BWA Warszawa
BWA Warszawa
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" BWA Warszawa
21.04.2012 - 07.07.2012
Małgorzata Szymankiewicz, Przemek Dzienis "Sub Pop"
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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english version
Adam Adach "Reprezentacja"

Exhibition about football? Not at all. Of course, football motives are to be seen in each of the Adam Adach’s newest paintings and the forthcoming European Football Championship create an attractive, maybe even too insolent context. But it is something else that comes in play here. "Reprezentacja" (eng. National Team) is the exhibition where football is being treated seriously and extensively: as one of the most interesting phenomenon of modern times, a phenomenon that is almost emblematic for modernity. Adach tracks the social and political contexts that football is covered with. He shows, how modern sport can become a manifestation of national pride, and in another circumstances – a way of expression for victimized groups. How it transforms into a training disciplining our bodies. How it is connected to the category of identity – collective and individual.

First of all, one should pay attention to the smallest paintings: two modest portraits. The first one, in a ghostly stylistics - Józef Klotz. A footballer who is almost forgotten, here shown in one of the barely few preserved photographs. In a match against Sweden in 1922 he scored the first historical goal for the Polish national team. It was a significant event because Klotz was Jewish and all his life he played in Jewish clubs, first in Jutrzenka Cracow, later in Makkabi Warsaw (Makkabi’s stadium– what a coincidence – was in the exact same place where the National Stadium is today). During the war Klotz was in the Warsaw ghetto, where he was murdered in 1941. This story has another side to it. Another painting of Adach shows a figure of Ernest Wilimowski, probably the most prominent Polish footballer of the interwar period (he played in the legendary Poland-Brazil match among others). Wilimowski came from Silesia, during the war he signed the volkslist, he even played in the Third Reich national team. In Poland he was considered a traitor. Adach pictures him in a dynamic movement, as if he is running away from the shadows hiding behind his back. These two biographies force us to ask questions about the relations between sport and the idea of representing the nation; they provoke us to see the connection between these two inventions – sport and nation. On the other hand, this issue is very up to date: Frenchmen are wondering why the players from Algeria or black Africa in their national team do not get along with white players, which signifies the end of dreams of multinational peaceful France. The Poles on the other hand, facing the fact that many of their national team players do not speak Polish, are going through a fast course of ethnic tolerance.

Alas, is the stadium a place of building group identities? Adach continues this thread in three other paintings. Two of them present in fact one situation: a crowd of young men composed into a shape of a razor (“Żyleta”, a razor, is a customary name for the tribune taken by the most radical supporters of Legia Warsaw football team). This crowd has power but at the same time it seems dangerous, filled with violence. Classic theories connecting the crowd with the reactionary political potential come to mind. An opposition to that, or maybe a supplement to these two paintings, is the third painting, probably the most mysterious one in the set. Naked men play football with a cut off human head. Adach combines two threads. First, he reminds a ritual practiced in the Portuguese colony on Timor Island until the first decades of the 20th century (in hope of turning enemies into friends, their bodies where being desecrated). Second of all, he chooses homosexuals to be participants of this ritual. As a result, whereas the two versions of “The Razor” show satisfied beneficiaries of the social and political status quo, sport here is a transgressive action toward the norm. But of course equally disturbing.

The characters of this painting are clearly depersonalized, deprived of faces, their bodies amount to plain brush strokes. Additionally they are depicted in colours clearly associated with various body fluids (the title of the painting, "Incarnata", sends us back to the long tradition of depicting the body by using its material remains: skin, blood, muscles).

But "Reprezentacja" is not only a commentary about the connection between sport and power. The exhibition shows also more lyrical works. One of the paintings shows a night scene with young boys devastated after losing a match. Another painting is a melancholic portrait of a Polish national team supporter, probably also after another lost match. If these works are political it is only in the sense that they try to show the defeated, change the logic of the spectacle that always privileges the winners.
In BWA Warszawa Adach enters territories that he has not yet explored. He experiments with almost a collage-like combination of several planes, or owns up to Bonnard inspirations, that up until now he was unfamiliar with. The exhibition’s title itself announces not only the sport theme, but also a reflection on the painting medium. This reflection is best to be seen in the painting directly referring to the "Red Cavalry", a painting by Kasimir Malevich (where the cavalry is replaced by policemen pacifying football supporters during a game). Adach has not been that close to abstract painting yet. But there is something even more interesting in this case: the combination of the myth of modernistic art with the violence scene. This gesture suggests that the modernistic tradition is treated by Adach as his own, but at the same time he examines it with great distrust, a critical distance.

 

We cordially invite you on lectures and workshop about the history of National Stadium on Saturday, 2.06.2012, 4 p.m. organised by Fundacja Architektury. more info