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Group exhibition:
ID: E20.4


Title:

We Are People




Date:
June 24 — August 14, 2020 

Place:
Galeria Labirynt, Lublin, Poland

Curator:
Waldemar Tatarczuk

Artists:
Archiwum Protestów Publicznych (Agata Kubis, Marta Bogdańska, Karolina Sobel, Adam Lach, Chris Niedenthal, Wojtek Radwański, Rafał Milach), Mirosław Bałka, Marta Bogdańska, Przemek Branas, Karolina Breguł, Ludomir Franczak, Martyna Gart, Gilbert and George, Wojciech Gilewicz, Igor Grubic, Bartosz Jakubowski, Anna Jankojć, Sara Herczyńska, Łukasz Horbów, Kamil Kak, Anton Karyuk, Filip Kijowski, Bartek Kiełbowicz, Paweł Korbus, Daniel Kotowski, Kornel Leśniak, Grzegorz Kozera, Izabela Maciejewskia, Marta Maliszewska, Rafał Milach, Krzysiek Oleksiak, Liliana Piskorsk, Jacek Poniedziałek, Gabryś the Prince, Karol Radziszewski, Józef Robakowski, Daniel Rycharsk, Sergey Shabohin, Bart Staszewski, Syreny TV (Ewa Majewska, Aleka Polis), Elwira Sztetner, Agata Sztorc, Mariusz Tarkawian, Filip Tułak, Bożna Wydrowsk, Paweł Żukowski






Sergey Shabohin:
photo Fear of Castration:
Self Portrait in Glory Hole
,
2016


Poster, 2020


Explication:
Is it necessary in the 21st century to keep repeating that a human being is a human being regardless of their origin, skin colour, gender, sexual orientation or any other traits? The answer to this question no longer seems obvious when the president of the country states: “They are trying to persuade us that LGBT are people, but it’s an ideology”, and his electoral campaign staff member adds: “Let’s protect ourselves from LGBT ideology and let’s stop listening to these idiocies about some human rights, or some equality. These people aren’t equal to normal people, end of discussion.”

The exhibition “We Are People” reacts to the current developments and threats that they entail. When leading politicians make statements that challenge the inherent equality of all people and question what should remain unquestioned, it is hard to remain indifferent. “Auschwitz did not fall suddenly from the sky”, as the historian, journalist and former concentration camp prisoner Marian Turski remined us in his recent speech. It began with small, seemingly innocent steps, such as the so-called “ghetto benches” for Jews at universities. Thus, slowly and silently, evil creeped in, adopting its most gruesome form. A classroom bench – nothing serious, after all, we can pretend nothing is happening and carry on living… Later came the ban on using swimming pools, shops, public places… We know all too well how it ended.

We are currently turning a blind eye on many hateful statements from politicians, laying the blame, for example, on the heated public debate on the eve of the elections. When we fail to protest, we come to terms with such statements, we let them exist. “Monsters exist, but they are too few in number to be truly dangerous. More dangerous are the common men, the functionaries ready to believe and to act without asking questions” – wrote Primo Levi. A treatise on the banality of evil was penned by Hannah Arendt. Her words still ring true: “Evil is banal because it may go unnoticed, one may not think about it, it can be multiplied infinitely while concentrating on something else.”





   
Group exhibition:
ID: E20.5


Title:

All of Poland.
The Journey to the Source of Art
(Non-institutional
Art Spaces in Poland).
Vol. 2


︎

Date:
June 5 — August 22, 2020

Place:
Gdańska Galeria Miejska, Gdansk, Poland

Curator:
Anna Mituś

Artists:
9/10 (Jakub Borkowicz and invited artists: Ula Lucińska and Michał Knychaus, or Inside Job), Centrum Centrum (Łukasz Jastrubczak and Małgorzata Mazur), Radzionków Gallery (Maciej Cholewa), CSW Wiewiórka (Cecylia Malik and Bartolomeo Koczenasz), Domie (Katarzyna Wojtczak and Martyna Miller), Elementarz dla mieszkańców miast (Arkadiusz Półtorak, Martyna Nowicka and invited artists Mikołaj Małek and Leona Jacewska), Czynna Gallery (Łukasz Ogórek, Marcin Polak, Tomasz Załuski and invited artist Paweł Kowzan), Komputer Gallery (Łukasz Radziszewski, Szymon Kaniewski, guest artist Bartosz Zaskórski, Piotr Marzec), Groszowe sprawy (Maja Demska), Jak zapomnieć (Karolina Jarzębak, Tomek Nowak, Arek Dec), JEST (Agata Lankamer, Iza Opiełka, Magdalena Kanawka, Krzysztof Latarowski, Piotr Bzdęga), Kalektar.org (Sergey Shabohin), Latarnia Górska (Konrad Brynda, Piotr Bujas, Paweł Krzaczkowski, Katarzyna Szumska), Łęctwo (Przemek Sowiński and invited artists Grzegorz Bożek, Agnieszka Grodzińska, Paweł Marcinek, Przemysław Piniak, Zuza Piekoszewska, Paweł Szostak), Obrońców Stalingradu 17 Gallery (the gallery team and invited artists Rafał Pietrusewicz, Iga Świeściak, Grażyna Monika Olszewska), Potencja (Karolina Jabłońska, Tomasz Kręcicki, Cyryl Polaczek), Pracownia Portretu (Katarzyna Stańczak, Maciej Łuczak and invited artist Jakob Forster), Żurnal Zin (Emilia Bocianowska, Nico Carmandaye, Anna Maria Koronkiewicz

With the special participation of Tri-City initiatives: Gnojki, Instytut Cybernetyki Sztuki (Marek Rogulski), Kolonia Artystów (Sylwester Gałuszka), Kolonia Teraz Artists’ Foundation (Alicja Jelińska, Mikołaj Jurkowski), Tajna Gallery (Marcin Zawicki), Wolne Pokoje (Marta Koniarska, Basia Nawrocka), UL Gallery (Piotr Mosur, Piotr Mańczak)
   
Work:
Information wallpapers Kalektar.org
  
Sergey Shabohin:
information wallpapers
Kalektar.org,
2019


Explication:
The curator wishes to thank the following curators and artists for their recommendations: Monika Drożyńska, Ewa Tatar, Inside Job, Aleksandra Kołodziej, Joanna Rzepka-Dziedzic, Łukasz Dziedzic, Zorka Wollny, Adam Witkowski and Anna Witkowska, Anna Orlikowska, Ewa Łączyńska-Widz, Maryna Tomaszewska, Paweł Kowzan, Katarzyna and Stach Szumski, Piotr Stasiowski.

Public institutions of modern art are currently going through a crisis related not only to the new economic censorship, but also to the accusations of elitism on the one hand and involvement with mass culture mechanisms on the other. Governed by the politics of spectacle, the institutions whose existence depends politically and financially on the number of visitors often trade attendance rates for media-publicised names. Consequently, they tend to lose their truly critical creative potential, which is now moving to private intimate institutions, galleries run by artists and off-the-clock freelance curators. The last such serious erosion of trust in mainstream and public media communications was witnessed during the martial law in Poland in the early 1980s. At that time, in the wake of spiritual elation art curators, critics and theoreticians set off for journeys referred to as “pilgrimages”, visiting studios and art school departments in various cities to look for what could have been censored by the official accounts.

Perception of art nowadays is to a large extent perception of its media image. Studies have shown that only a small percentage of people who claim to be culture participants visit galleries or artists’ studios or meet the artists themselves. This applies even to curators who must often rely on their intuition, initiative, travel budget and coopetitive contact network. Hence the idea of reconstructing the seemingly outdated ways and tools for recognising the most active artistic areas and milieus, while avoiding strict distinctions between disciplines and genres of the practiced art.
The All of Poland exhibition was born out of telephone calls, numerous meetings in small towns, gardens, building sites and other places where the heart of the Polish art beats. The objective was to check and compare what we know from “media”, “the net” and the institutional channels with what is being created directly in social practices, during meetings, talks, and eye-to-eye contacts.

For that reason, we decided to travel around Poland and see for ourselves how art of 2010s/2020s is made and in what circumstances. This exhibition would not have been possible without new contacts and without listening to numerous recommendations, learning the perspectives of local connoisseurs, without rejection of the fear of surprises, or without accepting one’s own locality. In the end, we are always alone in our individual reception of art and our cognition has no physical limitations. No location is privileged in the post-geographic world.

All of Poland
is therefore a provoking title without undue aspirations. It merely indicates the extent of the area which in reality cannot be comprised by any exhibition. Gdańsk and the Tri-City represent a unique space in the symbolic map of Poland, with long tradition of collective efforts and self-organisation, giving rise to such well-known and reputable institutions as Instytut Sztuki Wyspa (Wyspa Institute of Art) or its festival Alternativa.

The Gdańsk edition of the exhibition, created at the invitation of and in collaboration with the Gdańsk City Gallery, would not be complete without some of the Tri-City’s non-institutional initiatives, including the ones by Marek Rogulski as the continuator of the transgressional spirit of Totart and continuously active experimental groups, and his Instytut Cybernetyki Sztuki (Institute of Cybernetics of Art). Other contributors include Kolonia Artystów (Colony of Artists), or one of the longest active artist-run spaces in the Tri-City, Kolonia Teraz Artists’ Foundation, Tajna Gallery, Wolne Pokoje, UL Gallery and Gnojki. At the exhibition, Tri-City non-institutional art spaces will be marked on a special “map”; their actual contribution to the exhibition will be in form of a special events program.

- - -

The exhibition is accompanied by the book by Maryna Tomaszewska Kuratorzy (Curators). The book is an attempt at understanding the role of curators, the mythical promoters and first recipients of art, often treated with caution by the artists themselves and rarely noticed by mass art consumers. The publication is a humorous counterpoint to the exhibition in which the curator’s authority is actually put on hold. In this way, Tomaszewska’s project questions the ostensibly elitist character of the curator’s profession and opens space for discussion on the status of and the need for this function today.
Sergey Shabohin:
information wallpapers
Kalektar.org,
2019



   
Group online exhibition:
ID:  E20.3


Title:

Solidarity and Agency



Online exhibition: 

solidarityandagency.online





Date:
June 1 — December 31, 2020

Place:
Galeria Arsenal, Bialystok, Poland


Curators:
Katarzyna Różniak, Eliza Urwanowicz-Rojecka

Artist/s:
Adelina Cimochowicz, Monika Drożyńska, Galeria Komputer, Barbara Gryka, Juliana Höschlová, Magdalena Kosek, Daniel Kotowski, Diana Lelonek i Edka Jarząb, Marta Mariańska, Rita Müller, Arek Pasożyt, Shukhliada & Photinus Studio School (authors: Yevhenii Arlov, Anna Ivchenko, Max Nykyforiv, Oleksandr Reznikov, Oleksandr Sirous, Igor Sokolov, Yevhenii Svystun, Dmytro Tentiuk, Taira Umarova, Mykhailo Vybodovskyi; curators: Lera Polianskova, Max Robotov, Ivan Svitlychnyi), Marta Romankiv, Ala Savashevich, Sergey Shabohin, Katya Shadkovska, Jana Shostak, Jaśmina Wójcik i Jakub Wróblewski, Weronika Zalewska, Paweł Żukowski
Work:
Photo ST()RE #12: Dusty Slogan





Sergey Shabohin:
photo ST()RE #12:
Dusty Slogan,
2020


Explication:
We initiated the Solidarity and Agency project at the Arsenal Gallery in Białystok during the crisis caused by the coronavirus pandemic, when on March 12, 2020 cultural institutions in Poland were closed. It was Rebecca Solnit who inspired us to talk about solidarity during the crisis, convincing us that it is at the times of disaster that we become solidary, altruistic and empathic. During last weeks, we have all been observing self-help and solidarity actions both on a large scale an within small local communities. Despite the necessity of “social distance”, or else – thanks to it, we have found ways and tools for community-focused practices.

Artists presented at this exhibition focus on solidary and agential attitudes. We hope that such a way of imaging and commemorating the crisis – though only partial – can be an inspiration for further practice of solidarity and imagination. We would like it to inspire faith in future and in the agency of each of us. The end of this story hasn’t been written yet.


Collaboration:
Tomek Pawłowski Jarmołajew
Collaboration on the part of Gallery:
Ewa Chacianowska (Production)





   
Group exhibition:
ID: E20.1


Title:

From the Peripheral




Date:
January 24 — March 29, 2020 

Places:
Galeria Kameralna / Centrum Aktywności Twórczej / Baszta Czarownic, Slupsk and Ustka, Poland

Curators:
Edyta Wolska, Roman Lewandowski

Artists:
Andrzej Ciesielski, Krzysztof Maniak, Paweł Matyszewski, Zdzisław Pacholski, Daniel Rycharski, Sergey Shabohin, Sylwia Starkowska, Łukasz Surowiec, Weronika Teplicka
Works:





Sergey Shabohin and Paweł Matyszewski:
Smuggling of Biomaterials
(Car Door / Ford 1327 1J00922)
,
2019


Explication [in Polish]:
Jednym z rezultatów toczącej się na naszych oczach globalizacji jest fenomen fragmentaryzacji tak zwanych wielkich narracji i ucieczka człowieka w żywioł peryferyjności. Okazuje się, że współczesna jednostka, zmęczona ideologią „ufortyfikowaną” w urbanistycznym i architektonicznym dyskursie, wybiera życie z dala od miasta lub na marginesach wielkich kulturowych centrów. W tym zdecentrowanym i na pozór „fragmentarycznym” świecie możemy ponownie odnaleźć spokój i pozyskać wolność w małych – prywatnych bądź lokalnych opowieściach, które – mimo swej efemeryczności – są jedynym potencjalnym gwarantem naszej swobody i niezależności. Współczesny artysta, który intencjonalnie wybiera funkcjonowanie na prowincji, przedmieściach czy też penetruje suburbia, mniej lub bardziej intencjonalnie wchodzi w rolę trickstera, a zatem przyjmuje postawę mocno ambiwalentną i pełną wieloznaczności. Trickster bowiem stosuje pastisz, paradoks, żongluje metaforami i z łatwością się przemieszcza, przy czym nieobce są mu rewiry codzienności czy świat marginesu oraz brulionu. Wszystko to są ekwiwalenty strategii, które możemy odnaleźć w twórczości artystów tworzących na obrzeżach głównego artystycznego nurtu i poszukujących wolności poza akademickim dyskursem.
1. Sergey Shabohin and Paweł Matyszewski:
Smuggling of Biomaterials
(Car Door / Ford 1327 1J00922)
,
2019


2. Sergey Shabohin:
video Violation of Biopower Borders,
2017


3. Sergey Shabohin:
Canvas Cut with the Karta Polaka [1] ,
2018


Link:



   
Group exhibition:
ID: E19.21


Title:

Whole Poland.
The Expedition to
the Sources of Art




︎

Date:
December 13, 2019 — February 2, 2020

Place:
BWA Wrocław Gallery Contemporary Art, Wroclaw, Poland

Curators:
Anna Mituś, BWA Wrocław curatorial team

Artists:
9/10 (Jakub Borkowicz and invited artists: Ula Lucinska and Michał Knychaus, or Inside Job), Jan Baszak, Piotr Bruch, Centrum Centrum (Łukasz Jastrubczak and Małgorzata Mazur), Maciej Cholewa, CSW Wiewiórka (Cecylia Malik and Bartolomeo Koczenasz ), DOMIE (Katarzyna Wojtczak and Martyna Miller), Primer for City Dwellers (Arkadiusz Półtorak, Martyna Nowicka and invited artists: Mikołaj Małek and Leona Jacewska), Galeria Czynna (Łukasz Ogórek, Marcin Polak, Tomasz Załuski and invited artist: Paweł Kowzan), Computer gallery (Łukasz Radziszewski and Szymon Kaniewski and invited artist: Bartosz Zaskórski), Śmierć Frajerom Gallery (Nikodem Baiser, Dominik Jałowiński, Jakub Gliński), Penny Matters (Maja Demska, Alicja Wysocka), How to Forget (Karolina Jarzębak, Tomek Nowak and invited artist: Arek Dec), JEST (Agata Lankamer, Iza Opiełka, Magdalena Kanawka, Krzysztof Latarowski, Piotr Bzdęga), Kalektar.org (Sergey Shabohin), Latarnia Górska (Konr ad Brynda, Piotr Bujas, Paweł Krzaczkowski, Katarzyna Szumska), Kasper Lecnim and Irmina Rusicka, Łęctwo (Przemek Sowiński and invited artists: Grzegorz Bożek, Agnieszka Grodzińska, Paweł Marcinek, Przemysław Piniak, Zuza Piekoszewska, Paweł Szostak), Paweł Matyszewski, Obrońców Stalingradu 17 (Defenders and invited artists: Rafał Pietrusewicz / Rufus, Iga Świeściak, Grażyna Monika Olszewska), ODIO (Aleksandra Ozimek), Post Brothers, Potencja (Karolina Jabłońska, Tomasz Kręcicki, Cyril Polaczek), Studio of Portrait (Katarzyna Stańczak, Maciej Łuczak and invited artist: Jakob Forster), Marek Rachwalik, Iza Tarasewicz, Żurnal Zin (Emilia Bocianowska, Nico Carmandaye, Anna Maria Koronkiewicz)
   
Works:
Installation Smuggling of Biomaterials (Car Door)
in collaboration with Paweł Matyszewski;
Information wallpapers Kalektar.org
  
Sergey Shabohin and Paweł Matyszewski:
Smuggling of Biomaterials
(Car Door / BMW E6-43R-00048)
,
2019


Explication:
The concept of the exhibition refers to the period of “curatorial pilgrimages” from the eighties of the twentieth century, undertaken by researchers and curators of art during the institutional boycott. Just like at that time, also today their aim is to recognize new important phenomena and trends in current national art which haven’t been falsified by institutional or ideological mediation. The exhibition will be created at the intersection of studies and queries carried out by the BWA Wrocław curatorial team as a combination of a documentary road movie and artifacts acquired during the query.
Sergey Shabohin:
information wallpapers
Kalektar.org,
2019