BWA Warszawa
BWA Warszawa
Márton Nemes & Małgorzata Szymankiewicz "Falling Out of Rhythm"
29.11.2019 - 08.02.2020
WGW 2019: BOWNIK "Colours of Lost Time"
20.09.2019 - 23.11.2019
"It hurts when I laugh"
05.07.2019 - 11.09.2019
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
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
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
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" BWA Warszawa
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"
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
Kama Sokolnicka "Rusty elements of our garden"

The erudite joined together with the effortless - this appraisal may easily spring to mind when observing the works of Kama Sokolnicka. The young artist (born 1978) from Wrocław creates her projects accor-ding to a tried-and-tested scenario. Typically she begins with an exa-mination of the foundations of a particular site (most recently accli-matizing herself with the history of the Ujazdowski Castle in Warsaw - which houses the Centre for Contemporary Art - when working on a project there, drawing out the near-forgotten fact that in previous years the buildings housed a hospital for soldiers who had lost their sight). Next she takes these newly-discovered facts and builds a web of associations and contexts (in the case of a former hospital for the blind now housing a center devoted to the visual arts, the most com-pelling conclusion is to prepare a show about visual perception and memory, of the mechanisms of recalling and forgetting images, about repression and after-images). In creating such a web, the artist doesn't refrain from citing major authors on the subject, from Levi-Strauss, Baudrillard, the classics of psychoanalysis. In the case of her latest work, she continues to do so without any reservations. Her exhibi-tions, nonetheless, have nothing in common with a university lecture. The particular themes in her work may appear entirely by surprise: alongside an image depicting Disko Island off the cost of Greenland she places a disco ball, which reflects light much like the snows of Greenland. The "Tristes Tropiques" of Levi-Strauss makes their way into the title of a photograph of three tents tucked away in some old, battered (apathetic and melancholic) tropics.
Sokolnicka tends to take on existing cultural content and reinterpret it in her own way according to a process that may be considered anar-chic. The governing motive within her works is the clash of collective memory with that of the individual. The texts and imagery that are so solidly embedded in tradition are injected by the artist into unexpec-ted situations, creating, thus, an independent, unorthodox system of associations. Culture is filtered through the artist's own imagination, her own memory. It is no accident, then, that Sokolnicka's collages come about on the basis of found materials, items discovered in her home archive (consisting in major part of her relatives' diligent collec-tions of German publications of the '50s and '60s), that she often looks back towards her childhood experiences for inspiration. The viewer may have difficulty decoding such an esoteric, deeply internal code, yet the artist doesn't seem to mind. It is clear that for her the radically individualized lexicon is the most valuable instrument in the battle between the artist and her own autonomy.
This strategy is evident in the exhibition at the BWA Warszawa Gallery. The starting point and initial inspiration for the "Rusty Bits of our Garden" was the environment surrounding the gallery - a townhouse located in Warsaw's landmark Saska Kępa district, an exemplary testa-ment to Poland's modernist legacy, now in large part a collection of ruins and half-ruins, sinking in a thrush of wild greenery that is gradu-ally overtaking such buildings. It is these plants in particular that have caught Sokolnicka's attention - plants that have been endowed with an extremely important role. The artist once again functions within a cloud of contexts and associations. The series "Locus Solus" series of collages is a throwback to the classical novel by Ramond Roussel. A significant choice not just because the term "cabinet of curiosities" typically used by the author in reference to the novel suits Sokolnicka's proposed narration quite well. In "Locus Solus" the inventor Martial Canterel has invited some friends to have a look at a store of curiosities that he has accumulated in the garden of a suburban villa. These strange, fantastic curiosities must have, in their time, satisfied the surrealist appetite. The novel can be read as a refined game with the mythology of the garden - and this is the path that Sokolnicka treads in her own garden, without necessarily treating it as a metaphor for the ordered world. It holds quite a number of meanings, but it is certain that this is not a garden that has not at some point been host to a barbarian or two.