placed between painting, installation and design. They bring to mind, deprived of any applicable function, furniture or house appliances.As a result, Szymankiewicz's works oscillate between abstraction and vague insinuations of representational art.
The tension between the figurative and the abstract is also to be seen in photography by Przemek Dzienis, a graduate of the Film School in Łódź. In the beginning he photographed staged situations, which he arranged together with Dorota Buczkowska. The I think I’m Empty Now series was made to start a dialog with the paintings and sculptures of Szymankiewicz. Dzienis shows, that photography, depictive and figurative art, can become abstract – due to slight shifts. Szymankiewicz draws from design, and his works draw from fashion photography. Sticking to formal norms, homogenous colour range, and minimalistic composition, Dzienis lets himself be nonchalant.
Relations of modernism and design or fashion were always complicated. Classic modernist took care of the autonomy of their domain, purity of the medium. At the same time they did realise that their aesthetic patents have a lot in common with design. The problem was being widely discussed and basic recognitions were defined (e.g. about art in the mechanical reproduction era). Not that long ago this discussion has come back to us, i.a. in the loud Design and Crime by Hal Foster. Szymankiewicz and Dzienis are relaxed about it. Their vision of modernism is unorthodox mainly in the sense of not being afraid of lightness and liberty. Yes, it is modernism in the pop version. But remember, it is pop (not to be confused with pop art) with a second or third layer dragging you inside, just as the best modernist paintings did. One can say that it works subliminally. The effect is something unexpected, surprising, and subversive. In English one could even say: here is sub pop.