BWA Warszawa
BWA Warszawa
"It hurts when I laugh"
05.07.2019 - 14.09.2019
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 BWA Warszawa
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
Small Sculptural Forms

Artists:
Adam Adach, Phillip Birch, Tymek Borowski & Paweł Śliwiński, Agnieszka Brzeżańska, Dorota Buczkowska, Rafał Dominik, Maurycy Gomulicki, Agnieszka Kalinowska, Piotr C. Kowalski, Joep Van Liefland, Dominika Olszowy, Sławomir Pawszak, Steve Press, Cezary Poniatowski, Katarzyna Przezwańska, Hanna Rechowicz, Ewa Sadowska, Janek Simon, Kama Sokolnicka, Małgorzata Szymankiewicz, Iza Tarasewicz, Jakub Woynarowski plus Pan Popiołek

The concept behind the show “Small Sculptural Forms” is the fruit of an observation of how works of art, sculpture and other three-dimensional objects in particular, function beyond the gallery space. What becomes of a sculpture when it travels outside of the white cube of the gallery into the hands of a private collector? How does it fit into its new spatial context? How do different works of art interact with one another in this space – and with other, conventional objects? Does the difference between the realm of art and of the everyday become more defined – or does it, perhaps, disappear altogether?
Why, after all, do we surround ourselves with objects that, at the outset, don't have any other function besides an aesthetic one? A cupboard designed by Adam Adach provides an introduction of sorts, full of trinkets and talismans brought over by the artist from all over the world. In a similar vein, artists Katarzyna Przezwańska and Sławomir Pawszak were invited to shape the arrangement of the exhibition to create a single, buzzing, heterogeneous whole. The duo also created a set of cupboard-platforms to hold and exhibit all the art objects taking part in the show.

Special thanks to:
Dawid Radziszewski Gallery, Warsaw
Leto Gallery, Warszawa
Kasia Michalski Gallery, Warsaw
Lyles & King, NYC
Galerie Parisa Kind, Frankfurt am Main
Piktogram, Warsaw
Raster, Warsaw

Agnieszka Tarasiuk "Small Sculptures"

Figurines, plastic crosses, naked ladies, puppies, fish and seashells. Arranged on top of mantlepieces and night tables. They serve as paperweights, souvenirs of seaside holidays or simply a bauble that once caught the eye of a home-owning beholder. They come in many varieties and cater to all levels of aesthetic preference and purchasing power – from a Fabergé egg to a miniature Eiffel Tower nestled inside a snow globe. The small sculptural form is a genre that has existed since the time of the Venus of Willendorf, gaining popularity at the birth of the Modern Age at the end of the 18th century. France’s founderies streamlined their production in a thoroughly capitalist spirit, producing dozens of miniature replicas, from ancient monuments to prized masterworks of the moment. Production continued to rise on an exponential scale as the appetites of the privileged class grew, all the more so with the egalitarization of tastes, becoming cheaper and more accessible to more people. Ultimately, these objects became gadgets. Today there are billions of such items in the world – many more than there are people.
In the 20th century, the commercial production of figurines took on a modernist sheen, often under the auspices of brilliant artists, manufactured by skilled craftsmen. This was exactly what happened in Zakopane in the south of Poland between 1911-1939, when the workshops of the National School for Carpentry produced modernist toys designed by Wojciech Brega, Roman Olszowski, Antoni Kenar and others. Two decades later the Warsaw-based Institute of Inudstrial Design put out the now-famous “Ćmielów figurines” in ceramic designed by Lubomir Tomaszewski, Hanna Orthwein, Mieczysław Naruszewicz and Henryk Jędrasiak. Both of these vibrant moments in Poland’s design history continue to excite collectors. We can find such pieces in the salons of grand suburban villas outside the capital and on a bookshelf in the a sparse inner-city studio. Their collectors are both professionals and complete amateurs, or often artists themselves. In their hands, these objects take on a dual character as individual pieces and as elements of a meta-installation, such as the one created by Maurycy Gomulicki, entitled “Porcelandia” and composed of his private collection of Ćmielów figurines.
There are many artists who make collections out of almost anything at all – stones, scrap metal, dried leaves, even rubbish. In the 20th century recycling became a sculptural technique. There was Picasso’s "Bull's Head” (1942) topped with the handlebars of a bike and his "Goat” (1950) of wicker baskets, and the toy car of "Baboon and Young” (1951). Around that same time Henry Moore began collecting small bits of flint in the fields of Yorkshire. He’d stack them up, sometimes adding a head made of plaster. This series of twisted forms inspired the world of sculpture for several decades on. A century earlier August Rodin accumulated an impressive collection not only of ancient sculptures, but entire galleries filled with heads, limbs and female crotches. He arranged these parts in poses that were not quite anatomically correct, but certainly erotic, within vases and other vessels, and preserving the arrangement with a plaster cast. Perhaps it was Rodin’s uncanny arrangements that inspired Polish sculptor Alina Szapocznikow to create her “Dessert” series – a collection of silicon molds of female busts and lips pudding bowls.
The exhibition at BWA Warszawa came about as the collective fruit of artists associated with the gallery and their own stores of sculptural objects. The centerpiece of the project is a glass case made by Adam Adach, which the artist filled with souvenirs, amulets and gadgets accumulated over several years, bringing them together as a philosophical treatise on the premise devised by the French anthropologist George Dumézil on the trifunctional hypothesis of Proto-Indo-European society. It gets a bit more complicated as we go along and the authorship of objects becomes blurred as they are stacked and rearranged. It is no longer clear whether the artistic value of a thing resides in its form, its history or, perhaps, the relationship between objects – or the synergy of many. The arrangement of the exhibition by Katarzyna Przezwańska and Sławomir Pawszak further muddles the line between art object and a piece of furniture. Shelves, tables and desks have been fused together organically and settled by all different works of art of their own and the other artists in the show. The confusion is heightened by the fact that one of the pieces is, in fact, composed entirely out of furniture - Iza Tarasewicz “Scorched Cells” (2015).
In the midst of this array of furnishings and non-furnishings, Phillip Birch injects his ominously mutated foot, Tymek Borowski and Paweł Śliwiński their polyurethane champagne and Agnieszka Agnieszka Brzeżańska her erotic clay vases, handmade and shrouded in pre-Columbian references. Dorota Buczkowska has produced a series of shiny chachkas with corners as sharp as broken glass. Agnieszka Kalinowska has taken a hole-puncher to create lacework patterns all over a series of fashion magazines. Joep Van Liefland has used the technique of bronze casting to preserve the disappearing form of the VHS tape. Małgorzata Szymankiewicz replaces books with slabs of marble. Sławomir Pawszak uses bits from the fabric store to revive African influences as filtered through the art of Picasso – or, rather, the Polish perception of Picasso’s art. Steve Press shaved the needles off a cactus. Dominika Olszowy brings in a decidedly arrogant species of tree made of stolen objects, while Cezary Pionatowski introduces the main protagonist of his oeuvre – a horned creature with his arms dropped. Hanna Rechowicz and the much younger member of their duo Katarzyna Przezwańska collect simple things – leaves, stones, roots, which then become their material of choice in making both fantastical pieces (Rechowicz) and minimalist objects (Przezwańska). Janek Simon turns his back on natural materials, opting strictly for plastic spit out of a 3D printer. Maurycy Gomulicki, who ran his own magazine column in the 1990s titled “Cult Objects” and raised an entire generation of flea market prowlers in search of old Barbie dolls, old school rattles and vinyl figurines. He had since moved on from collecting to making his own gadgets, but this time he’s showing his collection of secondhand monsters made of pastel-tinted glass. Rafał Dominik has also made advances in mass production, namely producing a line of hand-poured colored candles (do they smell?) and also a sculpture which appears to have deserted the world of MINECRAFT and reappeared in painted steel. Ewa Sadowska has brought a set of porcelain figurines (said to be self-portraits), while Kama Sokolnicka presents a brass rendition of the process of photosynthesis. Jakub Woynarowski’s “Amen” sets the rhythm of the show by metronome in a way that is reminiscent of the ideas of Man Ray and scholars of the 17th century.
As Bruno Szulc surmised in his “Treatise on Mannequins” and “Cinnamon Shops”, “matter is bound to an limitless fecundity, inexhaustible life force and at the same time it succumbs easily to the power of temptation...”. The exhibition continues beyond the gallery space, hooking its talons into the world beyond art. Dominika Olszowy’s fountain has installed itself into the garden along Jakubowska street, while the artist working under the alias Mr. Ash (Pan Popiołek) has devised an impressive installation to greet unexpected passersby in the courtyard along ul. Dubois 12 in Warsaw’s Muranow district.
Taking in all the diverse aspects of the exhibition is sure to be a pleasant experience, but we find that in spite of the efforts of determined philosophers, the independence of things is a matter that is still quite under appreciated. Setting aside the all-too-obvious examples of voodoo dolls or religious relics that can stop bullets in their tracks, objects do have a certain power. If only to manipulate our minds to the extent of making a person incapable of fighting the sudden impulse to start a collection... expanding it infinitely, with no end in sight.

Agnieszka Tarasiuk, Warsaw, 16.06.2016