BWA Warszawa
BWA Warszawa
Witek Orski, White Balance
19.06.2021 - 31.07.2021
Konrad Żukowski "skeches" / Magdalena Łazarczyk "collages"
21.05.2021 - 12.06.2021
Krzysztof Maniak, Joanna Przybyła "Stone and Tree"
26.02.2021 - 15.05.2021
Martyna Czech "29 of 100 paintings painted in 2020 year"
12.02.2021 - 20.02.2021
Sławomir Pawszak "Amalgamate"
01.10.2020 - 28.11.2020
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"
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 BWA Warszawa
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
"ALPHAVILLE" Griffin Artspace, Warsaw

Ewa Axelrad & Steve Press
Jarosław Fliciński
Kama Sokolnicka
Małgorzata Szymankiewicz
Krystian TRUTH Czaplicki
Wojtek Ziemilski

Griffin Art Space, Hala Koszyki, ul. Koszykowa 63, Warsaw
open: Tuesday-Sunday 3 p.m. - 7 p.m.
Warsaw Gallery Weekend: Friday, 28.09, 5 p.m. - 9 p.m., Saturday, 29.09 and Sunday 30.09, 12 - 7 p.m.

Justyna Kowalska, Tomasz Plata, Michał Suchora

Lenny Caution, in the guise of a detective, lands in a futuristic city ruled over by an electron brain – this is the opening scene of Jean-Luc Godard's “Alphaville”, one of the best-known classics of the French New Wave. The film exhibits yet another cinematic dystopia: a story of a totalitar-ian world in which culture has lost the battle with technology – in Alphaville literature has been banned entirely, citizens don't know the meaning of the word “love”. If, however, after so many years we still remember Godard's film, it may be for another reason. “Alphaville” remains one of the most remarkable “urban” films of our times. The city is the star, shining more brightly than any of the characters. This is a direct effect of the film's having been shot in Paris of the mid-1960s. The modernist city (shot almost entirely at night, illuminated by neons) was easily transformed into a futurist metropolis. In effect, “Alphaville” was set as the iconic image of a city suspended in time, ambiguous in character.
Those conspiring against Alphaville's digital regime read books in secret. Lenny's favourite piece of subversive literature is the surrealist poetry of Paul Eluard, such as the poem “Et Notre Mouvement”, which begins “Nous vivons dans l'oubli de nos métamorphoses”, which trans-lates to “We live in the void of metamorphoses”. The inclusion of the words “metamorphosis” and “void” perfectly illustrates the realities of Alphaville. Here is a city that has set constant change as its goal: it changes so quickly that it has already achieved the promise of future progress. Yet in Alphaville change does not necessarily bring on any particular effect, it is immediately forgotten because the entire city functions beyond history. Historical memory is treated as a threat to the social order.
In “Alphaville” we see a dynamic city, which in fact remains static. Doesn't this remind us of something closer to home? Isn't Warsaw today very much like Alphaville? Certainly, Warsaw can be considered using keywords drawn from Godard himself. The exhibition opening in the tempo-rary exhibition space at the Koszyki Market Hall in central Warsaw provides the best setting to do just that.

A city undergoing a process of constant, yet inscrutable change is the subject of films by Ewa Axelrad and Steve Press, a young artistic duo based in London. Submerged in a flood of lights, the fans and television cameras of these videos are a symbol of the city as an organic beast, living a life of its own. Within this change there is no evidence of any great historical drama, it is, rather, a product of gradual entropy.

A recent sculpture by Małgorzata Szymankiewicz, an artist known mainly as a painter of abstract canvases, takes a subversive view on the subject of city building. At first glance it brings on associations with the famous, never yet built, Monument to the Third International of Vladmir Tatlin – perhaps the most recognizable symbol of the utopian erection of a city from scratch. Szymankiewicz refers to this utopia, but she doesn't uphold it. The house of cards built on an incline appears as if it were condemned to ruin, only the whole turns out to be a rather stable construction of wood. And so it isn't a utopia, but a balance between temporality and stability – this is the recipe for the contemporary metropolis.

Krystian TRUTH Czaplicki is among the most intriguing Polish artists to come from the street art community. He works predominantly in the public space, setting up remarkable works that refer to the artistic lexicon of minimal, geometric abstraction. Within the framework of “Alphaville”, he presents a site-specific installation built of great pillars of styrofoam. The minimalist theme is referenced (much in the vein of Carl Andre and Sol LeWitt), but also transgressed. Czaplicki is still more of an anarchist than his great predecessors and, what's more, he chooses to work with materi-als that are generally considered ignoble and unstable within the realm of art – which must have caused some indignation among artists attuned to a more traditional view of minimalism. It is no accident that this is a material that plays a huge role in the world of architecture, particularly with regard to its more populist uses. How many of us have been witnesses to the historic façades of Warsaw disappearing beneath layers of styro-foam? Bear witness now to how this same material in the hands of TRUTH is transformed into art matter.

Jarosław Fliciński has selected a material that is similarly relevant to the temporal nature of contemporary architecture. The accomplished ab-stract painter of the middle generation has designed a huge banner that introduces a thought-provoking ambiguity particular to the scores of banners covering the big cities of the world today. The basis of this project is the simultaneous act of displaying and covering. The banner shows something, but in order to do so, it hides something else away. As a consequence, the space covered up by the banner is transformed into a Po-temkin-style city – a hidden city torn out of any historical context, suspended in time. Fliciński uses a simple gesture to illustrate the complexity of the situation, creating a banner in the form of an enormous curtain. What is lurking behind it? Is there anything there at all? Perhaps there is noth-ing to hide, after all, since the observation of the curtain is a pleasure in itself?

Kama Sokolnicka's project gives way to a similar line of questioning. This young artist was previously known mainly for her refined collages. Here she has created a circular metal container, much like a well, which has been filled with a dark liquid. Sokolnicka's installation is a hint at the idea that every space, every bit of architecture has its own depth, its own archaeological foundations, its own history.

A similar idea is formulated by Wojtek Ziemilski, a theater director known for last year's staging of “Small Narration”. Ziemilski is also active on the art scene, creating neon signs proclaiming such loaded ideas as “Postępowanie pamięci” (“Memory's Progress”), which makes several links between location, memory and history. “Memory's Progress” can be understood as the depiction of a situation in which knowl-edge of the past is acquired and in the process, individual identities are formed. Yet, there is also the suggestion that memory is not simply putty in our hands. Memory “progresses”, and thus it has more of an impact on us than we have upon it. Furthermore, this phrase suggests some-thing even darker: the idea that memory can advance much like an illness. How can it be handled without the risk of infection? This is a question worth considering in a place of such historical significance as the Koszyki Market Hall.

Griffin Group is a real estate investment fund. It owns investment properties throughout Poland, including the Prima Court building and Koszyki Hall. In addition to developing the firm, the Griffin Group’s partners have decided to combine their interest in art with the business they create. Thus, Griffin Art Space was born: a private art gallery without a permanent home, which will visit Griffin Group projects, inviting artists to create their art in spaces provided on location. Inaugurating this project is the “Alphaville” exhibition.

The market hall on Koszyki Street has been a permanent part of the climate and landscape of its part of Warsaw’s centre ever since its construc-tion in 1909. The building was designed by Juliusz Dzierżanowski to be built of brick with a steel roof, and construction began in 1906. After 100 years of use and having suffered damage during the war, concerns about its condition led to the decision to completely renovate it. Existing steel elements are undergoing specialist conservation work, and renovation will also soon begin on the brick annexes; the “Alphaville” exhibition is currently visiting one of these structures. Meanwhile, the property will be expanded and, together with the renovation of the hall’s nave, the addition of underground parking and office buildings will create a coherent urban complex. As the landmark returns, so will the area’s character, which will take on an important business and gastronomic role on Warsaw’s map, just as it had 100 years ago. In polishing its merchant tradition, it also blossoms into a place which induces the visitor to stop and feel its memories. We believe that in breaking ties with our memory we lose our sense of identity, and thus also contact with the present day.