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" BWA Warszawa
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"
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 "Demos and Demons"

"Demos and Demons" is Adam Adach's second solo exhibition at BWA Warszawa.
Adach's latest series of paintings has been inspired by his personal voyages through realms of the problematic realms of the world today, plagued by rising inequality, migration crises, pollution and environmental destruction, as well as the conceptual integrity of the human body. In his art, everything, even images of seemingly pastoral scenes, such as mountain ranges, beaches and Greek relics, function as portals that lead to another model of political discourse.

“National Library. Universal”, 2018
In composing this painting, I was inspired by authentic geological cross-sections of Warsaw’s Mokotow district. The final effect goes along with a particular painterly convention, however. The next few layers were, for me, like the multi-colored trails I’d draw as a child, of folk patterns and dances. This parallel structure is rattled with a system of dots. They serve as a symbolic representation of impulses that trees use to communicate with each other. Lately, I’ve been fascinated not only with the Demeter myth (after the voyage to Elysius), but also the contemporary scientific theories of Suzanne Simard. I warmly recommend watching the film "How trees talk to each other in a healthy forest". The regular pattern of stripes contrasts with the chaotic world of the surface. It would seem that the modernist building of the National Library is the only element that brings any sort of order into the chaotic landscape of Warsaw. I think we can look at it a different way. That’s what contemporary science teaches us. Polyvalent relations, diversity of sentient beings that use various channels of communication bring in a biological, “universal” perspective on the relationships between them that is based on the continuity between orderly arrangements devised by society, convention and the order that is we refer to as natural.

“Boundary of the Sea (Praga, Warsaw)”, 2018
The horizontal blue line is a physical boundary within the painting, yet it is also a metaphorical break between land and sea. In western cultures, the beach has come to represent recreation and relaxation, ease of mind and, at the economic level, a good quality of life. At the same time, the beach also functions as a non-place, a heterotopia, in which interpersonal relations play out in an entirely different way than in the typical hegemonic sphere. I worked on this painting for more than a year, adding layer upon layer of paint, making an effort to render this multiplicity of meanings that the beach holds for us today. 
I typically spend two months a year in Portugal, where coastal culture is particularly vibrant. The geopolitical events of the past few years have stripped the beach of its serenity. The migrant crisis and waves of refugees making their way across the Mediterranean on makeshift boats has taken its tragic toll. Our collective memory now holds the image of a three-year-old boy named Aylan, found drowned along the European coast. The news called him a symbol of ‘humanity washed ashore’. This year, as I lay back on the warm sand, I can’t help but feel a sense of guilt and I can no longer experience the beach as a space that functions outside the geo-political sphere. 
In its formal aspect, the figures of the beachgoers are reminiscent of the pattern of a traditional Persian rug that adorns the floor of my living room in Warsaw. I painted them using a single hue on a monochrome yellow background. They look like a decoration on fabric or a modernist all-over composition.

“The Fragile Absolute 3001”, 2017, “The Fragile Absolute 3002”, 2018
Icebergs and mountain scapes have been a part of my paintings for over a dozen years, ever since I started to look into the connection between various ideas on ‘inaccessible peaks’ and the fascination with ‘great heights’ that were entertained by certain romantics and dictators, among them Adolf Hitler. I focused on building ascetic compositions, in which the people meandering through the landscape are not nature lovers, but rescue teams bringing help to those who’ve been caught in a sort of accident, which remains unexplained.
My more recent works are of an entirely different character. I painted them in the heat of emotion, bitter and angry about the lack of care and respect that human beings have demonstrated for the planet. The crisp white and blue scenes give way to darker, watery images of nature degraded and destroyed. As climate change becomes all the more evident, the robber barons of today’s capitalism and the irresponsible tactics of the tourism industry have made it so that even the most distant and inaccessible terrains are giving way to ‘civilization’ – a term that I find less and less apt to describe the current state of mankind. By paradox, this sublimation of garbage and melting icebergs becomes a new source of contemplation. ‘Eternity’ isn’t timeless in a basic understanding of the term, meaning that it can exist beyond time; it rather functions as a name for an Event or a Break that supports and opens up the dimension of time as a series of consecutive actions that try and fail to capture it. The psychoanalytic term for this phenomenon, according to Slavoj ®iľek, is trauma.
 
“An Abandoned Train (The Troubles of Hephaestus)”, 2018
I began working on this piece when I was in Athens. One day, as I was walking through the city, I came upon a place where I had a full view of the entire 2,500 year-old temple of Hephaestus. Hephaestus served as a blacksmith to the gods and patron of metallurgy. I thought about how Hephaestus could be related to the current government. He was the one who manufactured a scepter and lightning for Zeus, as well as arrows for Eros, which is why he was later held responsible for setting hearts on fire and ‘crimes of passion’. At the same time, because he made Pandora’s box out of clay and not metal, he was came to be considered just as responsible for all the evil that was cast onto the world when the box was destroyed. I thought that these ways of judging the past and singling out a scapegoat is the same strategy we use today in shifting blame when things go wrong.
The ruins of an old cemetery lay before the temple on the hill, with a train track behind it. There is a wall covered in graffiti in sight, with the words ‘Berlin Kids – OPEN’ scrawled across it. 
It might have been a reference to the current migration policy or an expression of nostalgia for a better quality of life in Western Europe. The train, as it disappears into an underground tunnel, is heading north, to ‘a better world’, or, as they said in Ancient Greece, going beyond the gate to Hades.
Prior to my visit to Athens, which was during the off-season, a friend gave me her favourite Aldous Huxley quote to consider, in which he explores his ‘Perennial Philosophy’ and the link between fact and the psychological contemplation of eternity, the idea that it’s worth experiencing the fact of eternity just as much as it’s worth going to Athens and visiting the Parthenon, to experience the value of that which lies ‘beyond time’.
 
“Rhetoric for Breakfast (PNYX)”, 2017
A table is set for an everyday meal. The tableware includes a plate that looks like a souvenir from Greece, with the hillside of Pnyx drawn upon it (cl. Greek Πνύξ; mod. Greek, Πνύκα). It was a place where the Ecclesia, the popular assembly of the democracy of ancient Athens, convened and its speakers would carry on heated debates. Gottfried Benn sought references that would legitimize the authority of the Third Reich and believed he’d found them in the culture of Ancient Greece. Benn, like many of those who despise democracy, was devoted to finding a historical context to justify the violence acted out by the elites, as well as the fascination with the Phalangite soldiers (sexually as well) and, ultimately, the proliferation of an anti-feminist ideology.
Along the edge of the plate, I applied a traditional meander border, but using the pattern of a swastika instead. The table and its place settings are a reference to a sphere of meeting and socializing, rather than to general consumption overall. 
Jacques Rancière wrote about the need to look back to the original scandal that was the ‘rule of the masses’ and to capture the complex links between democracy, politics, the republic and representation. This is the price that has to be paid for rediscovering, beyond the now-frigid passion of yesterday and the hatemongering of today, the democratic idea, which is a subversive power, always new and always under threat (from Haine de la démocratie, 2005).

“Stella-bella, Kouroi and Medea’s Revenge”, 2015-2018
A number of interests of economic, sexual, legal, and religious nature are for each partner dominated by the personality of the other.
Bronislaw Malinowski „Sex and Repression in Primitive Society”, 1929

This is a series of various works on paper and carboard refuse, created along an axis of gender fluidity and formulaic methods of defining gender. They draw upon examples from a sort of historical narrative of revenge. In one Athens museum, I found a Hellenistic grave stela for a pair of lovers. After a few hundred years, the piece’s new owner lopped off the faces of the original pair and called for his own face to adorn the body of the woman. What was the purpose? Let’s remember that in Ancient Greece, the figure of the hermaphrodite was considered near-divine. And so, we have this transgendered grave monument that may astonish quite a few people today.