BWA Warszawa
BWA Warszawa
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" BWA Warszawa
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"
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
Agnieszka Kalinowska "Heavy Water"

opening: 27.01.2018, 7 p.m.

Four photographic landscapes depict the same place at different seasons through the years. “The Place on the Earth” of the title refer to a homestead, but also a hiding place. Nature can camouflage a human dwelling or reveal it. The images by Agnieszka Kalinowska and Przemo Wojciechowski give us a look at a range of efforts to protect a homestead from destructive environmental effects, such as the threat of water damage. The photographs trace out changes in man’s environment that are entirely out of our control. “Mankind isn’t capable of planning out his existence given its dependence on many factors that function beyond human will,” says the artist. “There’s no safe place in the world. Safety comes and goes, and sometimes, naked and unarmed, we try to find a hiding place out in the open space.”
Kalinowska’s latest work, titled “Heavy Water”, consists of replicas of clay jars from Persia, Ethiopia, Afghanistan and Syria. She embellished these jars with drawings that refer to road signs informing of the presence of refugees at the border of USA and Mexico, and in areas of Australia. She used these signs in earlier works, such as her 2010 painting “People”. Such “immigration signs” are meant to warn motorists on the interstate highway about the potential for immigrants to suddenly walk out onto the road. The image shows a man, woman and a girl with braids. The signs were put up after over a hundred traffic accidents taking place in such circumstances between 1987-1990 in two corridors of the highway along the Mexican-American border. “Thanks to the work of archaeologists, we know that containers for food and water form a clear-cut trail in research on human migration. People leave behind the remains of containers, which are an essential medium for information about their lives and the place they came from,” Kalinowska explains. “The weight of water isn't only a physical concept, but also a metaphorical one. Most acutely experienced when hoisted up onto the shoulders and carried a great distance. It holds the promise of life, but also its struggle, as the risky road to obtaining it can end in death. Everyone wants to be close to the watering hole. We risk our lives, going there knowing that our enemies are there too. We don't have a choice -- without it, none of us will survive. For survival, it's also essential to preserve one’s humanity and dignity.”
Kalinowska examines issues related to the state of individuals who have been excluded in some way, who’ve been subject to some form of social or political pressure , who must fight the limitations set upon them by the majority with little regard for their rights or needs. Her works reveal the character of boundaries, both physical and mental, about the blurring of boundaries between the world of people and of nature.
The sculpture “Heavy White 2” looks a lot like a piece of a twisted metal grate covered in snow, made out of a paper wire – a technique Kalinowska came up with more than ten years ago. Snow knows no boundaries or blockades. In spite of its delicate appearance and fluttering quality, it has the power to take down a roof. Kalinowska has continued to build upon her series of fences, which all refer to various ways of acquiring, securing and fencing in a territory.
“It should really be the case that the law protects us, we shouldn’t have to set up these extra barriers,” Kalinowska says. Acts of appropriating and casting our rules onto others is depicted in the photograph titled “Pillory”. The subject of the photograph is a steel construction upon which tree branches have been hung, giving the structure a strange shape that is far from any natural form. “No one’s Bouquet” operates in opposition to this piece, as a sculpture that replicates the natural process of decomposition. The sculpture symbolizes a territory that no one cares for. No one is fighting over this land, it belongs to no one. It doesn’t have any value, so it remains there neglected and forgotten. The mix of weeds and human rubbish brings to mind another of the artist’s works, titled “My Home is My Castle,” a fragile construction made of straw and covered in moss.
Kalinowska urges us to ask the question, where would we really feel safe at last?