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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" BWA Warszawa
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"
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

wystawyBWA Warszawa
o nas

english version
Márton Nemes & Małgorzata Szymankiewicz "Falling Out of Rhythm"

The opening: Friday, 29.11.2019, 7 p.m.

In collaboration of Erika Deak Gallery, Budapest and with a support of Hungarian Institut of Culture in Warsaw.

The exhibition is the fruit of a collaboration between two artists who met on the Internet. They were both fascinated by the other’s work, which they only knew from online reproductions. Soon enough, their mutual interest became the foundation for this collaboration. Falling out of Rhythm premiered this past September at the Erika Deak gallery in Budapest, featuring the latest works from both artists coming together in one great painterly installation.

The title refers to the process of constant experimentation, of creating art in a way that shifts as it moves ahead. It is also a reference to RAVE culture, which is often touched upon in the previous works of Márton Nemes as a contemporary form of tribalism, escape and social alienation.

Márton Nemes (born 1986, Székesfehérvár) lives and works in London. ‘Traditional’ is not a word that would describe his work. He is constantly experimenting with new techniques and materials, often breaking out of the canvas with his abstract compositions in space. His trademark is certainly his saturated colours and punkish expression. Following out of Rhythm presents his latest series, titled Tomorrow and F.O.M.O., along with several works out of aluminium of the same title - Falling out of Rhythm.

With Tomorrow, the structure of each piece, while it may take it starting point from the traditional rectangular form, undergoes a considerable alteration: from melding together ‘mini-frames’ in steel to create angular effects on the surface of the work, and on to using mirrored panels and laser-cut plexi to create jarring contradictions within the same frame, breaking through with a simple line and highlighting its construction.

In the F.O.M.O. (Fear of Missing Out) series, Nemes continues his spatial experiments, doing away with the canvas altogether, leaving just the frame and the angular constructions within the space where the canvas used to be. The motif of the bold, saturated colours remain on the frame and the sharp structures within - however the real subject of the work is that which is absent, in other words, negative space. The acronym of the title refers to the contemporary phenomenon related to social media - the fear that one may miss a particularly exciting or fulfilling event that they see promoted widely across one or more platforms. Sociologists describe it as an effect of urbanization that favours a more individualised stance. City dwellers tend to have an easier time of socialising thanks to the apps in their smartphones and yet they still tend to miss out on a great deal of traditional interpersonal interaction. This idea is at the heart of this collaborative project. Márton and Małgorzata got to know one another by observing one another on social media. In time, their ‘likes’ of each other’s posts led to a real conversation between the London-based artist and the Poznan-based artist.

Małgorzata Szymankiewicz (born1980, Poznań) follows the trail of Polish and international traditions of abstract painting, concentrating on the aesthetics of modernism and its formal questions. In her painterly series, she eagerly reaches for philosophical inspirations and metaphors for contemporary reality.

She says that what’s most significant in her latest paintings is the ‘reference to the Baroque idea of ‘Aplicatio Sensum’, which refers to the use of the senses (in this case, vision) to deliver a message, in addition to the common idea of the period that rhythm was a way to bring together contradictions in the form of a painting. This sort of representation unites concepts of a paradoxical nature, such as an organic state with geometric shapes, coincidence with a calculated system, one idea and its opposite. The result is a confrontation of these opposing ideas, which generates a polyphony of meanings and references. She is most interested in the dual character of Baroque art, which can be more broadly understood as a dialectic. In her works, she refers to the theories of Władysław Strzemiński and Katarzyna Kobro in their writings, Calculating the Rhythm of Space-time [Obliczeniach rytmu czasoprzestrzennego] (1931). Their interpretation of the dynamics of the Baroque is founded on the illusion of movement and the essential, explosive potential of visual forms of art. Szymankiewicz’s latest works explode with movement, in spite of their seeemingly disciplined forms. The dynamic compositions, created in mellow hues, are broken up and cut, and yet they always maintain a certain harmony - a permanent value that is evident in all of her pieces.

Another of Szymankiewicz’s references is the interpretation of the idea of rhythm based on the concept of plasticity formulated by Catherine Malabou, a contemporary French philosopher who binds classical philosophy to neuroscience. As Szymankiewicz explains, ‘She defines plasticity as an accident, an incidental form that is permanently undergoing change. It can be understood in a positive way, as the capacity to create or chance (e.g. through art or evolution), as well as a negative one (destruction, decomposition, irrevocable change). Plasticity, aside from providing the ability to create, can also become a destructive force. It’s an unpredictable thing that becomes a metaphor for something that jolts you out of your rhythm, routine or normal state of affairs.”

The ‘negative spaces’ mentioned in the work of Nemes, in other words, the idea of ‘missing out’ has its counterpart in the work of Szymankiewicz. The fragmentary character, gaps and holes that are made by the Hungarian artist can also be seen as an illusion, a trick of the eyes and painterly suggestion. The largest piece in the exhibition was created by the artists together and hung in the corridor outside the gallery. This fragmented composition incorporates both artists’ vivid slashes, conjuring up the impression of a ‘negative impasse’.