WANDA gallery

WANDA gallery wanda gallery

Visit us at Liste Art Fair Basel!wanda gallery features works of American artist Billie Clarken and Polish artist Linda ...
06/06/2024

Visit us at Liste Art Fair Basel!
wanda gallery features works of American artist Billie Clarken and Polish artist Linda Lach.

Liste Art Fair Basel 2024
Booth 42, Hall 1.1, Messe Basel
June 10-16, 2024


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Linda Lach, Rounding Error, 2024
resin, aluminum, 38x26x6 cm

Billie Clarken, Inhumation, from ‚The Fappening’ series, 2014, UV Inkjet, rigid insulation foam, video performance, 20’ ...
24/05/2024

Billie Clarken, Inhumation, from ‚The Fappening’ series, 2014, UV Inkjet, rigid insulation foam, video performance, 20’



Video performance documenting the burial of Jennifer Lawrence’s stolen n**e printed on rigid polyurethane- in Maiden, NC on Apple’s iCloud data center property.

The Fappening - a mass distribution of over 500 celebrity n**es. The images were obtained via online storage offered by Apple’s iCloud platform for automatically backing up photos from iOS devices, such as iPhones.

In order to manually explore a sex-starved population that bombards itself with a pantheon of fantasy figures of desire, Jennifer Lawrence’s stolen n**e was materialised on foam- a medium with physical qualities similar to pixels. The sculpture was then snuck onto the Apple’s iCloud Property to be buried, returning the image to the “Cloud” in it’s forever non-extinguishable state.

This body of work meditates the depersonalisation of the status of imagery: a new process of de-identification that within the contemporary technological landscape, has to be with this material aspect of the image, with the image as thing, not as representation. Perhaps ceasing to be identification, and instead becoming participation.

‚Inhumation’ on view at ‚Scanning Backward’ exhibition at wanda, 25.05 - 6.07.2024

Billie Clarken (b. 1992) - American visual artist based in Berlin. Using images from mass culture, she points out the pa...
23/05/2024

Billie Clarken (b. 1992) - American visual artist based in Berlin. Using images from mass culture, she points out the paradoxes of projected identity, in search of inauthenticity and the associated spectacle refers to the condition of society in late capitalism. She acquires and utilizes appropriated digital memory by creating a certain set of data, a network of representations liberated from the tyranny of representation. Clarken is not only referring to the status of images distanced or detached from their source, but more importantly to cultural constructs. The artist becomes a user of images, materializing and fetishizing the satirical representation of the immortal image by punctuating the meanings which the culture producing it has secondarily bestowed upon it.



Last day of NADA Villa Warsaw 2024!Drop by to say hello, open until 7pm. .staruch
19/05/2024

Last day of NADA Villa Warsaw 2024!
Drop by to say hello, open until 7pm.

.staruch

Patryk Staruch, Mokry śnieg [Wet snow], 2024oil on canvas45 × 81 cm staruchPatryk ’Staruch latest works are featured at ...
19/05/2024

Patryk Staruch, Mokry śnieg [Wet snow], 2024
oil on canvas
45 × 81 cm 
staruch

Patryk ’Staruch latest works are featured at NADA Villa Warsaw 2024, May 16-19 2024.


‚Auto wing IV’ by Hanna Antonsson on view at ‚From The Ashes’ exhibition at Zachęta National Gallery, Warsaw. Exhibition...
18/05/2024

‚Auto wing IV’ by Hanna Antonsson on view at ‚From The Ashes’ exhibition at Zachęta National Gallery, Warsaw. Exhibition runs until May 26.
antonsson

Hanna Antonsson’s practice is based on taxidermy, sculpture and photography. With an interest in the animal’s perspective, its symbolism, constant presence in various myths and our everyday life, she creates sculptural and photographic hybrids. The exploration of taxidermy is made via birds, wings and feathers, where parts of the bird are deconstructed and re-animated with moving, electronic parts or as still sculptural pieces. The birds used in Antonsson’s work have all died of natural causes and are often found as roadkill which is further explored upon in her practice.

Photos: Daniel Rumiancew

Filip Rybkowski, Tracing paper palimpsest (double trouble), 2024photography, pigment print on photoRAG paper, UV glass, ...
18/05/2024

Filip Rybkowski, Tracing paper palimpsest (double trouble), 2024
photography, pigment print on photoRAG paper, UV glass, aluminum frame
60 × 48 cm, Edition of 3 + I AP



Filip Rybkowski’s latest works are featured at NADA Villa Warsaw 2024, May 16-19 2024.


We cordially invite you to Billie Clarken’s solo exhibition ‚Scanning Backwards’, which opens on May 25 at wanda! Billie...
18/05/2024

We cordially invite you to Billie Clarken’s solo exhibition ‚Scanning Backwards’, which opens on May 25 at wanda!



Billie Clarken (b. 1992) - American visual artist based in Berlin. Using images from mass culture, she points out the paradoxes of projected identity, in search of inauthenticity and the associated spectacle refers to the condition of society in late capitalism. She acquires and utilizes appropriated digital memory by creating a certain set of data, a network of representations liberated from the tyranny of representation. Clarken is not only referring to the status of images distanced or detached from their source, but more importantly to cultural constructs. The artist becomes a user of images, materializing and fetishizing the satirical representation of the immortal image by punctuating the meanings which the culture producing it has secondarily bestowed upon it.

We will be also featuring Billie Clarken’s work at Liste Art Fair Basel 2024!

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Billie Clarken, Tourist Trap, 2020
double-sided UV print on polyurethane, steel pipe
265 x 178 x 127 cm

We cordially invite you to Billie Clarken’s solo exhibition ‚Scanning Backwards’, which opens on May 25 at wanda!Billie ...
18/05/2024

We cordially invite you to Billie Clarken’s solo exhibition ‚Scanning Backwards’, which opens on May 25 at wanda!

Billie Clarken (b. 1992) - American visual artist based in Berlin. Using images from mass culture, she points out the paradoxes of projected identity, in search of inauthenticity and the associated spectacle refers to the condition of society in late capitalism. She acquires and utilizes appropriated digital memory by creating a certain set of data, a network of representations liberated from the tyranny of representation. Clarken is not only referring to the status of images distanced or detached from their source, but more importantly to cultural constructs. The artist becomes a user of images, materializing and fetishizing the satirical representation of the immortal image by punctuating the meanings which the culture producing it has secondarily bestowed upon it.

We will be also featuring Billie Clarken’s work at Liste Art Fair Basel 2024!

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Billie Clarken, Tourist Trap, 2020
double-sided UV print on polyurethane, steel pipe
265 x 178 x 127 cm

NADA Villa WarsawWe are presenting new works by Filip Rybkowski and Patryk StaruchVisit us at Villa Gawrońskich, Friday ...
17/05/2024

NADA Villa Warsaw

We are presenting new works by Filip Rybkowski and Patryk Staruch
Visit us at Villa Gawrońskich, Friday - Sunday 12-7pm

NADA Villa Warsaw
May 16-19 2024
al. Ujazdowskie 23

.staruch

Filip Rybkowski, Measure me as your favorite property, 2024gypsum, paper, plaster, glue, vinyl compound, acrylic and gou...
15/05/2024

Filip Rybkowski, Measure me as your favorite property, 2024
gypsum, paper, plaster, glue, vinyl compound, acrylic and gouache, geodesic markers, dibond, aluminum frame
62 × 61 cm

‚The ‚Measure me as your favorite property’ refers to the evolution of measurement systems and their entanglement with the issue of ownership. Once derived directly from the scale and proportions of the human silhouette (e.g., elbows, feet), distance measures over time have been used to gauge both the human body itself and its state of possession, simultaneously enabling the conception of the body as a resource. Also, a collective, averaged, capitalized, and stripped of individualism body.’ - FIlip Rybkowski

Presentation of the artist’s paintings as part of the NADA Villa Warsaw

NADA Villa Warsaw
May 16-19 2024

al. Ujazdowskie 23, Warsaw

Patryk Staruch, Tekla, 2023oil on canvas150 × 200 cm „My painting bears the hallmarks of autobiographical elements blurr...
14/05/2024

Patryk Staruch, Tekla, 2023
oil on canvas
150 × 200 cm

„My painting bears the hallmarks of autobiographical elements blurred by cultural overlays. I focus on the constraints and traps set by everyday life, emphasizing the myth-making role of film and photography, though I do not resist the fascination of the French New Wave. My work often resembles that on a film set. I arrange imagined or remembered scenes with the help of friends, create photographs, or cut selected frames from my own films as prototypes for future paintings.
Night is the time when it is easiest to confront oneself or another person,allowing an escape from the daily attention deficit. At the same time, it contains fear and anxiety that also pe*****te into dreams, which are the next stage immediately after dusk, when the subconscious is most strongly expressed.” - Patryk Staruch

Presentation of the artist’s paintings as part of the NADA Villa Warsaw

NADA Villa Warsaw
May 16-19 2024

al. Ujazdowskie 23, Warsaw

The last week of the exhibition ‚Lossy Life’ at wanda!Exhibition opens until May 11 (Saturday)_Constellation 2024wanda x...
09/05/2024

The last week of the exhibition ‚Lossy Life’ at wanda!

Exhibition opens until May 11 (Saturday)
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Constellation 2024
wanda x Exo Exo (FR)
artists: Linda Lach, Gaspar Willmann

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Tomorrow (26 May) Linda Lach’s solo exhibition ‘Soft screen’ opens at  at 7 pm!Stop by to see the entire site-specific i...
25/04/2024

Tomorrow (26 May) Linda Lach’s solo exhibition ‘Soft screen’ opens at at 7 pm!

Stop by to see the entire site-specific installation, on view until 9 June 2024 ✨

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How do we keep existing amidst peril? We are beset by efficiency focused machinery ill prepared for any failure. During a high-tech siege it is better to prolong the process and let a new language emerge. 
Pump works slowly, it’s inherently unproductive, and exudes a dragging feeling. Its sluggishness bends time and screens us from a linear normative experience. It’s a performative act allowing for an examination of lossiness and liminality of feedback networks. The unknown oozes from remnants of each cycle. It follows a logic all its own by injecting meaning into recognisable processes of suction and dropping. 
Technology has never been innately malicious, but we made it so by forcing it into shapes familiar to us and refusing any weirdness. To truly befriend it, we must speak with genuine empathy towards it. At the brink of this self-wrought collapse this pumping machine could be the last thing clemently screening us from peril.

We’re very excited to announce that we are participating in NADA Villa Warsaw 2024!Together with Filip Rybkowski and Pat...
23/04/2024

We’re very excited to announce that we are participating in NADA Villa Warsaw 2024!

Together with Filip Rybkowski and Patryk Staruch.



staruch

NADA Villa Warsaw
May 15–19, 2024

Villa Gawrońskich
Al. Ujazdowskie 23
00-540 Warsaw, Poland

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NADA Villa Warsaw brings together a diverse selection of 44 international galleries and art spaces from 25 cities to present artists in a collaborative exhibition format, engaging the distinctive character of Villa Gawrońskich, a neo-baroque architectural landmark located in the heart of Warsaw.

See you in May!

 works at ‚TIME–DIP’ exhibition at  , curated by Agáta Hošnová and Karolína Voleská artists: Natalia Domínguez Rangel, F...
22/04/2024

works at ‚TIME–DIP’ exhibition at , curated by Agáta Hošnová and Karolína Voleská 

artists: Natalia Domínguez Rangel, Filip Rybkowski, Stanislav Zábrodský 

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Palimpsest (Possesion Fantasy Issue) 2024
vinyl mass, acrylic, fiberglass, glue, linen canvas, plywood, gypsum, cardboard, paper, pvc, aluminum, acrylic, gouache, UV varnish on dibond, aluminum frame
139 x 123,5 x 2,5 cm

Palimpsest II, 2022
gypsum, paper, wood, aluminum, canvas, glue, acrylic paste, acrylic, gouache on plywood, aluminum frame
90 × 80 cm

📷: Michal Ureš

Gaspar Willmann, JUMAP (in a dream - nobody knows you’re a dog), 2024 ink and oil on linen, 42 x 28 cm Trough the series...
19/04/2024

Gaspar Willmann, JUMAP (in a dream - nobody knows you’re a dog), 2024
ink and oil on linen, 42 x 28 cm



Trough the series JUMAP (juste une mise au point sur les plus belles images de ma vie), Gaspar Willmann evokes the sterile attempt to extract a memory from an ever increasing flux. Images from his daily life and from various databases melt in one painting, as one still life struggling to survive. Beyond the topic, every images are embedded in a single source file until the artist reach the « Kairos » : time to print on linen and retouch it using pigments and oil painting. At the end, these media-paintings plays with the confusion of the viewer facing this both true and false story.

on view at ‚Lossy Life’ exhibition at wanda, until May 11 2024

the exhibition held together with Exo Exo (Paris) as a part of Constellation 2024

Gaspar Willman is represented by Exo Exo, Paris
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Linda Lach, Cache [1], from ‚Cache’ series, 2024polished aluminum, aluminum frame, 21 × 33 cm  ‚I use aluminum as a reus...
11/04/2024

Linda Lach, Cache [1], from ‚Cache’ series, 2024
polished aluminum, aluminum frame, 21 × 33 cm



‚I use aluminum as a reusable temporary thought caché. It strikes a paradoxical balance between general caché - a place to hide something - and computer cache - a place to make something more exposed. Aluminium’s possibilities are very sharply delimited by its material structure. Its smoothness and softness are often utilized as a protective layer for computer subsystems.

Metal plates which comprise the ‚Cache’ series have been manually engraved and then violated with a grinder. Peeling of layers of metal is directly analogous to wearing out of RAM memory. Every natural process is a lossy phenomenon. I believe that all tech is rooted in a vehicle of collecting and gathering, not pointing and dominating. I want to accept this lossiness and imperfection of technology, which is so akin to what we define as human. I see my pieces as objects welcoming tech to our empathetic sphere in the same way as a family welcomes a newborn. A rite of passage for our oft-ignored companion.’ - Linda Lach

on view at ‚Lossy Life’ exhibition at wanda, until May 11 2024

the exhibition held together with Exo Exo (Paris) as a part of Constellation 2024
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Lossy LifeLinda Lach, Gaspar Willmann6.04 - 11.05.2024wanda gallery (Warsaw) x Exo Exo (Paris)Thank you for the intense ...
09/04/2024

Lossy Life
Linda Lach, Gaspar Willmann
6.04 - 11.05.2024

wanda gallery (Warsaw) x Exo Exo (Paris)

Thank you for the intense opening weekend of the Constellation 2024!xyz , , thank you for the great cooperation!

„I remember the first time I heard about the Cargo Cult. It is the story of a colonisation and attribution of abundance and sophistication to a divine power. I see technology here as the arrival of a cargo floating on the seas. All of a sudden it makes the world vaster, it accelerates the means, makes us meet ones whose existence we didn’t even suspect, it shortens the distances, multiplies the images. It is the arrival of such a goddess, an all- powerful being.”
*quote from the text by Elisa Rigoulet

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Courtesy of the artists, wanda gallery and Exo Exo

📷: Bartek Zalewski

Along with Exo Exo (Paris), we cordially invite you to the „Lossy Life” exhibition by Linda Lach and Gaspar Willmann, wh...
03/04/2024

Along with Exo Exo (Paris), we cordially invite you to the „Lossy Life” exhibition by Linda Lach and Gaspar Willmann, which opens as part of Constellation 2024.

April 6 - May 11 2024
Opening: Saturdy and Sunday, May 6-7
12 - 6pm

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What does it means for an artist to co-inhabit the digital space ?
Through their images and objets, Linda Lach et Gaspar Willmann use digital technology, data and AI to create space that generate fictions. These fictions delve into our emotions, habits, perceptives and what the use of data can contain of human, absurd, dangerous, poetic and also profoundly political.

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Linda Lach, Cache, 2024
cut on aluminum, 33 x 21cm, detail

Zapraszamy! ✨
29/03/2024

Zapraszamy! ✨

We’re very excited to announce that we will participate in Liste Art Fair Basel 2024! ✨Together with Billie Clarken and ...
28/03/2024

We’re very excited to announce that we will participate in Liste Art Fair Basel 2024! ✨

Together with Billie Clarken and Linda Lach 🔥

See you in Basel!





‚Transparency grid’Sławomir Pawszak9-30.03.2024______Sławomir PawszakUntitled, 2023, acrylic and oil on canvas, 210 × 14...
27/03/2024

‚Transparency grid’

Sławomir Pawszak

9-30.03.2024



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Sławomir Pawszak
Untitled, 2023, acrylic and oil on canvas, 210 × 140 cm

Untitled, 2023, acrylic and oil on canvas, 200 × 150 cm

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📷: Bartek Zalewski

‚Transparency grid’Sławomir Pawszak9-30.03.2024______Sławomir PawszakUntitled, 2023, acrylic and oil on canvas, 200 × 15...
26/03/2024

‚Transparency grid’

Sławomir Pawszak

9-30.03.2024



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Sławomir Pawszak
Untitled, 2023, acrylic and oil on canvas, 200 × 150 cm

Untitled, 2023, acrylic and oil on canvas, 195 × 146 cm

Untitled, 2023, acrylic and oil on canvas, 210 × 170 cm

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📷: Bartek Zalewski

The last week of the exhibition ‚Transparency grid’ at wanda! We invite you to a meeting with the artist, March 29 at 5 ...
26/03/2024

The last week of the exhibition ‚Transparency grid’ at wanda! We invite you to a meeting with the artist, March 29 at 5 pm.

Sławomir Pawszak, Untitled, 2023
acrylic and oil on canvas, 170 × 140 cm

on view at ‚Transparency grid’ exhibition at the gallery until March 30.

Sławomir Pawszak explores the structure of reality captured in trillions of images that humanity creates every day. Contrary to the Golden Records selection’s ambition to portray humanity, the artist traverses digital resources rather as an arrogant tourist. He radically resigns from the named, in the process of experiencing, he constantly tries to reverse the optics to avoid what we know about reality. The performative nature of the analysis is dictated by submitting to a trance-like tremor of focus, which is an attempt to register the internal structure across the materialistic-utilitarian division of the world into categories of things. Following the after-image recording of subsequent layers on the retina, which during the observation process are no longer the object of perception, and are overwritten by those seen in real-time.



Hanna Antonsson together with Taiki Yokote at ‚until soil unites’ exhibition at CON_  antonsson The process whereby some...
21/03/2024

Hanna Antonsson together with Taiki Yokote at ‚until soil unites’ exhibition at CON_
antonsson 

The process whereby something that has taken form and actualized returns once again to an indeterminate state, only to materialize anew, suggests the coexistence of „real-time equals time and another time.” The „real” in this context refers to a subjective time, in the sense of something that is „alive,” standing distinct and concurrent. The „imagination of invisible narratives” by Yokote and the „contrast of encounters” by Hanna coexist in the same temporal and spatial dimensions along contradictory axes (urban/wild, sand/stars, streetlight/fog, etc.). In „until soil unites,” they blend across their respective scales, encompassing each other, and the sentiments they evoke align as different times, persistently flowing onward.

Sławomir Pawszak, Untitled, 2023acrylic and oil on canvas, 200 × 150 cm‚Looking into the sun, as a result of blindness, ...
13/03/2024

Sławomir Pawszak, Untitled, 2023
acrylic and oil on canvas, 200 × 150 cm



‚Looking into the sun, as a result of blindness, the retina captures the image longer than its viewing lasted. The vision fades and gradually disappears, preventing an objective register the process and maintain an unambiguous image. Entering a hypnotic state of perception, Sławomir Pawszak aims for similar mechanisms concerning meanings as well. Leading to detachment from a full-dimensional representation, he sifts through a set of presumed traits, abandoning recognizability, leaving only its properties.’

on view at ‚Transparency grid’ exhibition at the gallery until March 30.

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