REVENGE ON REALISM THE FICTITIOUS MOMENT IN CURRENT POLISH ART

MICHAL BUDNY, IGOR KRENZ, ZBIGNIEW LIBERA, BARTEK MATERKA, HONORATA MOCHALSKA & ANDRZEJ BLACHUT, ZBIGNIEW ROGALSKI, SZYMON ROGINSKI

REVENGE ON REALISM THE FICTITIOUS MOMENT IN CURRENT POLISH ART

KRINZINGER PROJEKTE

REVENGE ON REALISM

TABLE OF CONTENTS

5 Introduction

9 Einführung

14 Michal Budny

16 Igor Krenz

18 Zbigniew Libera

20 Bartek Materka

22 Mochalska & Blachut

24 Zbigniew Rogalski

26 Szymon Roginski

28 Biographies

32 Imprint & Credits

3

REVENGE ON REALISM by Severin Dünser, exhibition curator

Realism is a term used to refer to a rea- texts on them. For this project he used listic mode of representation which the layout of large Polish papers, having seeks to depict things the way they are, the texts set and published (»Masters« without anything illusionistic. In the era series, fig. 1). In this way he was able to of reality TV series this appears to be a subvert the media, giving the artists pre- hopelessly idealistic endeavour. Reality sented in the articles the public space seems to be democratized under the he felt they deserved. This exhibition also sway of the media. Advertising, too, presented works from the »Positives« contributes to this, being omnipresent on series in which he reconstructed photo- the streets of Warsaw. Having emerged graphs with a negative connotation and only at the beginning of the 1990’s, it lent them positive meaning. He ques- was a new medium offering a new field of tioned what appeared to be photo- activity for creative individuals, including graphy’s inherent objectivity by publishing a number of artists. However, already in these photographs in newspapers, re- the 1960’s there had been artists who introducing them to the flow of imagery. worked with reality – artists such as Igor Krenz, too, works with the credibility Andrzej Partum, Jan Swidzinski, Anastazy of the medium, in this case, of video. He Wisniewski, Leszek Przyjemski or the visually processes experimental setups. artist pair KwieKulik who had used In “Fire is better than Scissors“, for in- »positive negation« to comment on reality. stance, he proves by empirical means Zbigniew Libera has dedicated a piece to that fire is more suited to triggering off a these artists, asking art critics to write chain reaction, at the end of which a

5 fig. 1: Zbigniew Libera, pages from the »Masters«-Series, 2003 bottle is burst. Before our very eyes he available in the system that existed at lets balls and matchboxes (fig. 2) disap- that time. In the piece »Snow« he recon- pear, and he does this in the same matter- structs a snowbank, using the tracks of-fact way in which he demonstrates made by a dog and by a motorcycle. His the likelihood of being able to catapult a »Announcements« (fig. 5) address some- stone into a can. With a wink he shows thing ephemeral. Here he merges yel- that the only the right side of the video lowed paper with texts that have faded. image actually exists by letting the bott- Information that is just as non-functional le burst on that side (fig. 3). can be derived from his map (fig. 4) in While Krenz caricatured the physical which the focus is on their entity, their essence of things and thus also science very formal qualities. and research, Michal Budny is interes- By contrast Honorata Mochalska und ted in the external appearance of things. Andrzej Blachut are interested in the dis- He translates the world of everyday solution of the object. In the exhibition things (cell phones, CD players, houses, they present three small sculptures that …) into artworks, using cheap material resemble animals (fig. 6). Using photo- such as packaging paper. For his grave graphs they tell short stories about their stone he uses packaging material from personalities, lending them something the socialist era to simulate the marbled intrinsic which, in turn, relativizes their surface. This is something every Polish status as objects. Nevertheless, the person is able to understand, since this figures oscillate between objecthood packaging material was one of the few and subjectivity, holding the materiality

6 fig. 2: Igor Krenz, Disappearance of the Matchbox, 2001, Video, 38’’

fig. 3: Igor Krenz, Only the left Side of the Screen exists, 1998, video, 48’’

and chromaticity of classical sculpture nuclear places from computer games. in suspense. In »Untitled« (fig. 7) they For Bartek Materka photography remains reverse the game: the visitor to the exhi- too glued to the surface since he models bition is invited to stand on a pedestal his paintings more after graphic art. In and to assume the role of an object. Vienna he is showing a series of works Mochalska and Blachut document the in which he reflects the macrocosm of poses and presentations of people by nature – just as his own perception of it means of photographs. While the audi- which he reduces to a child-like, naïve ence is staging itself in their work, interpretation of small details forming part Szymon Roginski is interested in styli- of a larger whole. He shifts his fascination zing the environment. During his nightly with organic aspects to architecture the drives through Polish regions he seeks structures of which he seeks to reveal by out places and non-places, in which he simplifying their representation (fig. 12). waits for certain atmospheric moments. The canvas lies between proximity and He photographs at night to make best use distance as a meta-level. In another series of light as an auratic element. His un- he paints in structures consisting of num- realistic scenarios are usually artificially bers and letters from which he recom- illuminated – from his own car if neces- poses his imagery (fig. 10 & 11). sary (fig. 8). The final product is atmo- If, in Marterka, the essential of his sty- spherically charged portraits of places listic diversity is to be found between the on the fringes, which he describes himself lines, one must really delve into Zbigniew as being apocalyptic landscapes, post- Rogalski’s painting. Here a parallel world

7 fig. 4: Michal Budny fig. 5: Michal Budny Map, 2005 Announcements, 2002-3 cardboard, paper, scotch tape, ed. 10 cardboard, old paper, scotch tape 1,5 x 35 x 11,5 cm 4 x 53 x 75 cm

emerges, which consists primarily of color. In between one can see the artist, filling this world with color, or a carpet being submerged in paint (fig. 13). And when he is not in the process of painting bank notes, he merges with his girlfriend to form a sort of ball (»Zbylina«). This tangle of body parts remains both figura- tive and abstract. The color stays aloof of the things constantly being reflected anew in Rogalski’s works. In another series he refers to art history. Works shimmer dimly through a window that is fogged over. The artist seems to inscribed his approach to art, drawing letters on the glass with his finger (e.g., “Jealousy”, fig. 14). This time we assume his gaze and it is becomes unclear which world lies on the other side of the picture – the only thing that is certain is that it gives us a glimpse of something that is, to quote the artist, “realer than reality”.

8 fig. 6: Honorata Mochalska & Andrzej Blachut, fig. 7: Honorata Mochalska & Andrzej Blachut, Untitled, 2004 Untitled, 2004 exhibition view, Krinzinger Projekte, 2005 exhibition view, Krinzinger Projekte, 2005

REVENGE ON REALISM Künstlerduo KwieKulik sich mittels von Severin Dünser, Ausstellungskurator »positiver Negation« zur Realität äußer- ten. Zbigniew Libera hat diesen Künstlern Als Realismus bezeichnet man einen eine Arbeit gewidmet, in der er Kunst- wirklichkeitsnahen Darstellungsstil, der kritiker Texte über sie schreiben ließ. Er versucht die Dinge an sich frei von Illu- verwendete dazu das Layout der großen sionen abzubilden. In Zeiten von Reality- polnischen Zeitungen, in deren Gewand TV-Serien scheint dies ein hoffnungslos er die Texte setzen ließ und veröffentlich- idealistisches Unterfangen zu sein – te (»Masters«-Serie, Abb. 1). Auf diese Wirklichkeit scheint unter der Leitung Weise unterwandert er die Medien, gibt der Medien demokratisiert zu werden. den in den Artikeln vorgestellten Künst- Auch die Werbung trägt ihren Teil dazu lern den Raum, den sie seiner Meinung bei, sie ist heute im Straßenbild War- nach in der Öffentlichkeit verdient hätten. schaus allgegenwärtig. Erst Anfang der Weiters sind in der Ausstellung Arbeiten 90er Jahre aufgekommen, bot sie als aus der Serie der »Positives« zu sehen, neues Medium Beschäftigung für in der er historische, negativ konnotierte Kreative, darunter auch viele Künstler. Fotos nachstellt und sie positiv besetzt. Doch eine Auseinandersetzung mit der Er stellt die dem Medium Fotografie inhä- Wirklichkeit gab es in Polen schon in rente scheinbare Objektivität in Frage, in- den 60er Jahren, als Künstler wie Andrzej dem er diese Fotos in Zeitungen veröf- Partum, Jan Swidzinski, Anastazy Wis- fentlicht, wieder in den Fluss der Bilder niewski, Leszek Przyjemski oder das einbindet.

9 fig. 8: Szymon Roginski fig. 9: Szymon Roginski Mazowsze #1, 2004 Pomorze zachodnie #1, 2004 lambda-print on aluminium, ed. 5 lambda-print on aluminium, ed. 5 130 x 160 cm 130 x 160 cm

Auch Igor Krenz arbeitet mit der Glaub- äußere Erscheinung. Er übersetzt die würdigkeit des Mediums, in diesem Fall Welt des Alltäglichen (Mobiltelefone, CD- des Videos. Bei ihm sind es Versuchs- Player, Häuser, …) in Kunstwerke und anordnungen, die er visuell aufbereitet. verwendet dabei billiges Verbrauchs- In »Fire is better than Scissors« etwa material. Für seinen Grabstein verwendet beweist er empirisch, dass Feuer geeig- er Verpackungspapier aus der Zeit des neter ist eine Kettenreaktion in Gang zu Sozialismus um eine Marmorierung der setzen an deren Ende die Zerschlagung Oberfläche zu simulieren – ein klares einer Flasche steht. Er lässt vor unseren Statement für jeden Polen, gab es im Augen Bälle und Streichholzschachteln damaligen System ja nur diese und (Abb. 2) verschwinden, so nüchtern wie wenige andere Verpackungsmaterialien er die Wahrscheinlichkeit vorführt, einen öffentlich zu kaufen. In der Arbeit »Snow« Stein mittels Katapult in eine Dose zu bildet er eine Schneeverwehung nach, in treffen. Nicht zuletzt weist er uns mit der noch die Spuren eines Hundes wie einem Augenzwinkern darauf hin, dass auch eines Motorrads eingedrückt sind. nur die rechte Seite des Videobildes Um Vergänglichkeit geht es auch in sei- wirklich existiert, indem er eine Flasche nen »Announcements« (Abb. 5), in denen daran zerschellen lässt (Abb. 3). er mit vergilbtem Papier Schriftzüge nach- Während Krenz das physikalische bildet, die schon am verblassen sind. Wesen der Dinge und die damit verbun- Ebensowenig funktionale Information dene Wissenschaft und Forschung kari- kann man seiner Landkarte (Abb. 4) ent- kiert, geht es Michal Budny um die nehmen, bei der wie auch bei seinen

10 fig. 10: Bartek Materka, Untitled, 2004 fig. 11: Bartek Materka, Untitled, 2004 oil on canvas, 120 x 150 cm oil on canvas, 100 x 150 cm

fig. 12 (right): Bartek Materka, Untitled, 2004 oil on canvas, 60 x 200 cm anderen Arbeiten deren Entität, deren mit Fotografien – während sich bei ihnen reine Seinshaftigkeit im Vordergrund das Publikum selbst inszeniert, geht es steht. bei Szymon Roginski um ein Stilisieren Im Gegensatz dazu versuchen Honorata der Umwelt. Bei seinen nächtlichen Mochalska und Andrzej Blachut die Auf- Fahrten durch Polens Regionen sucht er lösung des Objekts. In der Ausstellung tagelang Orte und Unorte bei denen er zeigen sie drei kleine Skulpturen die an auf gewisse Stimmungsmomente wartet. Tiere erinnern (Abb. 6). Sie erzählen mit- Bei Nacht fotografiert er um Licht als tels Fotos kleine Geschichten über die auratisches Element optimal ausnützen Wesen und geben ihnen ein Eigenleben zu können. Seine irrealen Szenerien das ihren Objektstatus relativiert. Trotz- erhalten ihre Beleuchtung meist durch dem schwanken die Gestalten zwischen künstliches Licht, wenn notwendig sogar Objekthaftigkeit und Subjekthaftigkeit - vom eigenen Auto (zum Beispiel durch die Materialität und Farbigkeit klassi- das Bremslicht wie in Abb. 8). Heraus scher Skulptur hält sie in einer Schwebe. kommen atmosphärisch aufgeladenen Bei »Untitled« (Abb. 7) kehren sie das Portraits von Orten aus dem Abseits, die Spiel um: der Ausstellungsbesucher wird er selbst als apokalyptische Landschaf- eingeladen sich am Podest zu versuchen, ten, post-nuklearen Plätzen aus Compu- sich selbst in einen Objektstatus zu ver- terspielen ähnelnd, bezeichnet. setzen. Für Bartek Materka bleibt die Fotografie Mochalska und Blachut dokumentieren zu sehr an der Oberfläche haften, wes- die Posen und Präsentationen der Leute halb er sich in seiner Malerei mehr an

11 fig. 13: Zbigniew Rogalski fig. 14: Zbigniew Rogalski Ocean Feeling, 2004 Untitled (Inspired by Yves oil on canvas, 130 x 180 cm Klein - Jump to the void) 2004, oil on canvas 140 x 100 cm der Grafik orientiert. In Wien zeigt er eine Dazwischen ist der Maler zu sehen, wie er Serie von Arbeiten in denen er den gerade diese Welt mit Farbe ausfüllt oder Makrokosmos der Natur reflektiert – wie in einen Teppich daraus eintaucht (Abb. auch die eigene Wahrnehmung dersel- 13). Und wenn er nicht gerade dabei ist ben, die er auf eine kindlich-naive Inter- Banknoten zu malen, verschränkt er sich pretation des Kleinen im großen Ganzen mit seiner Freundin zu einer Kugel reduziert. Die Faszination am Orga- (»Zbylina«). Dieses Knäul aus Körperteilen nischen trägt er weiter in die Architektur, bleibt dabei gleichzeitig gegenständlich deren Strukturen er durch eine Verein- wie abstrakt, die Farbe steht über den fachung der Darstellung wieder zu Tage Dingen, wird in Rogalskis Arbeiten stän- fördern will (Abb. 12). Zwischen Nähe und dig neu reflektiert. In einer anderen Serie Ferne liegt die Leinwand als Metaebene: bezieht er sich auf die Kunstgeschichte. in einer anderen Serie malt er selbst in Werke schimmern unscharf durch ein Strukturen bestehend aus Zahlen und angelaufenes Fenster, seinen Zugang zu Buchstaben, aus denen sich wieder Bil- den Arbeiten scheint der Künstler mit der zusammensetzen (Abb. 10 & 11). dem Finger ins Glas geschrieben zu Wenn bei Materka in seiner Vielfalt an haben (z. B. »Jealousy«, Abb. 14). Dieses Stilen das Wesentliche zwischen den Mal nehmen wir seinen Blick ein und es Zeilen zu suchen ist, muss man bei wird unklar welche Welt auf der anderen Zbigniew Rogalski in die Bilder hinein- Seite des Bildes liegt – sicher ist nur dass schauen. Darin tut sich eine Parallelwelt es ein Einblick auf etwas ist das wie er auf, die hauptsächlich aus Farbe besteht. sagt »realer als die Realität ist«.

12

MICHAL BUDNY

In my childhood a piece of paper was and I try to understand it, deriving sub- like a promise of adventure, a possibility jects of my life. Paper, cardboard change to create my own world of some real into objects, notes on them are finger- elements. Fear of the other children prints, scratches of tools, traces of made me closer to a piece of paper common activities. I am aware that things which was like an asylum. I could put are not permanent or long-standing but some distance and blow town in my it happens that I would like to make piece of paper. I observe surroundings them continued as long as I can.

Gravestone, 2003 cardboard, old cover paper 87 x 66 x11 cm

14 Snow, 2005 cardboard, paper, scotch tape 3 elements, 100 x 65 x 12,5 cm / 58 x 65 x 12,5 cm / 95 x 165 x 12,5 cm

15 IGOR KRENZ

Films (logical mind games) are based on different assumptions where the title contains a thesis and the contents of the film itself provides a proof of the assumption. They question the existing systems of values and point to the rela- tions between the motivation for activi- ty, the activity itself, and its result.

&

Films are a result of experiments, carried out on commonly accepted ideas. Ideas presented in a different context, que- stioned, and challenged, change their ascribed meaning. And then, absurd comes in. Absurd which is not a non- sense but rather is a meeting of two ore more true statements. Results in contra- diction, which may become a new entity.

&

Motivation and action are more impor- tant than results of it. To exist a movie should have the beginning at the begin- ning but it does have to have the end Watching a movie twice does not equal watching the same movie, they may be different, although they are identical.

... Stone and Can, 1998 Video, 10’ 12’’

16 Double Disappearance of the Ball in parallel Fire is better than Scissors, 1990 Space, 1999, Video, 45’’ Video, 27’’

17 ZBIGNIEW LIBERA

Libera’s work refers to comercial collo- quialism and social behaviour patterns – also the ones modelled by media and advertising.These works exert a simillar influece as computer viruses. After a particular system has been recognised, its similarites are recreated. However, they are contaminated by some specific feature which reveals, or »projects«, certain qualities of the system and its patterns of functioning.

Piotr Rypson from Zbigniew Libera Correcting Devices, CCA Warsaw 1996

Che (Positives-Series), 2003, black and white photograph, ed. 10, 120 x 180 cm

18 Bikers (Positives-Series), 2003, c-print, ed. 10, 120 x 180 cm

Nepal (Positives-Series), 2003, black and white photograph, ed. 10, 120 x 180 cm

19 BARTEK MATERKA

At the moment I am working at least in the image and uncover its structure and two areas of my interest. Actually all of look into the inside not only skim the them came from my early fascination surface. That’s also why raw photography with photography. One of them concerns has never satisfied me enough. It also organisms, I am trying to come through includes the paintings I make out of the the tissue of my everyday surrounding. letters which are the equivalet of the This I make in my paintings with plants, screen in the printing process. insects which I am enlarging so that I don’t think I would ever devote myself they come out as very complex beings to one aspect of painting, as each dis- which normally can hardly be noticed covery leads me to another search, and also in the cityscapes which I am that’s why I don’t focus on working out diminishing to embrace them more easily the style, I’d rather name anything and understand a little bit. approprietly to its nature which, whether The other one regards the ways in which I want it or not, will always be my sub- comprehensible images can be pro- jective view. I try not to declare any duced. Once I worked with the offset strict statements when I don’t know and silkscreen printing machines I got what’s behind the next hill, I think that it hooked on finding out how I could use would make all of my efforts end up in that experience in my painting. To split vain.

Untitled (Flower), 2004 Untitled (Insect), 2004 oil on canvas, 35 x 35 cm oil on canvas, 75 x 75 cm

20 Untitled (Plants), 2004 Untitled (Trees), 2004 oil on canvas, 120 x 130 cm oil on canvas, 150 x 100 cm

Untitled (Frog), 2004 oil on canvas, 100 x 150 cm

21 MOCHALSKA & BLACHUT

It would seem to you that I know some- thing about it, maybe, but to me it seems different.

Chapter I When I came back

When I came back home, that sculpture was simply standing on our floor. Bwahootek showed me a drawing (scribbling) from which it originated. It was mine, but I thought I had never seen it before. There were more drawings on that piece of paper, even better than that. Hectic. New inhabitant, maybe intruder.

Chapter II About something else (where)

A place we live in is in the center of the city. I like it, but it’s not our place really. This thought keeps hidden in the back of my head and I’m not able to tidy it up (that place). One hundred and five steps leads to the park where I take myself for a walk, just hoping to get rid off it (that thought), fight it with the smell of evapo- rating ground? Or anything.

Chapter III A walk, when it’s ready

We are looking at each other (we and the sculpture). There is white dust all over our flat, maybe I’ll hover it tomor- row. We go for a walk. We walk past other people, who had the same Untitled, 2004 thought (they wanted a walk, too). objects (paper-mâché, plaster, ed. 5, 37 x 33 x 18 cm / 10 x 10 x 4,5 cm); photos (series of 8 Chapter IV Not ready lambda-prints, ed. 5, 58 x 43 cm / 37 x 50 cm)

22 Untitled (Vienna), 2005 pedestal 80 x 16 x 16 cm, 3 balls ø 5,8 / 7,3 cm lambda-prints on pvc, ed. 3 41 x 31 cm each

23 ZBIGNIEW ROGALSKI

(…) While in those paintings the composi- capture a twisting and rotating embrace. tional approach is taken from portraiture As in dance, it is as if the struggle for in his symbiotic Zbylina series (all 2004) definition – whether of the Self or an Rogalski utilizes an overhead view to intense personal relation - is something allow his subjects – intertwined lovers - that can only be expressed in bodily re- to become increasingly abstract, some- negotiations expressed in the endless thing that lends these images a strong nuances of posture. Here the overhead sense of movement, as if the paintings view - one of the hallmarks of modernity

Zbylina, 2004, oil on canvas, 90 x 90 cm

24 (i.e. the view from a tower block onto ladder. This view gives Rogalski the the street or from airborne transport as chance in his paintings to adopt an atti- opposed to the one from beneath an tude of studied detachment at close awe inspiring painted cupola preaching quarters that nevertheless implies a lon- from above). In these works however, the ging to return. overhead view is more claustrophobic – it might be that of a brief low altitude Dominic Eichler outer body experience or just a domestic Berlin, June 2004

Zbylina, 2004, oil on canvas, 90 x 90 cm

25 SZYMON ROGINSKI

At night, across the gloomy landscape Driving by night and taking photos of of cities and small towns, neon lights those apocalyptic landscapes I feel as if shine bright, odd lamps illuminate monu- I was discovering new worlds, constantly ments, civil buildings and factories. ready to face the unknown. There are Streets are deserted. No one leaves times when I don't see sunlight for days. home after dark and instead of lamps, Those moments make me believe in the windows are lit up by the light of a TV bizarre reality resembling post-nuclear screen, which is the only »window to the locations from console games. world« in these places.

Dolny Slask #1, 2004, lambda-print on aluminium, ed. 5, 130 x 160 cm

26 Opole #1, 2004, lambda-print on aluminium, ed. 5, 130 x 160 cm

27 BIOGRAPHIES Author of about 60 films. Lives and works in Warsaw. MICHAL BUDNY SELECTED SOLO EXHIBITIONS Born 1976 in Leszno. 2004 Lives and works in Warsaw. Arsenal Gallery, Bialystok, PL SOLO EXHIBITIONS 2003 2004 Raster/TR Gallery, Warsaw, PL Center for Contemporary Art Ujazdowski Media Art Biennial Wro '03, Wroclaw, PL Castle, Warsaw, PL 2002 2003 Projektor Gallery, Art Center, Poznan, PL Raster, Warsaw, PL 2001 GROUP EXHIBITIONS MDK, Szubin, PL 2005 2000 Prague Biennale, Prague, CZ Center of Contemporary Art, Okna Revenge On Realism, Krinzinger Projekte, Gallery, Warsaw, PL Vienna, A SELECTED GROUP EXHIBITIONS 2004 2005 From My Window. Artists and their Revenge On Realism, Krinzinger Projekte, Territories, Ecole Nationale Superieure Vienna, A des Beaux-Arts, Paris, F 2004 Jahresgaben 2004, Westfaelischer De ma fenetre, Ecole Nationale Kunstverein, Muenster, D Superieure des Beaux-Arts, Paris, F Emilly Tsingou Gallery, London, GB My Blood is Electric, Spitz Gallery, Nowa Huta. Kunst aus polnischer Sicht, London, GB Westfaelischer Kunstverein, Muenster, D Sometimes I’m happy, sometimes I’m Rheinschau. Art Cologne Projects, D sad, Recent strategies in Polish Video The Parallel Action, Foksal Gallery Art, The School of Art Institute of Foundation, Cieszyn, PL Chicago, USA At home, The Letterkenny Art Centre, Videozoom, Sala Uno Gallery, Rome, IT Letterkenny, IRL Polish Test Card, Current Tendencies in Die leichte Arbeit, Kulturbrauerei, Berlin, D Polish Video Art, Bunkier Sztuki Gallery, Prym, BWA Gallery, Zielona Gora, PL Krakow, PL Pluzzle, galerie griedervonputtkamer, Le Plateau Gallery, Paris, F Berlin, D Pankow Gallery, Berlin, D Le Tribu Festival, Dijon, F IGOR KRENZ Meeting Point Festival’ 04, Kronika Born 1959 in Katowice. Gallery, Bytom, PL Studied 1981 - 86 at the Academy of Arts Centre, Letterkenny, IE Fine Arts in Warsaw. From 1990 on Video-Medeja - 8’th International Video focused on video and photography. Festival, Novi Sad, CS Founded ZF KINO Experimental Video ESF Festival, Novosybirsk, RU and New Media Group in 1999. Became Last few days of laboratory space, member of Azorro Group in 2001. Center of Contemp. Art, Warsaw, PL

28 Terra Polska, Kulturbrauerei, Berlin, D Pod flaga bialo-czerwona, Museum for Interkosmos, Raster, Warsaw, PL Contemporary Art, Tallinn, EE / Centre 2003 for Contemporary Art, Vilnius, LT Public Space in Polish Video Art, Privatisierungen, Zeitgenössische Kunst Transmediale Events, Berlin, D aus Osteuropa, Institute for Contempo- New Video from Poland, Atelie Nord, rary Art, Berlin, D Oslo, NO Warszawa–Moskwa/Moskwa–Warszawa Videokont, Media Art Festival, Lublin, PL 1900 – 2000, Zacheta, Warsaw, PL l’ Epicerie, Teatr Academia, Warsaw, PL Apparemment Leger, Semaines Europe- ennes de L’image, Le Havre, F ZBIGNIEW LIBERA Od represji do promocji, BWA Arsenal, Born 1959 in Pabianice. Poznan, PL Lives and works in Warsaw. EU Positive, Kunst Akademie, Berlin, D SELECTED SOLO EXHIBITIONS 2003 2004 Neuropa, Gallery XXI, Warsaw, PL The Masters and The Positives, Atlas Integracja, Program Gallery, Warsaw, PL Sztuki, Lodz, PL / PGS, Sopot, PL / 2002 BWA Awangarda, Wroclaw, PL / Galeria Mirroring Evil, Jewish Museum, New Miejska Arsenal, Poznan, PL / Biblioteka York, USA Plockiego Tow. Naukowego, Plock 2001 The Positives, Casino Luxembourg, Ironia, Fundacio Joan Miro, Barcelona, ES Luxembourg / Gallerie RLBQ, Marseille, Irreligia, Atelier 340, Brussels, BE F / Gallerie Danysz, Paris, F Anteprima Bovisa, Milano Europa 2000, 2000 Milano, IT The other type of prison, American- Negocjatorzy sztuki, Bunkier Sztuki, European Art Associates, New York, USA Kraków, PL 1998 Na wolnosci / w koncu, Królikarnia, Correct me if Im wrong, Guy Mc Intyre Warsaw, PL Gallery, New York, USA Zimna Wojna, Stowarzyszenie Teatralne 1997 Laznia, Kraków, PL Gallerie Wang, Oslo, NO 2000 Gallerie Faurschou, Copenhagen, DK Scena 2000, CSW Zamek Ujazdowski, SELECTED GROUP EXHIBITIONS Warsaw, PL 2005 In Freiheit / Endlich, Staatliche Kunst- Revenge On Realism, Krinzinger Projekte, halle , Baden-Baden, D Vienna, A After the Wall, Hamburger Bahnhof, 2004 Berlin, D Memories du Temps de L’immaturite, What, how and for whom, HDLU, Passage de Retz, Paris, F Zagreb, HR Paisatges Mediatics, Fundacio »la L’Autre Moitie De L’Europe, Jeu De Caixa«, Lleida, PL Paume, Paris, F De Ma Fenetre, Des Artistes et Leurs The Toy Show, Nikolai Fine Art, New Territoires, Ecole des Beux Arts, Paris, F York, USA

29 1999 GROUP EXHIBITIONS Aspects / Positions, MUMOK, Vienna, A 2005 After the Wall, Moderna Musset, Revenge On Realism, Krinzinger Projekte, Stockholm, SE Vienna, A Pink for boys, blue for girls, NGBK, Berlin, D MOCHALSKA & BLACHUT Persuasion, Lombard and Fried Gallery, Honorata Mochalska was born 1973 in New York, USA Poddebice. Andrzej Blachut was born Absence/Presence, Nash Gallery, Uni- 1970 in Kamienna Gora. versity of Minnesota, Minneapolis, USA Graduated from the Academy of Fine 1998 Arts in Wroclaw. Medialisation, Edsvik Konst, Stock- Work and live in Warsaw. holm, SE SELECTED SOLO EXHIBITIONS At the time of writing, CSW Zamek 2004 Ujazdowski, Warsaw, PL TR, Warsaw, PL Antoni, Delvoye, Lemmerz, Libera, Quinn, 2001 Faurschou Gallery, Copenhagen, DK Juice Moment, Galeria Entropia, 1996 Wroclaw, PL Universalis, XXIII Biennale, Sao Paulo, BR Bagatt Showroom, Warsaw, PL The Thing Between, Technische Samm- 1999 lungen der Stadt Dresden, D Kiss a cat, Galeria Miejska, Wroclaw, PL 1995 Animation Supplies & Equipment, Beyond Belief, MCA, Chicago, USA Galeria Entropia, Wroclaw, PL New Is for New Years, Künstlerhaus Pink Planet, Galeria 312, Wroclaw, PL Bethanien, Berlin, D 1998 1994 Nice objects, Galeria Entropia, Wroclaw Medienbiennale Minima Media, Leipzig, D SELECTED GROUP EXHIBITIONS Europa, Europa, Kunst und Ausstellungs- 2005 halle der Bundesrepublik Deutschland, Revenge On Realism, Krinzinger Projekte, Bonn, D Vienna, A 1993 2004 Emergency, Aperto 93, XLV Biennale di Emily Tsingou Gallery, London, UK Venezia, IT 2003 Unvollkommen, Museum Bochum, D Drawing Book, Raster, Warsaw, PL 2001 BARTEK MATERKA Relax, Galeria Arsenal, Bialystok, PL Born 1973 in Gdansk. 2000 Graduated from the Academy of Fine Assembly Kit, Centre of Polish Sculpture, Arts in Cracow in 2004. Oronsko, PL Works and lives in Cracow. SOLO EXHIBITIONS ZBIGNIEW ROGALSKI 2004 Born 1974 in Dabrowa Bialostocka. Raster, Warsaw, PL Graduated from the College of Arts in

30 Suprasl in 1994. Studied 1995 -1999 at Malerei, Johnen + Schöttle, Cologne, D the Painting Department of the Academy Under The white-red Flag - New Art from of Fine Arts in Poznan (M.A., Prof. Jerzy Poland, Art Museum of Estonia, Talin, EE Kalucki). Member of Magisters 2000 – The Age of Romanticism, Polish Institute 2002 (together with Hubert Czerepok). in Kiev, UA Lives and works in Warsaw. 2002 SOLO EXHIBITIONS Rowelucja, Raster Gallery, Warsaw, PL 2005 All Right, Kunst Büro, Vienna, A Death of Partizan, Raster Gallery, 2001 Warsaw, PL Poznan - Slubice, Prowincjonalna Gallery, 2004 Slubice, PL Mute, Zbigniew Rogalski, Galerie grieder- Fish Eye, Baltic Gallery Of Art, Slupsk, PL vonputtkamer, Berlin, D 4-th National Exhibition Of Young Pain- 2003 ting, Awangarsa Gallery, Wroclaw, PL Self-portrait Under The Canvas, Arsenal Relax, Arsenal Gallery, Bialystok, PL Gallery, Bialystok, PL / Raster Gallery, Kolmo K Ose, Dom Umeni, Opava, CZ Warsaw, PL Young Polish Painting, Arsenal Gallery, Painting, BWA Gallery, Zielona Gora, PL Lublin, PL / Kronika Gallery, Bytom, PL 2000 2000 A Model Kit, Center Of Polish Sculpture, Painter, Center of Contemporary Art Oronsko, PL Zamek Ujazdowski, Warsaw, PL Scene 2000, Center Of Contemporary Child In Time, ON Gallery, Poznan, PL Art, Zamek Ujazdowski, Warsaw, PL 1999 1999 Painting, Arsenal Gallery, Bialystok, PL Polish Geometrical Abstraction, Awan- GROUP EXHIBITIONS garda Gallery, Wroclaw, PL 2005 The Young Art From Poznañ, B Gallery, Revenge On Realism, Krinzinger Projekte, Frankfurt/Oder, D Vienna, A Painting Biennal, Bielska Gallery, 2004 Bielsko Biala, PL PLuzzle, Galerie griedervonputtkamer, Berlin, D SZYMON ROGINSKI From My Window, Galerie de l'Ecole Born 1975 in Gdansk. Nationale Superieure des Beaux-Arts, Works and lives in Warsaw. Paris, F SOLO EXHIBITIONS Galerie Rüdiger Schöttle, Munich, D 2004 Under The white-red Flag - New Art TR, Warsaw, PL From Poland, Contemporary Art Center, GROUP EXHIBITIONS Vilnus, LT 2005 National Centre for Contemporary Arts Revenge On Realism, Krinzinger Projekte, in Moscow, RU Vienna, A Breakthrough Grote Kerk, Hague, NL 2004 2003 Zasiedzenie, Arsenal Gallery, Poznan, PL

31 IMPRINT CREDITS

This catalogue is published on the occa- We would like to thank the following sion of the exhibition »Revenge on persons and institutions: Realism - the fictitious moment in current Lukasz Gorczyca, Michal Kaczynski and Polish art« (March 4th – April 23rd 2005) Agnieszka Sural / Raster gallery, Warsaw at Krinzinger Projekte, Vienna. Jacek Michalak / Atlas Sztuki, Lodz Cesary Kruk / Polnisches Institut Wien

© 2005 by Krinzinger Projekte Vienna, Raster gallery Warsaw and the artists.

Edited and published by Krinzinger Projekte, Schottenfeldgasse 45, 1070 Vienna, Austria idea for the exhibition: Dr. Ursula Krinzinger curatorial concept / editorial office / graphic design: Severin Dünser translation of the introduction: Camilla Nielsen print: Druckerei Goldstein, Obachg. 26, 1220 Vienna, Austria cover: detail of Michal Budny’s »Grave- stone«, 2003 (see page 14)

KRINZINGER PROJEKTE Schottenfeldgasse 45 | 1070 Vienna phone +43.1.512 81 42 [email protected] www.galerie-krinzinger.at/projekte

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KRINZINGER PROJEKTE