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" BWA Warszawa
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"
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
WGW 2019: BOWNIK "Colours of Lost Time"

24.10.2019, Thursday, 6 - 7 p.m., BWA Warszawa
Bownik "Colours of Lost Time", artist's talk
free entrance


opening: Friday, 20.09, 5-9 p.m.
Saturday - Sunday, 21 - 22.09, 12 - 7 p.m.

The opening of the exhibition is taking place during Warsaw Gallery Weekend



„It Should Be OK” – premiere of Zuza Krajewska’s album and meeting with the author
Sunday, 22.09, 6 p.m.


Grażyna Bastek "Colours of Lost Time"

What is colour? For a physicist, it’s a measurable unit of electromagnetic waves of a certain length and frequency. For a chemist, colour comes about as a result of a chemical reaction between two or more elements. For a student of anatomy, the impression of colour is created when a stimulus is received by the visual apparatus, which sends a signal to the brain, where it is processed. For some, colour exists as a fact, for others, it’s nothing more than a subjective experience. And so, how should colour be measured, named and organised into a system?
A natural spectrogram of colour is a rainbow. Isaac Newton greatly contributed to how we think about colour by establishing an arbitrary division between spectral colours, known by their simple, graphic representations, such as colour wheels. Colour wheels offer quite a limited array of colours based on the colours we see when we look at a rainbow: usually, red, orange, yellow, green, aquamarine, blue and purple. Yet the human eye is capable of distinguishing hundreds more.
We’d see an even greater range of colours if it wasn’t for the fact that the human eye is only capable of receiving a certain range of electromagnetic radiation, fittingly referred to as the anthropocentric notion of ‘visible light’. Evolution has made it so that our visual capabilities benefit from only the narrow scope between ca. 400 to 700 nanometres. A broader scope, containing shorter and longer wavelengths, would give us even greater capabilities, such as the ability to see through walls.
In comparing the visual capacity of a human being with that of other beings, how much is our perception of the world determined by the physiology of our species. Certain invertebrates, such as the mantis shrimp, has over a dozen types of photoreceptors (rods) in its eyes, when a human eye has only three. The scope of this creature’s eyesight spans infrared, ultraviolet and polarised light. We’re not even capable of imagining how the world of colours might appear through the eyes of the mantis shrimp. And could these colours be named using our existing lexicon?
The methods of cataloguing and naming colours reflect the way in which colour was thought of in a particular period in history. They were often named for the substance that brought about a particular hue or the name of a plant of that colour. In Polish, the colour pink is named for a rose (róża), violet for violets (fiolet), red (czerwień) for the larvae of the beetle of the same name, which was the source for making dye of a red colour. The poetic title Colour of Lost Time comes from an 18th-century French fashion magazine. We don’t know what that colour might be, perhaps it was a certain shade of blue. Today we use colours and symbols to indicate a particular hue in various colour coding systems.
What is colour for an artist? It certainly makes the foundation of their artistic expression, broad enough not only to describe the form of a work of art, but also its message, which can touch upon various emotions related to colour. Do artists need a precise system for naming colours? Perhaps, like Bownik, they want to blur the certainty (which is never fully certain in any case) we have about the colours we see and what we call them.
Some of Bownik’s works suggest their own, independent colour wheel. And, yet, there aren’t in any way put into order or regulated in any way. The colours that filter through them have no name, but also – like with a rainbow – they have no defined limit between them. They take on subtle hues that come together in an inconspicuous way. These aren’t the tones and colour matches of our everyday lives. Their vibrating, impossible to define, character is underlines by the rough texture of the paper they are splayed across.
Each wheel came about as a photograph of a rotating disk, photograph or etching depicting a single bird. What’s more, this is a bird that doesn’t exist any longer. Bownik’s vision takes the intense, saturated hues of a bird’s plumage and has them disperse, turning them into a buzzing phantom of spectroscopic dimensions. These extinct creatures come back to life in the form of a mysterious spectrum that casts shade. Each ‘wheel’ in the series is numbered, even though it is the transposition and artistic record of a particular species of extinct bird. These phantom birds no longer have their own names, much like our dictionaries don’t contain all the colours of lost time. Time devours its own children, as well as the memory of them.

Bownik (born 1977) graduated in Philosophy from the Marii Curie-Skłodowska University in Lublin and in Photography from the Academy of Arts in Poznań. His best known works include the photographic series Gamers, Słodowy, Koleżanki i koledzy, Disassembly, and Rewers. The authorial photobook entitled Disassembly, published by Mundin, won the main prize in the competition Fotograficzna Publikacja Roku 2014 and received nomination for the Kassel Photobook Award 2014. Bownik’s works may be found in the collections of e.g. Museum In Huis Marseille in Amsterdam, ING Polish Art Foundation, Zachęta National Gallery of Art, as well as in private collections.