BWA Warszawa
BWA Warszawa
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
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"
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" BWA Warszawa
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
Jarosław Fliciński "Nobody Knows That For Sure"

25.06.2011
Opening: 6 p.m.
Presentation of the project "Flicinski for Central Railway Station" and a discussion at "WAW" Magazine (prof. Jerzy Porębski, Tomasz Fudala, Miesto, Jarosław Fliciński, prowadzenie: Marek Staszyc): 7 p.m.

A catastrophe – it’s a theme that Jarosław Fliciński’s new series of paintings deals with. It’s not any particular catastrophe, it’s a catastrophe imagined as a phenomenon, an occurrence of a rapid accumulation, explosion, disruption and transformation. The series „ Układy / Arrangements” consists of abstract, large-scale canvases.
Their story began over a decade ago in Marfa in the U.S., where in 2002 Fliciński got a residency in Donald Judd’s Chinati Foundation. The center founded by Judd in the Texan desert focuses on works that closely combine art and its scenery. Judd’s minimalistic objects found their perfect location in the midst of empty hangars and endless desert landscapes.
Fliciński spent there several months and it’s where he developed the idea of using the star shape. The white star painted directly on the black background of a wall had a few meters long diameter and sharp finished arms. But at that time, as well throughout many following years, the dominant motive in Fliciński’s works were stripes and ellipses. The idea of coming back to the star shape appeared at the end of 2007 in the “Arrangements” series. The star was virtually scaled up to an enormous, several dozen meters large size, and lines were derived from its arms. Many such overlapping constellations create a construction of adjoining and intersecting forms. The canvases show only its fragment and even though the star was a starting point, it can’t be seen. The series evolved within time: from pure and sharp, vibrating and eye-piercing colors in the first “Arrangements”, to colors dirty, worn and faded in the newest ones that go into the making of the exhibition “Nobody knows that for sure” in BWA Warszawa.
In order to understand the profound sense of his painting one can find a comparison with Judd helpful. Judd changed the modernistic sculpture by creating symmetrical constructs, striving to achieve maximal simplicity and order, and by limiting the uncontrolled elements. He was focusing on controlling the relation between the object and its surroundings. Meanwhile Fliciński’s minimalistic abstractions are like a virus disturbing such harmony. The cut structures with sharp edges emphasize the aggressive element in his canvases. His works show closeness to the anarchistic idea saying, that in order to create one has to destroy first; perceiving construction and destruction as a constant change. In order to initiate such reaction one needs the energy of a positive destruction that starts the creation. It’s a catastrophe putting the arrangement back in order.
The tension between the modernistic order and elements of anxiety and dynamics within it can also be seen in Fliciński’s second project that is exhibited in BWA Warszawa simultaneously: these are visuals announcing the artist’s painting intervention in the space of Warsaw Train Station Warszawa Centralna. The already classic building of polish socmodernizm, that after years of negligence is being now revitalized, is treated with respect (the project respects stipulations of its architect Arseniusz Romanowicz), but without the excess of museum care. The wide white stripes placed on pillars between the platforms organize the space of the station’s underground in a different perspective than the present (across, not along) and make up a sort of a large scale visual game or a riddle (where to stand and look in order that all the pieces come together?).
How to bring modernism alive, how to disturb the modernistic order, modernistic hierarchy, in order to stay within its limits, but at the same time gain something for ourselves? How to provoke a catastrophe that won’t be a destruction, but a reinterpretation of the found situation? This might be what Fliciński is trying to figure out in his newest works. One can say that there are not only huge stars crashing each other, but most of all, two mythologies of modernistic art: mythology of order and mythology of an untrammeled gesture of the artist who, in every moment, can (and even should) cross and question the hitherto prevailing order.

See the visualization:
www.bryla.gazetadom.pl