BWA Warszawa
BWA Warszawa
Sławomir Pawszak "Amalgamate"
01.10.2020 - 28.11.2020
I Will Put My Soul into the Magic Storm*
29.05.2020 - 31.07.2020
Mateusz Sarzyński & Konrad Żukowski „Global Abomination”
14.02.2020 - 28.03.2020
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" BWA Warszawa
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"
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
Jadwiga Sawicka "Fragments of Stories"

Jadwiga Sawicka’s text paintings have come to be among the most recognizable signs in modern Polish art. They first appeared around 1998. Slogans of thick black letters on delicate pastel backgrounds (mostly pink, flesh-coloured or blue) back then were mainly quotations from the mass media. The artist placed her texts not only on canvas but also on objects and boxes and used them as large-format installations in public space. Recently the backgrounds in Sawicka’s paintings have lost their uniformity and paints in different colours have mingled together, creating a thick painterly impasto. But the motif of text has not changed for years. Sometimes the words on canvas repeat. The repetition itself has become a subject for Jadwiga Sawicka. This is what “Fragments of stories” are about.

The exhibition consists of paintings, collages and books. The single-word paintings are put into pairs: “Golden-plastic”, “Nice-unkind”, Judas-like- Cain-like”, “Easy-wormy”.
It is an exhibition about telling stories or attempting to do so; about pieces of narrative which start in the middle, stop, and then are resumed at a random point. Even though word combinations may suggest a beginning of a story, the action never develops; it is stuck in the same, promising, point – Sawicka writes. The painting matter, with its mass and colour, and thus emotional potential and a certain panache, could move the plot forward, if it was not busy telling its own stories – perhaps about the same things though in a completely different language altogether – adds the artist.

Jadwiga Sawicka is interested in literary strategies. The collages presented as part of the exhibition are made up of photographs of urban landscapes with pasted quotations from novels and short stories by, among others, Robert Walser and Georges Perec, eccentric literary experimentalists. Walser is the author of “Microscripts” – a remarkable document written in pencil on random scraps of paper. The Swiss writer had minimized his own handwriting to the size which made it almost impossible to read the text. The commentators had been deciphering the “Microscripts” for 20 years. Walser’s writing was designed to be vanishing. Walser disregarded traditional plot; instead, an important figure was for him a walk, to be more precise, a casual stroll, giving one freedom. Sawicka transfers similar strategies to the area of visual arts. She writes that her quotations are taken out of context and make up a loosely-knit narrative, whose arrangement and sentence sequence might be set by the pace of a casual stroll.

Perec, on the other hand, writes about absence, loss of history, vanishing memory and the ensuing sense of emptiness. For that French author writing meant preserving the vanishing traces. His book called I Remember is composed of over four hundred sentences starting from the phrase “I remember…”. The consequence of the dread of forgetting are Perec’s famous classifications, bringing order into reality. In his greatest novel called Life. A User’s Manual there appears a motif of reality reflected through visual arts and literature. Painting loses in that battle and the practice of writing proves to be more interesting than visual strategies.

An important part of the “Fragments of stories” are excerpts from Tom McCarthy’s novel Remainder covered by the artist in hand-painted dust jackets. The novel falls apart just like the world of the Remainder’s main character has done. Having lost his memory as a result of a mysterious accident, he now spends the huge sum of his compensation money on an extravagantly large-scale reconstruction of those fragments of his past that he does remember.
The only thing that satisfies the hero of the novel is repetition leading to perfection; only that makes his existence meaningful. Remainder is a study of an insane man fixed on the remainders of his life. His re-enactments do not contribute anything new, they are an end in themselves.

It is Jadwiga Sawicka’s ironic comment upon her own penchant for repetition. A few years ago she said in a conversation about art, “Let’s face it, repetition is not too welcome . One is expected to surprise and keep doing new things.” Her own repetitions, however, are by no means pointless. Even if the words cited by Sawicka make up contradictory sets (“It was-it wasn’t”, “We lost-we won”, “It did happen-it didn’t happen”), they turn out to be an attempt to struggle with memory, to save the remainders. Like in Walser, Perec or McCarthy.