Art Auction: Wednesday, June 10, 2020 7 P.M. Pre-Auction Exhibition: May 26 – June 10, 2020 Tuesday Through Saturday 12 Noon – 7 P.M

art auction: Wednesday, June 10, 2020 7 p.m. pre-auction exhibition: May 26 – June 10, 2020 Tuesday through Saturday 12 noon – 7 p.m. Natalia Brandt Tomasz Ciecierski Witosław Czerwonka Andrzej Dłużniewski Irena Kalicka Alicja Karska Barbara Kozłowska Jarosław Kozłowski Anna Kutera Romuald Kutera Paweł Kwiek Natalia LL Andrzej Lachowicz Jerzy Lewczyński Zbigniew Libera Zbigniew Makarewicz Ewa Partum Andrzej Paruzel Józef Robakowski Andrzej Różycki Zdzisław Sosnowski Jerzy Treliński Teresa Tyszkiewicz Zbigniew Warpechowski 6 Franciszkańska Ryszard Waśko 00-214 Warsaw Aleksandra Went [email protected] Krzysztof Wodiczko (48) 512 833 092 artists Teresa Tyszkiewicz (1953–2020) Foil 1983

gelatin silver print, paper 23,7 x 17,6 cm signed, titled, dated, „Paryż 1983”, 178 (in circle) added on the reverse vintage print frame: passe-partout, wooden frame, glass

[1]

The photograph is a recording of one of her performative actions performed in the first half of the 1980s, in which the artist’s body was the main carrier of expression. In her photographs improvised for camera performances, Tyszkiewicz embraced a female sexuality freeing repertoire of erotic and fetishistic references. In her actions she emphasized the sensuality of physical contact with the materials like grain, cottonwool or soil. Using different objects and matter she staged situations, starting bid: 8 000 PLN in which sensuality bordered on masochistical practices. Her estimate: 12 000 – 14 000 PLN to-camera performances, which were the recording of her sub- jective experiences, refer to sensual perception that could not always be the target of logical rationalization. Józef Robakowski (1939) from the Fetishes series (head of Wojciech Wiszniewski) 1987/2001 photograph, paper 30,2 x 41,5 cm signed, titled, dated on the reverse frame: passe-partout, wooden frame, glass

The photograph from the Fetishes series depicts the author holding an object in his hand – a pillow with an attached photograph on canvas of the head of Wojciech Wiszniewski. The [2] photo of the deceased director was taken 20 years earlier in 1967. All photographs from the Fetishes series are self-portraits taken with self-timer. The naked torso of the artist is shown on each one of them. This photograph is an exception in this series. On all of the photographs, the artist holds in his hand a work by another artist from the Exchange Gallery collection. The photograph dedicated to Wojciech Wiszniewski is the only one in which the artist used his own work. The whole series in an example of the ironic and self-ironic actions referring to the fetishization of the art.

Reproduced: Józef Robakowski. High Voltage! Danger!, The State Art Gallery, So- starting bid: 8 000 PLN pot 2018; Art Archives 2. Józef Robakowski. About Witkacy, Profile Foundation, estimate: 12 000 – 14 000 PLN Warsaw 2018; Józef Robakowski. Art is Power! (Breaking Photography), The Film School in Lodz, Lodz 2016; The Art of Exchange. Józef Robakowski’s Collection, Latent Capital 4, Profile Foundation, Warsaw 2014; The Essence of the Idea. Józef Robakowski, National Museum in Gdansk, Gdansk 2012. Ryszard Waśko (1947) Self-portrait in motion 1972

gelatin silver print, paper, cardboard 28,5 x 28,5 cm signed on the front; signed, titled, dated on the reverse vintage print frame: passe-partout, wooden frame, glass

In the 1970s the artist was absorbed with film and video instal- [3] lations, as well as photography in which he was most interested in problematizing the limits and properties of this media. The essential area of his experiences were attempts to translate the time and the movement into the static language of photography. He used the video recordings for the complex compositions with the sequences of consecutive scenes. In single shots he concentrated on the possibility to capture movement, space and time in a still, single frame. In the Self-portrait in movement series deformations and blurriness of the image were the effect of the movement of the photographed object and manipulation with exposure time. In this work the artist’s doubled figure is blurred and leaves a white streak on the print. starting bid: 9 000 PLN estimate: 13 000 – 15 000 PLN Reproduced: M. Kuźmicz, Ł. Ronduda, Workshop of the Film Form, Ar- ton Foundation, Sternberg Press, Warsaw/Berlin 2017; Ryszard Waśko. Choice, Verlag der Buchhandlung Walther König, Köln 2014; Conceptual art. Photographic medium, Museum of Lodz, Lodz 2010. Andrzej Lachowicz (1939–2015) METHAPHYSIC II 1974

offset on paper 71,5 x 69,5 cm signed, titled, dated, ed. 38/50 on the front frame: wooden frame, glass

This photograph is typical for Andrzej Lachowicz’s artistic prac- [4] tice. From the 1960s the artist concentrated on investigating the visual language of photography. Creator of the “permanent art” idea, in his photographic recordings he searched for the visual translation of the variability and the constancy. With serial recording of the changing situations, he aimed to record the continuity of time. Seemingly repetitiveness of the motives and gestures was a method of the visual persuasion that could broaden the possibility of “everyday seeing”. The offset prints show a sequence of scenes where the artist tries to stand on the water mattress that floats on the surface of a lake. Metaphysic I and II in their photographic version entitled A Successful Attempt to Stand on Water, are also an example of the provocative sense starting bid: 2 500 PLN of humour with which the artist created his image. estimate: 4 000 – 5 000 PLN

Reproduced: PERMAFO, Wroclaw Contemporary Museum, Wroclaw 2012; Andrzej Lachowicz. Obserwacje i notacje, Centrum Sztuki Współ- czesnej Zamek Ujazdowski, Warsaw 2008. Andrzej Lachowicz (1939–2015) METHAPHYSIC I 1974

offset on paper 71,5 x 69,5 cm signed, titled, dated, ed. 38/50 on the front frame: wooden frame, glass

This photograph is typical for Andrzej Lachowicz’s artistic prac- [5] tice. From the 1960s the artist concentrated on investigating the visual language of photography. Creator of the “permanent art” idea, in his photographic recordings he searched for the visual translation of the variability and the constancy. With serial recording of the changing situations, he aimed to record the continuity of time. Seemingly repetitiveness of the motives and gestures was a method of the visual persuasion that could broaden the possibility of “everyday seeing”. The offset prints show a sequence of scenes where the artist tries to stand on the water mattress that floats on the surface of a lake. Metaphysic I and II in their photographic version entitled A Successful Attempt to Stand on Water, are also an example of the provocative sense starting bid: 2 500 PLN of humour with which the artist created his image. estimate: 4 000 – 5 000 PLN

Reproduced: PERMAFO, Wroclaw Contemporary Museum, Wroclaw 2012; Andrzej Lachowicz. Obserwacje i notacje, Centrum Sztuki Współ- czesnej Zamek Ujazdowski, Warsaw 2008. Zbigniew Warpechowski (1938) Football 1974

gelatin silver print, paper 29,5 x 21 cm signed, titled, dated on the reverse vintage print frame: passe-partout, wooden frame, glass

The author of this work is one of the first performers. From the late 1960s his live hapennings, with the participation of the audience, were one of the most important accomplishments of the performance art. Football took place during the Facts 74 [6] exhibition in the BWA Gallery in Wroclaw, in 1974. The artist, known for his critic of the consumer culture and media, conte- stated the propaganda of the Polish People’s Republic government. Performance conducted in the gallery was a reaction to insolent propaganda of the football in relation to the oncoming World Championships in Munich. The artist, dressed in the outfit of the Śląsk-Wroclaw football team, sprinkled himself with water and rolled around in mud outside of the gallery, then came inside, between the guests, bringing a ball. After accidentally damaging the work of Kajetan Sosnowski (also exhibited here) and then after hitting the piece again, Warpechowski fell to the starting bid: 4 000 PLN ground and started to feign injury to distract the audience from estimate: 6 000 – 8 000 PLN the incident.

Reproduced: Z. Warpechowski, Zasobnik, słowo/obraz terytoria, Gdansk 1998. Zbigniew Warpechowski (1938) Football 1974

gelatin silver print, paper 21 x 29,5 cm signed, titled, dated on the reverse vintage print frame: passe-partout, wooden frame, glass

The author of this work is one of the first performers. From the late 1960s his live hapennings, with the participation of the audience, were one of the most important accomplishments of the performance art. Football took place during the Facts 74 [7] exhibition in the BWA Gallery in Wroclaw, in 1974. The artist, known for his critic of the consumer culture and media, conte- stated the propaganda of the Polish People’s Republic government. Performance conducted in the gallery was a reaction to insolent propaganda of the football in relation to the oncoming World Championships in Munich. The artist, dressed in the outfit of the Śląsk-Wroclaw football team, sprinkled himself with water and rolled around in mud outside of the gallery, then came inside, between the guests, bringing a ball. After accidentally damaging the work of Kajetan Sosnowski (also exhibited here) and then after hitting the piece again, Warpechowski fell to the starting bid: 4 000 PLN ground and started to feign injury to distract the audience from estimate: 6 000 – 8 000 PLN the incident.

Reproduced: Z. Warpechowski, Zasobnik, słowo/obraz terytoria, Gdansk 1998. Romuald Kutera (1949–2020) Double Look 1972

four gelatin silver prints, paper 27,5 x 18 cm each signed, dated on the reverse vintage print frame: passe-partout, wooden frame, glass (each)

This work is an example of the sequential photography that was [8] a record of the to-camera performances made by the artist in the beginning of the 1970s. In this simple, photographic or video recordings of the ordinary activities, the author developed the unassuming narratives bordering on the tautology of meanings. In this set of photographs he used a work from this same year, titled A Look. A set of four pictures, presenting the artist’s partner, later wife, Anna Kutera, consists of the four phases of the head movement – head down, slightly raised, en face and raised up. The same movements of the head, but in reverse, the artist duplicate in hisDouble Look. Four photographs show him kneeling on the floor and holding the previously-made photos in starting bid: 11 000 PLN his hands. There is also a mirror attached to his chest, that refers estimate: 15 000 – 18 000 PLN to the work from the same year, titled The Mirror.

Reproduced: Romulad Kutera, Wroclaw Contemporary Museum, Wroclaw 2014. Paweł Kwiek (1951) Prolonging an Ideal Object in Physical Reality 1975

collage, two gelatin silver prints, ink, paper 29,6 x 21 cm vintage print frame: wooden frame, glass

[9]

In this work, the artist used two photographs made in a photo booth. The geometrical, white form that is hold by the author on the photos, has its continuation in the form glued to the paper between the photos. The artist was interested in the relative character of the reality, both photographed and physical, and its interpretation depending on the ways of perception. The piece made for the Contextual Art exhibition that took place in 1976 in Lund, Sweden, was a manifestation of the contextual art that presents the artistic operations departing from self-referential conceptualism in favor of art tied up with the local context and starting bid: 9 000 PLN being in the continuous confrontation with the social processes. estimate: 12 000 – 15 000 PLN

Reproduced: Paweł Kwiek. Photography, film, video, Arton Foundation, Warsaw 2013; Conceptual art. Photographic medium, Museum of Lodz, Lodz 2010. Krzysztof Wodiczko (1943) Personal Instrument Warsaw 1972

gelatin silver print, paper 22,5 x 34 cm signed, titled, dated on a label, on the reverse vintage print frame: passe-partout, wooden frame, glass

The photograph shows the author testing hisPersonal Instru- ment, a performative device designed to function in the public domain. The device, equipped with a microphone and filters controlled by photocells, served the improvement of the art of selective and creative hearing. As the artist says it was intuitive [10] and ironic answer to the reality in those times – an answer of the voiceless citizens in the enslaved public domain of the Polish People’s Republic. The Instrument was the first device designed to lead the art out into the urban space. The device was constructed in 1969 and in 1972 the artist used it in several performative actions in the different parts of the city.

Reproduced: Public Address. Krzysztof Wodiczko, Walker Art Center, Minneapolis 1992; Krzysztof Wodiczko. Critical Vehicles, Writing, Projects, Interviews, MIT Press, Cambridge, Mass., London 1999; Ł. Ronduda, Polish Art of the 70s, for Conteporary Art – Ujazdowski Castle, Warsaw 2009; Krzysztof Wodiczko, Black Dog Publishing, London 2011; Krzysztof starting bid: 14 000 PLN Wodiczko. Passage 1969–1979, Profile Foundation, Warsaw 2013; estimate: 18 000 – 22 000 PLN Krzysztof Wodiczko. On Behalf of the Public Domain, Museum of Art, Lodz 2015; Procedery sztuki lat 70., Profile Foundation, Warsaw 2016; Krzysztof Wodiczko. Instruments, Monuments, Projections, National Mu- seum and Contemporary Art, Seoul, Korea 2017. Krzysztof Wodiczko (1943) Vehicle Warsaw 1973

gelatin silver print, paper 26,7 x 26,7 cm signed, titled, dated on the reverse vintage print frame: passe-partout, wooden frame, glass

A photograph documenting one of the artist’s most important works, in which he tested the utopian Vehicle – designed and built by himself – on the streets of Warsaw. The construction consisted of a platform on wheels, driven by the movement of a person wal- king on a platform, using mechanical gears. Vehicle could only move in one direction (forwards) – “absurd progress”; the artist had to walk 10 metres so that the Vehicle could move by 5 metres. Vehicle, [11] presented as a performance in an urban space, was one of the first performative artworks that moved art away from institutions and into social space. The artist, considered a pioneer of public art, con- nected with Vehicle the idea of design and of social involvement. For its creator, the project was “a metaphor of liberal enslavement and the lack of influence on social life in the 1970s”. Made in 1971, it was the first of the Vehicles series (continued in later decades), and the only one made in Poland.

Reproduced: Public Address. Krzysztof Wodiczko, Walker Art Center, Minne- apolis 1992; Krzysztof Wodiczko. Critical Vehicles, Writing, Projects, Interviews, MIT Press, Cambridge, Mass., London 1999; Ł. Ronduda, Polish Art of the 70s., Centrum Sztuki Zamek Ujazdowski, Warsaw 2009; Krzysztof Wodiczko, Black starting bid: 13 000 PLN Dog Publishing, Londyn 2011; Krzysztof Wodiczko. Passage 1969–1979, Profile estimate: 18 000 – 22 000 PLN Foundation, Warsaw 2013; Krzysztof Wodiczko. On Behalf of the Public Domain, Museum of Art, Lodz 2015; Procedery sztuki lat 70., Profile Foundation, War- saw2016; Krzysztof Wodiczko. Instruments, Monuments, Projections, National Museum and Contemporary Art, Seoul, Korea 2017. Andrzej Lachowicz (1939–2015) Natalia LL at the exhibition Symposium Wroclaw ’70 at the Museum of Architecture in Wroclaw 1970 two gelatin silver prints, paper 13 x 17 cm each signed, titled, dated on the reverse vintage print frame: passe-partout, wooden frame, glass

[12]

Two photographs depict Natalia LL in the Museum of Architec- ture in Wroclaw during the exhibition Symposium Wroclaw ’70. The artist stands next to the work of which she is a co-author with Zbigniew Dlubak and Andrzej Lachowicz. The Relop Set of Optical Instruments was a project of gigantic periscopes with a system of mirrors inside big, bended tubes that allow the watcher to see images that are out of view. The Relop model was a proposition of object to be installed in the public space of Wroclaw. Images overlapping like in kaleidoscope would de- monstrate the ways of manipulating the perception. Symposium starting bid: 3 000 PLN Wroclaw ’70 is perceived as the first manifesto of the conceptual estimate: 4 000 – 6 000 PLN art in Poland.

Reproduced: PERMAFO, Wroclaw Contemporary Museum, Wroclaw 2012. Andrzej Paruzel (1951) VIDEO-PHOTO 14 1976

three gelatin silver prints, letraset, felt-tip pen, paper 29 x 20,5 cm each signed, titled on the front vintage print frame: passe-partout, wooden frame, glass

[13]

This work is one of the first productions from the Video/Photo Objects series in which the artist researched the relation -be tween the recorded object and its image transmitted through the video cameras and the picture taken with the analog camera. In this recorded action the two industrial video cameras were used, both with the different focal length: 80 mm left and 50 mm right. In the next situations the cameras were pointed to the performer’s boots. The author stood in the same place all the time. He changed the position of the cameras, placing them starting bid: 6 000 PLN on the points A, B and C and then photographed the transmit- estimate: 8 000 – 10 000 PLN ted image. Because of the different depth of field, the images emitted on the monitors give the impression of the performer’s movement. Zdzisław Sosnowski (1947) Goalkeeper 1975

four gelatin silver prints 2,5 x 3,8 cm and three prints 9 x 14 cm each signed, titled, dated on the front vintage print frame: passe-partout, wooden frame, glass

A set of three photographs is a part of the large series started in [14] 1975 and consisting of films and photographs. The three frames show progressive, dynamic shots of the artist-goalkeeper thro- wing himself on the ball. The author, appearing as a football star, was playing with the pop cultural style of the media spectacu- larism. Dressed in white suit and a black hat, with a cigar in his mouth, he played an ambiguous hero of the Polish People’s Re- public’s consumerism. In a perverse way he showed the means of creating local myths of the mass culture. On the first photograph there is a small photo attached, depicting the artist with Teresa Tyszkiewicz, his partner and then wife, who appeared in the second part of the film Goalkeeper. starting bid: 6 000 PLN Reproduced: PERMAFO, Wroclaw Contemporary Museum, Wroclaw estimate: 8 000 – 10 000 PLN 2012; Latent Capital. 20th Century Photograpy From Cezary Pieczynski’s Collection, Profile Foundation, Warsaw 2010; Ł. Ronduda, Polish Art of the 70s, Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw 2009. Zdzisław Sosnowski (1947) Goalkeeper–Teresa 1977

four gelatin silver prints, paper, cardboard 27 x 30,5 cm signed, titled, dated on the front vintage print frame: wooden frame, glass

[15] A set of four photographs which are part of the large series started in 1975 and consisting of films and photographs. Four frames show the author and his wife, famous artist, Teresa Tyszkiewicz. Sosnowski appears as the title goalkeeper, stylized football star, in white shirt, a black hat, dark sunglasses and a cigar. In accordance to the mechanisms of creating the consumer’s desires, the sport idol of the masses becomes an object of desire. The four photographs shows the relation between the couple, full of erotic tension. The fetish in this game of gestures and gazes is the requisite of the goalkeeper – a leather ball shown in the foreground. starting bid: 6 000 PLN Reproduced: PERMAFO, Wroclaw Contemporary Museum, Wroclaw estimate: 8 000 – 10 000 PLN 2012; Latent Capital. 20th Century Photograpy From Cezary Pieczynski’s Collection, Profile Foundation, Warsaw 2010; Ł. Ronduda, Polish Art of the 70s, Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw 2009. Anna Kutera (1952) You are red and yellow... 1975

serigraph on textile 80 x 50 cm signed, titled, dated on the front ed. 2/2 frame: passe-partout, wooden frame, glass

[16] This is one of the six serigraphs from the Morphology Of New Reality series started by the artist during her studies at PWSSP in Wroclaw and presented for the first time in 1975 at the solo exhibition in Galerie St. Petri in Lund. This extensive series consists of sequential scenes with a small boy, cousin of the artist’s husband. Repetitive scenes or static frames with a person, the artist would diversify changing the props or the perspective. In the photos printed on the canvas she changed the colour version of each one of the six prints with the model photographed en face. An advocate of the contextual art, and the only one female artist involved in the practice of the idea of this art, she often added a commentary to her works. starting bid: 4 000 PLN estimate: 5 000 – 6 000 PLN Reproduced: Dom Ludzkiej Natury, Galeria Miejska „Willa”, Lodz 2011; Genetyczne Konteksty, Galeria „Pusta” GCK, Katowice 2010; Anna Kutera, The City Gallery in Wroclaw, Wroclaw 2009; Morfologia Nowej Rzeczywistości, Galeria Sztuki Najnowszej, Wroclaw 1975. Andrzej Dłużniewski (1939–2012) Not-him XIII from the Not-him series 1995

collage, paper 30 x 24 cm signed, titled, dated on the front frame: wooden frame, glass

One of 29 “anti-portraits”, collage compositions depicting the [17] same human figure “filled” with various contents. For the artist, these portraits showed people with whom he couldn’t com- municate or find common ground. This semi-humorous, semi-moralistic series of portraits built from newspaper cut-outs, photographs and the debris of daily life, was a game with language, art, literature and ethical systems. Phrases from everyday language, such as “from the depth of one’s heart”, “full of doubt”, “heart of stone” and “airheaded” were translated by the artist into a visual language of particular figures. In the Not-Him series as well as in the Burlesques series and verbal plays he developed a perverse dialogue with tradition, perception of art and the not-always-funny daily life. starting bid: 9 000 PLN estimate: 12 000 – 14 000 PLN Reproduced: Andrzej Dłużniewski. I Am Asked About Nothing, Profile Foundation, Warsaw 2019; A walk with Andrzej Dłużniewski towards Art, Museum of Art in Łódź, 2005; Nieon I-XLI. NotHim I-XLI, Stara Gallery, Lublin 1997. Andrzej Dłużniewski (1939–2012) from the Iconograms series, no 24 1974

drawing, ink, paper signed, titled, dated on the front frame: passe-partout, wooden frame, glass

Works from the Iconograms series depict frames of non-existent pictures, subjected to geometrical arrangements. Iconograms [18] were an example of analytical work dealing with art-related notions, which the artist was developing in the 1970s. They reffered to an idea of an “image of a non-existent picture”, developed by the artist at that time. In abstract, simplified forms of Iconograms, Dłużniewski modified a rectangular frame - a border of a non-existent picture. The concept of Iconograms with their “geometric ballet” was continued in 22 figural pictures (1979), a work comprising 22 photographs depicting various configura- tions of the artist’s actions with picture frames.

Reproduced: Andrzej Dłużniewski. I Am Asked About Nothing, Profile Foundation, Warsaw 2019; A walk with Andrzej Dłużniewski towards starting bid: 13 000 PLN Art, Museum of Art in Łódź, 2005; Beyond Corrupted Art. Akumulatory estimate: 15 000 – 18 000 PLN 2 Gallery, 1972-1990, Zachęta National Gallery of Art, Warsaw, 2012; 16 Contemporary Polish Artists, The Aldrich Musueum of Contemporary Art., Ridgefield, Connecticut, 1977; si, sympozjum „Interwencje”, Pawło- wice 1975; Procedery sztuki lat 70., Profile Foundation, Warsaw 2016. Zbigniew Libera (1959) from the Flat Reality series 2010

drawing, pencil, colored pencils, paper 42 x 59 cm signed, dated on the reverse frame: passe-partout, wooden frame, anti-reflective glass

[19] In the Flat Reality project, Zbigniew Libera shows the influence of the consumer culture’s images on the perception of reality and creating its myths. In the bicycles drawings he recreated the deformations and foreshortenings of the photographs. He portrayed the traps and methods of the visual luring with fanta- sies by showing shapes of bicycles deformed by a point of view. Slogans from the drawings refer to Jean Beaudrillard’s process of derealization of the reality in which the image is an object of precession producing next mutation. Esthetics of those slogans refer to the dynamic of the constructivist typography and the agitational rhetoric of mottos of the advocates of the “visual starting bid: 11 000 PLN hygiene” and the new social order. estimate: 15 000 – 19 000 PLN

Reproduced: Zbigniew Libera. The Flat Reality, Profile Foundation, Warsaw 2009; Hotel Europejski Art Collection, H. E. S. A. Sp. z o.o., Warsaw2018. Jarosław Kozłowski (1945) from the Cover Your Wall series 1985

2 drawings, pencil, paper 83 x 55,5 cm each signed, titled, dated on the reverse frame: wooden frame, glass (each)

From the late 1960s drawing is for the artist the elementary tool of the recording and analytical research concerning the [20] language of art. Understanding drawing to be the most direct way of noting the artistic ideas, Kozlowski draws on paper, walls, pavements, he also makes drawing performances to this day. In the series titled Cover Your Wall he draws on the wallpaper with pencils. The diptych presented here was made with two pieces of wallpaper covered with identical pattern. The artist diffe- rentiated them with a different ways of including the drawing into the structure of the pattern. Drawings on wallpapers are deceitful development of the idea of art as a game of unveiling and hiding. As in the Cover Your Face series with the surfaces of paper covered tightly with drawings, the author reminds us of starting bid of the set: 22 000 PLN the duality of art and its images, that does not unveil anything, estimate: 30 000 – 35 000 PLN on the contrary, as wallpapers do, their purpose is only to hide.

Reproduced: Jarosław Kozłowski. Kamuflaże, Muzalewska Gallery, Poznan 2017. Teresa Tyszkiewicz (1953–2020) Huit fleurs 2007

pins, water color, paper 67,5 x 49 cm signed, dated on the front frame: passe-partout, wooden frame, glass

[21]

A sheet of paper pierced with hundreds of tailor’s pins is a characteristic example of the work of an artist who developed a highly distinct style and a technique of her own. The expressive, seemingly chaotic composition is subordinate to the undula- ting rhythms defined by the angles at which the pins have been stuck. Tyszkiewicz started working with pins in the late 1970s, using different surface materials, such as paper, canvas, sheet metal, or photographs, as well as incorporating various other starting bid: 13 000 PLN materials and objects in the compositions. An author of films estimate: 18 000 – 22 000 PLN and performances, her paintings and objects highlight the pro- cessual nature of their making, related to physical effort and the repetitiveness of the gesture of pinning various materials. Ryszard Waśko (1947) Meditation Drawings 1999

two drawings, pencil, colored pencils, paper 29,7 x 21 cm each signed on the front, signed, titled, dated on the reverse frame: passe-partout, wooden frame, glass

[22]

On of three works in which the author using different motives, showed postive and negative versions juxtaposed. These drawings refer to photographic experiments from the 1970s in which the author juxtaposed the realistic, positive versions of objects with their negatives. Those analytical experiences concern the role of the often omitted negative as starting point and the source material. Years later the artist tried to create non -existing negatives for the digital photography. This work is an example of the artistic practice, typical for Waśko, of surpassing starting bid: 11 000 PLN the borders of art, intermedial references and working on the estimate: 15 000 – 18 000 PLN properties of one medium with the tools of the other.

Reproduced: Ryszard Waśko, The International Artists’ Museum, Tel Aviv 2000. Andrzej Różycki (1942) Cage II 1969

gelatin silver print, paper, cardboard 57,5 x 47,3 cm signed, titled, dated on the reverse vintage print frame: passe-partout, wooden frame, glass

[23] The photograph is one of the most known works made in the circle of the Zero 61 Group. It is an example of mixing technological experiments with a metaphorical, even lyrical ways of portraying the reality. The effect of those experiments with photochemistry are the solarized elements in the photograph, tree branches reversed in the negative, which the artist used later in the Paradise Lost series. The mystery in this almost unreal view of the forest clearing is achieved with the deep black color, in the opposite to the first version of this photograph, made one year earlier and developed in greyscale.

Reproduced: L. Lechowicz, Grupa Zero-61 (1961-1969), The Film School starting bid: 12 000 PLN in Lodz, Museum of Art, Lodz 2016; Andrzej Różycki. Poetyka form, The estimate: 15 000 – 16 000 PLN City Gallery of Lodz, Lodz 2011; Andrzej Różycki – Bycie z Sacrum, Gale- ria Sztuki Wozownia, Torun 2011; Polish Contemporary Photo Exhibition: After Man Ray Vol.3 / Negation and Return in Polish Photography, Stripe House Museum, Tokyo 1990. Andrzej Różycki (1942) I like you girls, after all 1966

gelatin silver print, lanolin paint, paper 57,2 x 45,5 cm signed, titled, dated on the reverse vintage print frame: passe-partout, wooden frame, glass

The photograph made during the author’s activity as member of [24] Zero 61 group, when his research often led to the limits of the photograph’s readability. Ambiguity and complexity of the portrait of a female head is the effect of manipulations during the development of the photograph. A distorted face with asymme- trically placed eyes is as diabolical as it is grotesque. The expression of the portrait is emphasized with the contrast of black and white and a vivid burst of red color made with lanoline-based paint. The artist often colored his photographs himself, mixing the techniques and the artistic media. This photograph was used in 2010 in the collage from the Fotoandrzejozofia series, in which Różycki also used elements from the unfinished works by Zofia Rydet. starting bid: 12 000 PLN estimate: 15 000 – 16 000 PLN Reproduced: L. Grupa Zero-61 (1961-1969), The Film School in Lodz, Museum of Art, Lodz 2016; Polish Contemporary Photo Exhibition: After Man Ray Vol.3 / Negation and Return in Polish Photography, Stripe House Museum, Tokyo 1990. Natalia LL (1937) Consumer Art 1972/ print from the 1980s

gelatin silver print, paper, foam board 50 x 60 cm signed, titled, dated on the reverse vintage print frame: metal frame

Consumer Art is part of a photography and film series in which the artist utilized the language of popular culture in order to provoke with images of „consumer eroticism”. Here, this leading [25] feminist artist presented, in a pioneering manner, how female sexuality is linked with advertising and marketing persuasion. In her early 1970s sets of photographs (consecutive frames) with images of models, she provoked using the ambiguity of corpo- real sensuality in depictions that diverged from the conceptual frameworks of the arts prevalent at the time.

Reproduced: Natalia LL. Art and Energy, National Museum in Wroclaw, Wroclaw 1994; Natalia LL. Texty, Galeria Bielska BWA, Bielsko Biala 2004; Ł. Ronduda, Polish Art of the 70s, Centre of Contemporary Art Ujazdowski Castle, Warsaw 2009; Subject of Gender and Desire. Photographs from the Collection of Joan- na and Krzysztof Madelski, EGO Gallery, Poznan 2012; PERMAFO, National Museum in Wroclaw, Wroclaw 2012; Natalia LL. Doing Gender, Lokal Sztuki starting bid: 18 000 PLN Foundation/ Lokal_30, Warsaw 2013; Dzikie pola: historia awangardowego Wro- estimate: 25 000 – 30 000 PLN cławia, Zachęta National Gallery of Art, Warsaw, National Museum in Wroclaw, Wroclaw 2015; Natalia LL. Secretum et Tremor, Centre of Contemporary Art Ujazdowski Castle, Warsaw 2015; Natalia LL. Sum ergo sum, Centre of Contem- porary Art Znaki Czasu, Torun 2017. Ewa Partum (1945) Kunst 1998

lipstick, letraset, oil, canvas 40 x 30 cm signed, dated on the front

[26]

The presented work is characteristic for the artist who mixed the conceptualization of art with the feminist critic of patriarchy. Letters with the imprinted lipstick constitute the artist’s method of communicating with the alphabet of lips. This method of si- gnalizing ones presence with the imprint of red painted lips was initiated in 1971 in the works with the subtitle “my touch is the touch of a woman”. In the following years the imprints of the artist’s lips showed up in different works, and in different colored lipstick, as evidence of her idea of inseparability of the artistic statement and the artist’s body. As the leading representative of starting bid: 18 000 PLN the feminist art od the 1970s, she uses her body as the carrier estimate: 25 000 – 30 000 PLN of the feminist discourse and in the opposition to analytical, male conceptualism, she combines the feminist and conceptual narratives. Anna Kutera (1952) Intension 1975

eight gelatin silver prints, paper 24 x 18 cm each on the cardboard, 48 x 72 cm signed, titled, dated on the front vintage print frame: wooden frame, glass

The work is part of the Morphology Of New Reality series started by the artist during her studies at PWSSP in Wroclaw and [27] presented for the first time in 1975 at the solo exhibition in Galerie St. Petri in Lund. This extensive series consists of sequential scenes depicting the dailiness. The hero of the series is a small boy, cousin of the artist’s husband making everyday things and gestures with the use of changing props like flowers, a hat, a ball, a dish filled with food. In the work titled TheIntension the author collated shots of the different takes of the boy that is about to kick the ball. With the incorporation of the theme of children into the analytical actions based on the principle of divi- ding and multiplying variants of the same motif, the artist brakes the puristic language of conceptual art. starting bid: 14 000 PLN Reproduced: Lady in the Mirror: Artistic Strategies of Women in the 1970’, estimate: 18 000 – 20 000 PLN 9/11 Art Space Foundation, Poznan 2017; Dom Ludzkiej Natury, Galeria Miejska „Willa”, Lodz 2011; Genetyczne Konteksty, Galeria „Pusta” GCK, Katowice 2010; Anna Kutera, Municipal Gallery, Wroclaw 2009; Morfo- logia Nowej Rzeczywistości, Galeria Sztuki Najnowszej, Wroclaw 1975. Jarosław Kozłowski (1945) 49 seconds in grey from the Excercises in colour series 1988 two gelatin silver prints, paper, pencil, cardboard 53 x 42,5 cm vintage print frame: wooden frame, glass

The category of time has been one of the leitmotifs of Kozłow- ski’s practice since the late 1960s. Alarm clocks, wall clocks, wri- stwatches all appear in various constellations in his photographs, books, performances, and from the 1990s, monumental instal- lations. Manipulations with time, demonstrating its relativity and conventionality is for the artist a way to question standards, [28] measures and all that is taken as granted. In the late 1980s, Kozłowski’s preoccupation with time found an outlet in works in which he explored the possibility of defining time with colours and shapes. In the photographic series Exercises in Colour, the faces of wrist watches showing various times were painted in different colours. The contrast between the black and white faces of the watches was summarized by the artist humorously as time in greyscale.

PHotographs from the series were used by the artist in his art book Thirty and Fifty One published in 1989 by Kunsthallen Brandts Klaede- fabrick in Odense. starting bid: 12 000 PLN estimate: 15 000 – 19 000 PLN Reproduced: Jarosław Kozłowski. Neither East Nor West, Neither North Nor South, Profile Foundation, Warsaw 2017; Art Archives. Tomasz Ciecierski. Jarosław Kozłowski, Profile Foundation, Warsaw 2017, Jarosław Kozłowski. Quotation Marks, Profile Foundation, Warsaw 2010. Barbara Kozłowska (1940–2008) Video-art, performance 1979

two gelatin silver prints, paper 23 x 17,5 cm each signed, titled on the reverse vintage print frame: passe-partout, wooden frame, glass

Two photographs of tv screens, in which we can see the artist during her performance made as part of a larger project titled [29] Point of view, which took place in the Catacombs Gallery in Wroclaw, in 1979, which also included the performance being recorded on video and the footage being shown in real time on several monitors, allowing the viewers to follow the event from multiple viewpoints. The point of reference for this action was the theory of seeing Władysław Strzemiński and its take on the relationship between artistic practice and the ways of perceiving reality. The performance itself had its roots in Leonardo da Vinci’s aesthetic studies of human body proportions. Performing various movements with her hands and legs, the artist was in- scribing her own body into an invisible circle defining the dimen- starting bid: 6 000 PLN sions of the Vitruvian man. estimate: 8 000 – 10 000 PLN

Reproduced: Her Own Way. Female Artists and the Moving Image in Art in Poland: From 1970s to the Present, Tokyo Photographic Art Museum, Tokio 2019. Zbigniew Makarewicz (1940) X – Total Visualization 1978

gelatin silver print, paper 23,7 x 18 cm vintage print frame: passe-partout, wooden frame, glass

[30]

The photograph shows one of the artist’s performances as part of the larger project titled Formula X. It was a kind of happe- ning, a lecture and a monologue, an artistic act consisting of performative and discursive translation of art through different symbols and their transformations. Objective elements, drawn or painted diagrams and schemes served as visual appendixes to the radical operations of the artist who called them theory -practice. Initiated in 1969 the idea of Formula X in the next years underwent modifications and overgrow with references to starting bid: 3 000 PLN the symbols from different cultures. In the Total Visualization of estimate: 5 000 – 8 000 PLN Formula X in Zielona Gora in 1978 the artist painted and effaced diagrams and explications from the specially prepared slab as the whole process was recorded on video. Jerzy Treliński (1940) Railways Pawlowice 1975

gelatin silver print, paper 21 x 15 cm signed, titled, dated on the reverse vintage print frame: passe-partout, wooden frame, glass

The photograph made as part of the 1970s’ series under “Auto- tautologies. About oneself – nothing” slogan. The works consisted of putting the name of the artist as a graphic on different objects, elements of the surroundings, in the public domain. The [31] name written with printed letters, always with the use of the same, simple font, signified the artist’s presence in an impersonal way. Autotautologies were initiated in 1972 with the book, of which pages were covered with rhytmical structure of repeated, in the diagonal layout, name of the artist. The book was subjected to shredding by the government censorship, but then, the same pattern showed up printed on a shirt, a tie, a dress, a tablecloth, a pillow or flags. In 1975 during the Symposium in Pawlowice the artist put a stripe with the print of his name on railways.

Reproduced: Jerzy Treliński. Autotautologie i geometryczność, Municipal Gallery starting bid: 5 000 PLN of Art, Lodz 2016; Jerzy Treliński. Art-synergia, Academy of Fine Arts in Lodz, estimate: 8 000 – 10 000 PLN Lodz 2011; Jerzy Treliński. Autotautologie. O sobie samym – nic, Centre of Polish Sculpture Centrum Rzeźby Polskiej w Orońsku, Orońsko 2008-2009; Jerzy Tre- liński, Ślady obecności, Municipal Gallery of Art, Lodz 2002; A. Kępińska, Nowa sztuka: sztuka polska w latach 1945–1978, Auriga, Warsaw 1981. Jerzy Treliński (1940) Action – Ars longa... Lodz, Serwituty 1975

gelatin silver print, ink, paper 21,5 x 16 cm signed, titled, dated on the reverse vintage print frame: wooden frame, glass

[32] This works is an ironic reflection about the notion of art itself. Referring to the Latin proverb Vita brevis, ars longa the artist shows himself in a demotic clothing on a monumental pedestal. The eternal art, as the title says, is in this work a put-on show, the monument’s plinth is an old stove, classical columns are wooden props, and the confident pose of the artist wearing wellies is nowhere near the nobility of most statues. In this pawky metaphor of the monument to the art, what is transient is dominating. On the pedestal stands the artist in the role of a commoner, more vita brevis than ars longa. In the 1970s and the 1980s the artist often conducted actions with a lot of humour, starting bid: 5 000 PLN contestating the hierarchical order of the artistic world. estimate: 8 000 – 10 000 PLN

Reproduced: Jerzy Treliński. Art-synergia, Academy of Fine Arts in Lodz, Lodz 2011; Jerzy Treliński, Ślady obecności, Municipal Gallery of Art in Lodz, Lodz 2002. Tomasz Ciecierski (1945) 5 Fronts and Backs 1994

collage, photograph, pencil, paper, cardboard 24,5 x 35 cm signed, titled, dated on the front frame: wooden frame, glass

[33]

A unique collage comprising cut-outs of photographs depicting the backs of the artist’s paintings in his atelier. Precisely (but also randomly) cut photographs present various shots of the nailed-together canvases, typical of Ciecierski’s artistic practice in the 1990s. The collage is a kind of a palimpsest, in which the montage-like structure of the paintings is composed into a photographic montage, creating a near-architectural construction. In a subversive way, the artist refers to the field of painting through the medium of photography, putting the technological dimension of painting into the foreground: stretchers, the unpri- starting bid: 5 000 PLN med side of the canvas, warps, dimensions, etc. The patchwork estimate: 8 000 – 10 000 PLN nature of the collage is the result of the artist’s typical approach to his field of activity, a habit of registering and analysing his own paintings. Jerzy Lewczyński (1924) from the Negatives found in New Yorkseries 1979/2008

gelatin silver print, paper 46,5 x 46,5 cm signed, dated, stamp of the Association of Polish Art Photo- graphers, stamp of the Jerzy Lewczyński Archives | Gliwice on the reverse vintage print frame: passe-partout, wooden frame, glass

[34]

Zdjęcia z serii Negatywy znalezione w Nowym Jorku powstały z negatywów znalezionych przez artystę wśród śmieci na ulicy w Nowym Jorku. Przedstawiały one sceny z amatorskiego teatru często o erotycznym charakterze i ujęcia ze swobodnych oby- czajowo spotkań towarzyskich. Twórca koncepcji „archeologii fotografii” pozwalającej na wykorzystywanie prac innych auto- rów znany był z poszukiwań i badań prowadzonych nad fotogra- fią znalezioną. Podejmował próby dotarcia do informacji o sfotografowanych osobach ale również o autorach znalezionych zdjęć czy negatywów. Zdjęcie zostało wywołane przez starting bid: 4 000 PLN autora w 2008 roku, wcześniej pokazywany był na wystawach estimate: 8 000 – 10 000 PLN tylko negatyw.

Reproduced: Materia (w) fotografii, The State Art Gallery, Sopot 2008; Jerzy Lewczyński. Negatywy – ciąg dalszy, Mała Galeria, Warsaw 1984. Irena Kalicka (1986) from the What Happened Will Not Unhappen series 2013 analog photograph, paper 30 x 40 cm signed, titled, dated, edition on the reverse ed. 1/5 frame: wooden frame, glass

[35]

In the series, What Happened Will Not Unhappen the artist shows weird figures with their faces masked or painted with overdrawn makeup. Groups of roughhousing clowns and frivolous female clowns do not avoid perversion and unrefined gestures. Posing or captured in instantaneous shots they show the world, that is in opposition to the conventions, where one can loose himself to the suppressed emotions. The artist shows audacious clowns violating the social order. Those provocative parts are played by friends of the author, often artists themselves. Their masquera- des, tomfool’s faces and eccentric behavior make up the portrait starting bid: 2 500 PLN of the generation that searches for its identity in disguise. estimate: 4 000 – 5 000 PLN

Reproduced: Irena Kalicka, Profile Foundation, Warsaw 2018; Artists from Krakow: The Generation 1980–1990, Museum of Contemporary Art in Krakow MOCAK, Krakow 2015. Natalia Brandt (1983) We’d Like to Put a Little Light in Your Life from the Hidden Connections Among Things series 2019 collage, paper 50 x 40 cm signed, titled, dated on label, on the reverse frame: wooden frame, glass

[36]

In the Hidden Connections Among Things series, in surprising con- figurations of references, a tangle of forms, shapes, and words of sly, tongue-in-cheek commentary, the artist constructs a kind of “visual aphorisms”. With superimposed layers of mixed punc- tuation marks, letters, numbers, words, sentences, fragments of images, photographs, print or coins, she arranges new narrative structures. She presents several dozen color collages, using old books, magazines, engravings, illustrations, documents, and starting bid: 4 000 PLN various objects. Combining seemingly incompatible contents, estimate: 5 000 – 6 000 PLN she produces aphoristic representations, replete with sense of humour and ulterior references to art history, modernist canons, avant-garde styles, or cultural myths and discourses. Alicja Karska (1978) i Aleksandra Went (1976) from the Cityproject series 2008–2009 lambda print, dibond, plexi 33 x 50 cm signed, titled, dated, edition on the reverse ed. 3/6

[37] Photograph from the Cityproject series is one of the shots depicting models of fictive cities turning into models of ruins and remnants of the never-made projects. Miniature urban schemes were constructed from sugar cubes melting away in the mud of the Gdańsk Shipyard. Staging the images of the cities with their “modernist” architecture made from sugar, the artists question the contemporary utopias. On the next photographs they recorded the image of destruction of the rational ideas and spilled geometry of the white cubes. Cityproject if one of the series in which the artists ransack the ruins of modernism and its meanings. starting bid: 2 500 PLN estimate: 4 000 – 5 000 PLN Reproduced: G. Świtek, Gry sztuki z architekturą, Nicolaus Copernicus University Press, Torun 2013; Alicja Karska & Aleksandra Went. Memory of Images, Profile Foundation, Poznan 2011; P 1, University of Gdansk, Gdansk 2010. Witosław Czerwonka (1949–2015) No 5 from the Typewriting series 1982

typescript, ink, paper 29,7 x 21,1 cm signed, titled, dated on the front frame: passe-partout, wooden frame, glass

[38]

In the series of drawings made with the repetition of one character written with a typewriter, the artist developed a method involving the mechanical repetitiveness of the notation. He developed the idea of the autonomous action earlier in the Autonomous Drawings series, later to be continued in the 1980s in Anonymous Drawings and Letters from Gdansk, “written” on the subsequent pages filled with semi-automatic writing. He concentrated on the simple mechanics of the artistic gesture resigning from any reference to the reality. He used the automatic, repetitive and impersonal way of work in his performance Pararell Record (1981) in which he consequentially puts layers of starting bid: 2 000 PLN characters on the same piece of paper, which was inserted again estimate: 4 000 – 5 000 PLN and again into the typewriter. The equivalent of the multiplica- tion of the visual record was multiplicated record of sound, the artist’s voice reading more and more illegible text. Ewa Partum (1945) Aesthetics 1995

ashes, ink, envelope 11,1 x 22 cm signed, titled, dated on the front frame: passe-partout, wooden frame, glass

[39]

The envelope with the ashes made with burning down the inscription AESTHETICS arranged with curled up paper cuts that were the effect of the artist’s performance in Poznan, in 1995, during the seminar on the feminist art. The performance was a protest against the Women Art Historians Association in Poznan. Happenings with the burning of the word AESTHETICS the artist initiated in 1988. Ashes were left in place or gathered into signed and stamped envelopes given away to the audience or donated to the art collections. These actions were a symbolic starting bid: 2 000 PLN gesture aimed at the traditional understanding of aesthetics. estimate: 3 000 – 4 000 PLN The artist, radically criticizing the patriarchal social order and the male-centric artistic scene, often took action aimed at the canonical meaning of art. Jerzy Treliński (1940) untitled – postage stamp 1972

print, ink, paper 4 x 3 cm certificate of authenticity signed by the artist ed. 50 frame: passe-partout, wooden frame, glass

The postal stamp was made as part of the 1970s’ series Autotau- [40] tologies. The works consisted of putting the name of the artist as graphic on different objects, elements of the surroundings, in the public domain. The name written with printed letters, always with the use of the same, simple font, signified the artist’s presence in an impersonal way. Autotautologies were initiated in 1972 with the book which pages were covered with rhytmical structure of repeated in the diagonal layout name of the artist. The same pattern showed up printed on a shirt, a tie, a dress, a tablecloth, a pillow or flags. The pawky, tautologic expansion of his own name, the artist continued sending postcards with the pattern on one side, an with the stamps with his name on the starting bid: 500 PLN other. The side with the stamp had also a slogan “About oneself- estimate: 1 000 – 1 500 PLN nothing” written on it.

Reproduced: Jerzy Treliński, Ślady obecności, Municipal Art Gallery in Lodz, Lodz 2002. 1. The organiser of the auction is Fundacja Profile. 12. The payment for purchased objects should be completed in cash 2. The phone and online biddings are handled by the auction’s partner, or via a bank transfer within 7 days from the auction date. In case the Artinfo.pl. payment is not completed, Fundacja Profile is allowed to cancel the 3. The subject of the auction are artworks collected by Fundacja Profile. transaction at the cost of the Buyer. 4. Each artwork selected for auctioning is accompanied by 13. The ownership is granted to the Buyer once the entire payment is a photograph, description, starting bid and an estimation. completed. 5. The auction is conducted according to legal regulations by an authori- 14. Fundacja Profile guarantees compliance of catalogue descriptions zed person, hereby called the Auctioneer. with the actual state. 6. Increments in the auctions are acknowledged by the Auctioneer. 15. Fundacja Profile is not responsible for concealed physical or legal 7. Participation in the bidding is allowed only for holders of plaques with damages of purchased objects. identification numbers. Plaques are given out before the auction, after 16. Fundacja Profile reserves the right to withdraw an object prior to prior submission of personal data of the Buyer to Fundacja Profile (stric- the auction without further explanation. tly for Fundacja Profile’s information). 8. The Auctioneer is allowed to divide or connect objects selected for auctioning according to their own choice, as well as to withdraw the objects from the auction without further explanation. Descriptions of the objects in the catalogue may be completed by the Auctioneer before the auction begins. 9. The bidding finishes in the moment when the Auctioneer’s hammer hits the table and equates the conclusion of the transaction. The person offering the highest bid becomes the buyer (aside from conflict situations). In case of a conflict, the Auctioneer is allowed to resolve it or to put the object to auction again. 10. The Organizer of the auction adds a 15% commission to the hammer price. 11. Selected objects may include guaranteed prices, below which they cannot be sold by the Organizer. In case the bidding doesn’t exceed the guaranteed price, the price of the object may be negotiated in a conditional transaction. The guaranteed price cannot be lower than the bottom estimation. terms & conditions