Gunia Nowik Gallery

Gunia Nowik Gallery Bogacka, Dunkelberg, Gierzyńska, Gliński, Korzeniecka, Orłowska, Rycharski, Tarasewicz, Tanska, Jung

Aga Beaupré, Ramona Güntert, Margaret Raspé, Scott Young, Ada Zielińska𝔸𝕘𝕣𝕚𝕥𝕠𝕦𝕣𝕚𝕤𝕞curated by Natalia GrabowskaJul 6 – Se...

Aga Beaupré, Ramona Güntert, Margaret Raspé, Scott Young, Ada Zielińska

curated by Natalia Grabowska
Jul 6 – Sep 14, 2024

July 6, 2024
6 — 9 pm

The development of agriculture provided the surplus of food needed for humans to form and inhabit cities. Through the cultivation (exploitation) of and use (abuse) of natural resources, commodities were produced to sustain lives, needs and wants in large agglomerations. This process and cycle of growing and extracting from land in rural areas enabled the development of culture as it is commonly defined today – the human intellectual inventions, achievements and expressions in arts, humanities, music, literature, law and others. Intertwined from their very beginning, nature and culture order the world around us and choreograph our daily actions.

This exhibition brings together works that speak about our relationship with nature, culture and objects. Exploring the correlation between them and the human need to preserve, control, heal and destroy, the works in the show point towards different ways in which we order the environment around us – both natural and man-made – and highlights the fluidity of these terms. Through works in a variety of media, including painting, sculpture, video, photography and sound installations by artists from across generations, the exhibition presents the complex mechanical, extractive, artificial, organic and tender ways in which people interact, connect and construct the environment.

The show’s title – 𝔸𝕘𝕣𝕚𝕥𝕠𝕦𝕣𝕚𝕤𝕞 – nods towards a touristic approach that humans have taken towards the planet – building a world that suits only us, despite the harmful consequences for the natural habitat, of which we are inevitably part.

— Natalia Grabowska

𝔸𝕘𝕣𝕚𝕥𝕠𝕦𝕣𝕚𝕤𝕞 marks a significant milestone for us as we inaugurate our new gallery space on the third anniversary of Gunia Nowik Gallery!

Katarzyna KorzenieckaIza Tarasewicz𝙱𝚞𝚝𝚝𝚎𝚛𝚏𝚕𝚢 𝚁𝚎𝚜𝚒𝚜𝚝𝚊𝚗𝚌𝚎: 𝙷𝚊𝚒𝚝𝚒group show at Studio Gallery, Warsaw, PolandCurators: Kata...

Katarzyna Korzeniecka
Iza Tarasewicz
𝙱𝚞𝚝𝚝𝚎𝚛𝚏𝚕𝚢 𝚁𝚎𝚜𝚒𝚜𝚝𝚊𝚗𝚌𝚎: 𝙷𝚊𝚒𝚝𝚒
group show at Studio Gallery, Warsaw, Poland
Curators: Katarzyna Prokesz & Maria Prokesz
Coordination: Paulina Olszewska, Katarzyna Prokesz
May 15 – July 21, 2024

Spirituality present in several aspects of Haitian social life – religion, collectivity, political engagement or contact with nature – is the central theme of the exhibition. Providing the Polish audience with a context and a more familiar point of view, the exhibition showcases works by contemporary Polish artists alongside Haitian works, as well as pieces from the Galeria Studio collection. They illustrate similar phenomena present in this culture without referring directly to Haiti; illustrating, for instance, the themes of dance, ritual and the power of collective action, we present works strongly associated with religion, in particular Haitian vodou, as well as a more secular perspective of traditional Polish folk dances.
The most obvious international encounter occurs between Poland and Haiti, but at the same time Haitian works, especially those relating to history and politics, frequently refer to colonialism (historical links with France and, from today’s perspective, relations with the United States). We have invited several Haitian artists living in the diaspora, whose works address elements of Haitian tradition and culture from a modern, and often broader – almost global – perspective. The local Haitian perspective is present in works painted in Haiti at the turn of the 21st century which are currently in Polish collections.

Katarzyna Korzeniecka, Iza Tarasewicz 𝙱𝚞𝚝𝚝𝚎𝚛𝚏𝚕𝚢 𝚁𝚎𝚜𝚒𝚜𝚝𝚊𝚗𝚌𝚎: 𝙷𝚊𝚒𝚝𝚒, 2024, group show at Studio Gallery, Warsaw, Poland, photo: Anna Zagrodzka. Courtesy Galeria Studio


Vanessa SafaviLandis & Gyr Foundation prize〰Congratulations to Vanessa Safavi on Receiving the Landis & Gyr Foundation p...

Vanessa Safavi
Landis & Gyr Foundation prize

Congratulations to Vanessa Safavi on Receiving the Landis & Gyr Foundation prize! Vanessa Safavi's art, influenced by her multicultural background and extensive travels, delves into themes of territory, migration, and exoticism. Her education at the Cantonal Art School of Lausanne (ECAL) and the Geneva University of Art and Design (HEAD), coupled with diverse artistic residencies, has significantly shaped her work. She masterfully explores the physical and symbolic properties of materials, particularly silicone, using its skin-like texture and transformative qualities to create sculptures that blend geometric abstraction and post-minimalism. Her art intertwines sensuality with intellectual depth, crafting narratives that address societal critique and material exploration.
The Landis & Gyr Foundation, established in 1971 by the Gyr family, has supported cultural and humanities projects regionally, in Switzerland, and across Europe for the past 47 years. Their creative grants are designed for Swiss cultural practitioners in fields such as composition, literature, dance, theater, and visual arts, who have ongoing or planned projects. This grant recognizes and supports Safavi’s innovative contributions to the visual arts, enabling her to continue her impactful work.

Vanessa’s works are displayed on the Secret Language group show at Gunia Nowik Gallery, open till June 22, 2024!

→ Vanessa Disler, Hannah Sophie Dunkelberg, Ewa Partum, Vanessa Safavi, Sҽƈɾҽƚ Lαɳɠυαɠҽ, 2024, Gunia Nowik Gallery, Warsaw, Poland, exhibition view

Iza TarasewiczGunia Nowik Galleryat Basel Social ClubBruderholz-Basel, SwitzerlandJune 9 – 16, 2024〰In the Basel Social ...

Iza Tarasewicz
Gunia Nowik Gallery
at Basel Social Club
Bruderholz-Basel, Switzerland
June 9 – 16, 2024

In the Basel Social Club presentation, Tarasewicz explores the interplay between dance choreography and protest dynamics, emphasizing the transformative power of unity and collective action. Her works unfold a narrative of cooperation, reflecting the rhythms of rural life and community bonds.

Iza Tarasewicz's sculptural installation, 𝗥𝗲𝘃𝗲𝗹𝗮𝘁𝗶𝗼𝗻 𝗼𝗳 𝗣𝗼𝘄𝗲𝗿𝘀 (2022, oxidized steel, dimensions variable) comprises 32 pieces that collectively form a barricade, reminiscent of those used in agricultural protests, with each element channeling themes of collectiveness and resistance. Through its reference to a clock, the installation delves into the cyclical nature of time and its transformative possibilities, juxtaposing the roles of arms in dance choreographies with their use in acts of attack, defense, or rebellion. This contextualizes these elements within the war in Ukraine, offering a homage to collective resistance and solidarity. The installation includes 20 pieces measuring 110 x 68 x 8 cm, 12 pieces measuring 78 x 84 x 84 cm, and 10 foldable tripods, showcasing Tarasewicz's ability to blend form with function in a meaningful display.

Iza Tarasewicz's work titled 𝘾𝙝𝙖𝙞𝙣 𝙄𝙄 (2021, copper, grass, 75 x 40 x 40 cm) is on view on the wall of Predigerhof Restaurant. On the wall of the barn next to the restaurant, you can find 𝘾𝙤𝙣𝙫𝙞𝙫𝙞𝙖𝙡 𝘼𝙨𝙨𝙚𝙢𝙗𝙡𝙖𝙜𝙚𝙨 (2023, oxidized steel, Ø 175 x 5 cm). 𝙍𝙚𝙫𝙚𝙡𝙖𝙩𝙞𝙤𝙣 𝙤𝙛 𝙋𝙤𝙬𝙚𝙧𝙨 (2022, oxidized steel, dimensions variable) is placed just two minutes away on the plain field of Bruderholz-Basel.

Iza Tarasewicz, 𝗥𝗲𝘃𝗲𝗹𝗮𝘁𝗶𝗼𝗻 𝗼𝗳 𝗣𝗼𝘄𝗲𝗿𝘀, 2022, oxidized steel, variable dimensions, Basel Social Club 2024, Bruderholz-Basel, Switzerland, exhibition view

Vanessa DislerSwiss Art Award 2024Hall 1.1, Messe BaselBasel, SwitzerlandJune 11 – 16, 2024 〰Congratulations to Vanessa ...

Vanessa Disler
Swiss Art Award 2024
Hall 1.1, Messe Basel
Basel, Switzerland
June 11 – 16, 2024

Congratulations to Vanessa Disler on being among the laureates of the Swiss Art Award!

The award-winning 𝓢𝓵𝓮𝓮𝓹 𝓢𝓬𝓻𝓲𝓹𝓽 Paintings act out an ambivalent state on canvases reminiscent of bed sheets. In the night, the artist’s resting yet narrating body awakens to a prompt to draw or paint. The spontaneity of the gestural hand movements and the influences that shape the subject are merged. The body, imbued with all prior experiences, teeters between consciousness and unconsciousness. Disler is interested in artistic authorships moulded by different forces. In a lucid dream, the countless nuances of socialisation contained in identities appropriated and rejected through collective, family and culture come up against the moods of the night. The series is shot through with the eerie tension of a thriller, and definitively catapults Abstract Expressionism out of the macho image tradition into uncharted realms of thought and action.

Vanessa’s works are featured in the Sҽƈɾҽƚ Lαɳɠυαɠҽ group show at Gunia Nowik Gallery, open till June 22, 2024

→ Vanessa Disler, Hannah Sophie Dunkelberg, Ewa Partum, Vanessa Safavi, Sҽƈɾҽƚ Lαɳɠυαɠҽ, 2024, Gunia Nowik Gallery, Warsaw, Poland, exhibition view
→ Vanessa Disler, 𝓢𝓵𝓮𝓮𝓹 𝓢𝓬𝓻𝓲𝓹𝓽, 2023 graphite and acrylic on canvas 253 x 230 cm, detail
→ Vanessa Disler, Swiss Art Award 2024, Basel, Switzerland, exhibition view


〰 ɴᴏᴡ ᴏᴘᴇɴ 〰Solo presentation of Iza Tarasewiczat Basel Social Club!June 9 – 16, 2024Predigerhofstrasse 172Bruderholz-Ba...

〰 ɴᴏᴡ ᴏᴘᴇɴ 〰
Solo presentation of Iza Tarasewicz
at Basel Social Club!
June 9 – 16, 2024

Predigerhofstrasse 172
Bruderholz-Basel, Switzerland

Iza Tarasewicz lives and works on her family farm in Kolonia Koplany, a village in the Podlasie region of eastern Poland, where her life is directly linked to the natural world and its seasonal rhythms. This rural context is evident in her practice and the materials she uses; in her works, she deftly intertwines elements of tradition, resistance, and collective consciousness. Through her sculptural language, she invites us to dance along the edges of tradition and innovation, resilience and resistance, forging connections that transcend time and space.

In the Basel Social Club presentation, Tarasewicz draws parallels between the choreography of dance and the dynamics of protest, underscoring the transformative potential inherent in unity and collective action. In all the works, a narrative of cooperation and mutual support unfolds, echoing the rhythms of rural life and the enduring bonds of community. As this year’s edition is uniquely intertwined with the landscape, integrating agriculture and farm animals within the artistic narrative, featuring farmers as active participants, Tarasewicz’s large-scale sculptural works are thoughtfully placed throughout the farm — fields, barns, and woodlands — creating a sprawling outdoor gallery that spans 72 hectares, from the Bruderholz residential area into Baselland. The presentation reinforces the themes of unity and mutual support intrinsic to rural communities, aligning with this year's focus of the Basel Social Club and offering an immersive experience that resonates with the ecological and cultural dimensions of the event.

Iza Tarasewicz𝔸𝕕𝕛𝕒𝕔𝕖𝕟𝕔𝕪group show curated by Marta LisokRondo Art Gallery, Katowice, PolandMay 21 – July 21, 2024〰Immedi...

Iza Tarasewicz
group show curated by Marta Lisok
Rondo Art Gallery, Katowice, Poland
May 21 – July 21, 2024

Immediate surroundings and close relationships, conglomerates and condensations, become foundations of thinking about the reality through the prism of the notion of flux, exchange, symbiosis. Rather than fostering the conviction about the superagency of homo sapiens based on control and distance, they offer a vision of a harmonious consonance, in which the common rhythm can be found. Its healing power relies upon a set of moves, inspired by the dynamics of the weave. The pursuit of clear-cut divisions is replaced by the superior principle of permeation. The collection of forgotten choreographies is based on the category of viscosity, defining individuals through the prism of their attachment to others by means of a specialised set of legs, whiskers, tentacles, suckers and hooklets.

– Marta Lisok

Iza Tarasewicz, 𝑻𝒉𝒆 𝑴𝒆𝒂𝒏𝒔, 𝒕𝒉𝒆 𝑴𝒊𝒍𝒊𝒆𝒖 𝑰, 2014, steel, h**p fibre, ochre, caoutchouc, Reishi mushrooms, varying dimensions at 𝔸𝕕𝕛𝕒𝕔𝕖𝕟𝕔𝕪 group show, 2024, Rondo Art Gallery, Katowice, Poland, photo: Krzysztof Szewczyk. Courtesy Rondo Art Gallery

Gunia Nowik Galleryat Basel Social Clubsolo presentation of Iza TarasewiczBruderholz-Basel, Switzerlandfind us next to P...

Gunia Nowik Gallery
at Basel Social Club
solo presentation of Iza Tarasewicz
Bruderholz-Basel, Switzerland
find us next to Predigerhof!
June 9 – 16, 2024

We're happy to be back at Basel Social Club! BSC is a non-for-profit organization founded in spring 2022 by a collective of artists, gallerists and curators with the intention of creating social spaces for art. After the success of the past two editions, Basel Social Club returns this year for its third edition in a new location and new format: a week-long event in the midst of nature on farmland fields behind the residential neighborhood of Bruderholz, extending into Baselland.

Sprawled throughout the 72 hectares of farmed land between a forest and the border of the city, Basel Social Club 2024 will bring together an all-encompassing exhibition of artworks by a diverse list of local and international artists. Adapted to the environment and respectful of the local activities, Basel Social Club 2024 is accompanied by a dynamic music and performance program, an outdoor cinema, and exclusive culinary offerings.

This year's event integrates the landscape, agriculture, and farm animals into the artistic framework, with host farmers actively participating. Artistic interventions, including the large-scale sculptural works of Iza Tarasewicz, are strategically positioned throughout the properties—on the fields, in the barns, and amongst the trees. Displayed in a vast outdoor setting, Tarasewicz's works foster a dynamic interaction between art and the natural environment, offering visitors a unique way to experience both the ecological scope of the project and the merging of art with the agricultural landscape.

Basel Social Club will run from Sunday, June 9th until Sunday, June 16th, and will be accessible to all and free of charge.

If you are interested in a preview of the presented works, please do contact us via [email protected].

Iza Tarasewicz, 𝗥𝗲𝘃𝗲𝗹𝗮𝘁𝗶𝗼𝗻 𝗼𝗳 𝗣𝗼𝘄𝗲𝗿𝘀 at artist's studio, Kolonia Koplany, Poland, September 2022

Teresa GierzyńskaKrzysztof Jung𝗠𝘂𝗹𝘁𝗶𝗽𝗹𝗲 𝗥𝗲𝗮𝗹𝗶𝘁𝗶𝗲𝘀: 𝗘𝘅𝗽𝗲𝗿𝗶𝗺𝗲𝗻𝘁𝗮𝗹 𝗔𝗿𝘁 𝗶𝗻 𝘁𝗵𝗲 𝗘𝗮𝘀𝘁𝗲𝗿𝗻 𝗕𝗹𝗼𝗰, 𝟭𝟵𝟲𝟬𝘀–𝟭𝟵𝟴𝟬𝘀group show curated b...

Teresa Gierzyńska
Krzysztof Jung
𝗠𝘂𝗹𝘁𝗶𝗽𝗹𝗲 𝗥𝗲𝗮𝗹𝗶𝘁𝗶𝗲𝘀: 𝗘𝘅𝗽𝗲𝗿𝗶𝗺𝗲𝗻𝘁𝗮𝗹 𝗔𝗿𝘁 𝗶𝗻 𝘁𝗵𝗲 𝗘𝗮𝘀𝘁𝗲𝗿𝗻 𝗕𝗹𝗼𝗰, 𝟭𝟵𝟲𝟬𝘀–𝟭𝟵𝟴𝟬𝘀
group show curated by Pavel Pyś
Phoenix Art Museum
Phoenix, Arizona, United States
Apr 17 – Sep 29, 2024

Embracing conceptual or formal innovation and a spirit of adventurousness, 𝗠𝘂𝗹𝘁𝗶𝗽𝗹𝗲 𝗥𝗲𝗮𝗹𝗶𝘁𝗶𝗲𝘀 sheds light on ways that artists refused, circumvented, eluded, and subverted official systems, in the process creating works often riddled with wit, humor, or irony. Drawing on visual art, performance, music, and material culture, 𝗠𝘂𝗹𝘁𝗶𝗽𝗹𝗲 𝗥𝗲𝗮𝗹𝗶𝘁𝗶𝗲𝘀: 𝗘𝘅𝗽𝗲𝗿𝗶𝗺𝗲𝗻𝘁𝗮𝗹 𝗔𝗿𝘁 𝗶𝗻 𝘁𝗵𝗲 𝗘𝗮𝘀𝘁𝗲𝗿𝗻 𝗕𝗹𝗼𝗰, 𝟭𝟵𝟲𝟬𝘀–𝟭𝟵𝟴𝟬𝘀 brings together works by nearly 100 artists from East Germany, Poland, Czechoslovakia, Hungary, Romania, and Yugoslavia.

– Pavel Pyś

𝗠𝘂𝗹𝘁𝗶𝗽𝗹𝗲 𝗥𝗲𝗮𝗹𝗶𝘁𝗶𝗲𝘀: 𝗘𝘅𝗽𝗲𝗿𝗶𝗺𝗲𝗻𝘁𝗮𝗹 𝗔𝗿𝘁 𝗶𝗻 𝘁𝗵𝗲 𝗘𝗮𝘀𝘁𝗲𝗿𝗻 𝗕𝗹𝗼𝗰, 𝟭𝟵𝟲𝟬𝘀–𝟭𝟵𝟴𝟬𝘀 is organized by the Walker Art Center () with major support provided by Martha and Bruce Atwater. Exhibition research was supported by a curatorial fellowship from the Andy Warhol Foundation for the Visual Arts (). The exhibition is curated by Pavel S. Pyś, Curator of Visual Arts and Collections Strategy, at Walker Art Center. Its presentation at Phoenix Art Museum is coordinated by Rachel Sadvary Zebro, associate curator for collections.

𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 𝙏𝙤𝙪𝙧
Walker Art Center, Minneapolis: Nov 11, 2023 – Mar 10, 2024
Vancouver Art Gallery: Nov 2, 2024 – Mar 23, 2025

Teresa Gierzyńska, Krzysztof Jung, 𝗠𝘂𝗹𝘁𝗶𝗽𝗹𝗲 𝗥𝗲𝗮𝗹𝗶𝘁𝗶𝗲𝘀: 𝗘𝘅𝗽𝗲𝗿𝗶𝗺𝗲𝗻𝘁𝗮𝗹 𝗔𝗿𝘁 𝗶𝗻 𝘁𝗵𝗲 𝗘𝗮𝘀𝘁𝗲𝗿𝗻 𝗕𝗹𝗼𝗰, 𝟭𝟵𝟲𝟬𝘀–𝟭𝟵𝟴𝟬𝘀, 2024, Phoenix Art Museum, exhibition view. Courtesy Phoenix Art Museum

Daniel Rycharski𝘚𝘩𝘢𝘣𝘣𝘢𝘵 𝘋𝘪𝘯𝘯𝘦𝘳: 𝘙𝘢𝘪𝘯𝘣𝘰𝘸 𝘚𝘩𝘢𝘷𝘶𝘰𝘵Main Hall of Muzeum POLINAnielewicza 6, Warsaw, PolandJune 7, 20248 pm〰Jo...

Daniel Rycharski
𝘚𝘩𝘢𝘣𝘣𝘢𝘵 𝘋𝘪𝘯𝘯𝘦𝘳: 𝘙𝘢𝘪𝘯𝘣𝘰𝘸 𝘚𝘩𝘢𝘷𝘶𝘰𝘵
Main Hall of Muzeum POLIN
Anielewicza 6, Warsaw, Poland
June 7, 2024
8 pm

Join us on June 7th at 8 pm at Muzeum POLIN for a special evening where the harvest festival Shavuot meets Pride Month. This dining experience offers a vegetarian menu that captures early summer's freshness and celebrates inclusivity. Enjoy dishes like freshly baked challah, asparagus with ricotta and pistachios, cucumber soup, and a vibrant rainbow cake. More than just a meal, this event is a tribute to art, diversity, and seasonal change.

The highlight of the evening will be the presence of Daniel Rycharski, an artist and LGBT activist known for his engagement with rural and q***r themes. Rycharski will discuss his significant work, 𝘋𝘰𝘶𝘣𝘭𝘦-𝘏𝘦𝘢𝘥𝘦𝘥 𝘌𝘢𝘨𝘭𝘦, an art piece that blends agricultural symbolism with a narrative on identity and community. This talk will deepen guests' insights into the links between traditional culture and modern social issues.

→ Limited capacity, book your seat at the table, link in BIO! ←

Daniel Rycharski, 𝘋𝘰𝘶𝘣𝘭𝘦 𝘏𝘦𝘢𝘥𝘦𝘥 𝘌𝘢𝘨𝘭𝘦, 2023, wood, grains of wheat and barley, 124 x 120 cm

Daniel Rycharski, 𝘞𝘦 𝘈𝘳𝘦 𝘢 𝘍𝘢𝘪𝘳𝘺 𝘛𝘢𝘭𝘦 𝘐𝘯𝘴𝘪𝘥𝘦, Kurówko, 2023, exhibition view 📸

Vanessa DislerHannah Sophie DunkelbergEwa PartumVanessa SafaviSҽƈɾҽƚ LαɳɠυαɠҽMay 18 – June 22, 2024〰 The secret language...

Vanessa Disler
Hannah Sophie Dunkelberg
Ewa Partum
Vanessa Safavi
Sҽƈɾҽƚ Lαɳɠυαɠҽ
May 18 – June 22, 2024

The secret language may be a language of love and of empathy. It may be a language that does not expect but carries. That finds its power in being overshadowed. A power wildly shared but not dominant and not aggressive. As a proposition, uncertain and undirected. It may be a language that does not have spikes, that smoothens its hard edges. As a constant attempt not to hurt but to heal. It may be a language that celebrates the pleasure of containing and retaining, prioritizing listening over speaking, prioritizing implying over stating. It may defy plans, intentions, and resolutions. It may defy the regime of signification and significance. It may be a language that may neither be seen as progress nor success. Not afraid of lacking. It may rather be calming and playful. It may rather be a sleeping language that lingers. It may be a language that puts dominant forms of power to rest. That recognizes exhaustion. Queering their failure. Chi dorme non pecca. He who sleeps, does not sin. It may mean recovery. Its self-criticism may be its strength. Its force may be its fragility and vulnerability. Akin to dreams that can’t be interpreted, you have to receive, to react emotionally. It may be because it may not be. It may be because it doesn’t claim any certainty. It may be a feminist language.

– Hendrike Nagel

Vanessa Disler, Hannah Sophie Dunkelberg, Ewa Partum, Vanessa Safavi, Sҽƈɾҽƚ Lαɳɠυαɠҽ, 2024, Gunia Nowik Gallery, Warsaw, Poland, exhibition view 📸

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Vanessa DislerHannah Sophie DunkelbergEwa PartumVanessa SafaviSҽƈɾҽƚ LαɳɠυαɠҽMay 18 – June 22, 2024〰 The secret language...

Vanessa Disler
Hannah Sophie Dunkelberg
Ewa Partum
Vanessa Safavi
Sҽƈɾҽƚ Lαɳɠυαɠҽ
May 18 – June 22, 2024

The secret language may be a language that revels in the wonder of strangeness and complexities. It may be the acceptance of misunderstandings and the experience of disability and ability. Of always being several, always being different. Not indifferent! As it does not believe in the whole nor in norms. It may be an elastic language that is not territorial but stretches, stretches to be soft, accidental, and transformative as well as consistent, loyal, and reliable. It occurs simultaneously – in several bodies, several people, several cultures, several places – but never appears the same. It does not believe in identicalness and therefore can never be identified. It may be the resistance of a concrete identity and ideational reality. A sensitive resistance. An alternate act of reception. An alternate act of representation. It may be as much the disbelief in a closed cultural identity as the disbelief in a coherent bodily identity. It may be a language that just accepts that the Other remains foreign. A gap through which alternate modes of belonging appear. It may blend personal histories, still leaving them intact, still giving them their space. It may be the path from object to subject, from subject to object, from enigma to enigma. It may be the intimate sphere of acceptance.

– Hendrike Nagel

Vanessa Disler, Hannah Sophie Dunkelberg, Ewa Partum, Vanessa Safavi, Sҽƈɾҽƚ Lαɳɠυαɠҽ, 2024, Gunia Nowik Gallery, Warsaw, Poland, exhibition view 📸

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Vanessa DislerHannah Sophie DunkelbergEwa PartumVanessa SafaviSҽƈɾҽƚ LαɳɠυαɠҽMay 18 – June 22, 2024〰The secret language ...

Vanessa Disler
Hannah Sophie Dunkelberg
Ewa Partum
Vanessa Safavi
Sҽƈɾҽƚ Lαɳɠυαɠҽ
May 18 – June 22, 2024

The secret language may be a language that consists of more than just words. Everything speaks! It may be a language that exists in the subtext. That is subversive. That may be able to fluidly go backwards in time as well as forward. It may draw from a multitude of sources that are not pre-spoken and not pre-coded. As marks, fragments, spurs, lines, dots, and curves. In between and out of syntax. In between and out of all the languages: the language of color, of objects, of movements, of materials, of gestures, of symbols, of... It may be a language that encapsulates both speculation and understanding. As liminal thinking. It may be a language that outlines the process of recognition. As the recognition of the unconscious where everything repressed manages to survive. Its meaning may be definitively unfixed. As an interpretation of an interpretation of an interpretation. As a subversion of comprehension. More than a dominant figure, it manifests itself as a parenthetical remark. A remark that scripts an alternate imagination of the world. A notation that simultaneously imbues thinking and unthinking. It may be the weaving of patterns that does not confine but opens. That draws relations, draws individual stories. It may be the aleatory position of openness.

– Hendrike Nagel

Vanessa Disler, Hannah Sophie Dunkelberg, Ewa Partum, Vanessa Safavi, Sҽƈɾҽƚ Lαɳɠυαɠҽ, 2024, Gunia Nowik Gallery, Warsaw, Poland, exhibition view 📸

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Vanessa DislerHannah Sophie DunkelbergEwa PartumVanessa SafaviSҽƈɾҽƚ LαɳɠυαɠҽMay 18 – June 22, 2024〰 The secret language...

Vanessa Disler
Hannah Sophie Dunkelberg
Ewa Partum
Vanessa Safavi
Sҽƈɾҽƚ Lαɳɠυαɠҽ
May 18 – June 22, 2024

The secret language may be a language born out of substitution and silence. Out of the torment of having to speak up. Of finding a voice. It may be a language that has to assert its presence in its absence. That has to claim space by reappropriating its own body, its own mouth. As a symbol of speech as much as a symbol of bodily autonomy. It may be a language that constitutes itself as a voice against objectification. A language that toys with the idea of tautology, which it ultimately resists, refusing to reinforce existing stereotypes. It may be a language that is neither black nor white. Adding depth and nuance. Pointing out classificatory errors. It may be a language that only allows itself to be its own fantasy. Wrecking partitions, classes, rhetoric, and regulations. It may be a language that always attempts to be neither logical nor rational nor linear. That may not believe in truth or reason. Never objectified nor generalized. It may be a subjectivity that will never be owned nor understood. Its imagination may be inexhaustible, rich in individual constitutions. It may loop back onto itself, with itself. It may be a circulating mode of protest.

– Hendrike Nagel

Vanessa Disler, Hannah Sophie Dunkelberg, Ewa Partum, Vanessa Safavi, Sҽƈɾҽƚ Lαɳɠυαɠҽ, 2024, Gunia Nowik Gallery, Warsaw, Poland, exhibition view 📸

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Anna Orłowska𝒯𝑒 𝓌𝓈𝓏𝓎𝓈𝓉𝓀𝒾𝑒 𝓇𝑜𝓏𝒸𝓏𝓊𝓁𝑒𝓃𝒾𝒶group show curated by Kamila KobierzyńskaCentrala GalleryRatajskiego Sq., Poznań, P...

Anna Orłowska
𝒯𝑒 𝓌𝓈𝓏𝓎𝓈𝓉𝓀𝒾𝑒 𝓇𝑜𝓏𝒸𝓏𝓊𝓁𝑒𝓃𝒾𝒶
group show curated by Kamila Kobierzyńska
Centrala Gallery
Ratajskiego Sq., Poznań, Poland
Apr 26 — May 25, 2024

The recently concluded exhibition showcased artists who combined photography with technology in their installations. Anna Orłowska's "Zaświaty" highlighted this approach by delving into family memories rooted in the village of Sandowitz, Żędowice. The narrative centered on an old water mill, a focal point of familial history, using traditional photography to evoke warmth and nostalgia.

Orłowska incorporated natural elements such as bog ore from the river by the family's main house, creatively integrating these materials into her work. Her personal archival frames were thoughtfully juxtaposed with black and white photographs of other now-closed mills, offering viewers a reflective journey through the layers of memory and the enduring impact of industrial change.

Anna Orłowska, 𝒯𝑒 𝓌𝓈𝓏𝓎𝓈𝓉𝓀𝒾𝑒 𝓇𝑜𝓏𝒸𝓏𝓊𝓁𝑒𝓃𝒾𝒶, 2024, group show at Centrala Gallery, Poznań, Poland, exhibition views, photo: Anka Gregorczyk


Agata Bogacka & Jakub Gliński𝑷𝒓𝒊𝒗𝒂𝒕𝒆 𝑪𝑨𝑺𝑬. 𝑨𝒓𝒕𝒊𝒔𝒕𝒔 𝒇𝒐𝒓 𝑾𝒐𝒎𝒆𝒏 𝒊𝒏 𝑼𝒌𝒓𝒂𝒊𝒏𝒆DESA Unicum ONLINE AUCTIONTill 22 May 2024, 4 pm ...

Agata Bogacka & Jakub Gliński
𝑷𝒓𝒊𝒗𝒂𝒕𝒆 𝑪𝑨𝑺𝑬. 𝑨𝒓𝒕𝒊𝒔𝒕𝒔 𝒇𝒐𝒓 𝑾𝒐𝒎𝒆𝒏 𝒊𝒏 𝑼𝒌𝒓𝒂𝒊𝒏𝒆
Till 22 May 2024, 4 pm CEST

1,460 kilometers separate Warsaw from the town of Krasnopilja, Slavic region, Donetsk region. In a straight line, without border blockades and stops, it takes about 20 hours by car. This is where the window frame into which the artist mounted the canvas comes from. Window. Windows are constantly replaced during war. Bogacka symbolically repairs this lost element, but at the same time breaks it up with composition. How to build a relationship with the damaged land? What guard can a painting put against war? Treat? Not yet. Perhaps to be prepared to be stored in memory for a long time, to become a counter to entropy and decay. The image sensitizes the eyes. The eyes can sensitize the rest.

— Agata Bogacka

The auction catalog contains 15 unique objects, all of them from war-torn Ukraine. Particularly noteworthy is Agata Bogacka's painting, which the artist herself framed in a window frame brought from Donbas in Ukraine. 14 other items are boxes used by the army to transport ammunition. The artists decided to turn them into works of art and allocate the proceeds from their sale to the activities of the Pogoń Ruska organization.
Funds from the auction will combat the menstrual crisis in Ukraine and support hygiene measures. Initiated by the Faculty of Design at the Warsaw Academy of Fine Arts, the campaign aims to create points where women can freely access menstrual hygiene products. Redesigned missile fuse boxes by design students will serve as dispensers for these products.
The artists' works can be viewed from May 13-21 at the Desa Unicum headquarters at ul. Piękna 1A in Warsaw.

𝐓𝐡𝐞 𝐨𝐧𝐥𝐢𝐧𝐞 𝐚𝐮𝐜𝐭𝐢𝐨𝐧 𝐞𝐧𝐝𝐬 𝐨𝐧 𝐌𝐚𝐲 𝟐𝟐 𝐚𝐭 𝟒:𝟎𝟎 𝐩𝐦!

Agata Bogacka, Field of View, 2024, Window frame from Donetsk Oblast (Ukraine, 2024), acrylic on canvas, 55 x 42 x 13 cm
Jakub Gliński, Untitled, 2024, acrylic, airbrush on metal box, 18 x 28 x 15 cm

Sana Shahmuradova Tanska24th Biennale of SydneyArtistic Directors: Cosmin Costinaș, Inti Guerrero𝙏𝙚𝙣 𝙏𝙝𝙤𝙪𝙨𝙖𝙣𝙙 𝙎𝙪𝙣𝙨March ...

Sana Shahmuradova Tanska
24th Biennale of Sydney
Artistic Directors: Cosmin Costinaș, Inti Guerrero
𝙏𝙚𝙣 𝙏𝙝𝙤𝙪𝙨𝙖𝙣𝙙 𝙎𝙪𝙣𝙨
March 9 – June 10, 2024
43–51 Cowper Wharf Roadway
Woolloomooloo NSW 2011
Sydney Australia

Within the framework of the 24th Biennale of Sydney, Artspace emerges as a pivotal venue, hosting an array of artists whose works challenge, reflect, and interrogate contemporary societal issues. Sana Shahmuradova Tanska’s ‘Apocalypse Survivors/Tethys Sea Inhabitants’ series is a poignant exploration of the lasting effects of war and the resilience of the human spirit in the face of adversity. Her work, alongside others at Artspace, underscores the critical role of art in addressing the crises derived from colonial and capitalist exploitation. From 9 March to 10 June 2024, Artspace not only showcases artistic excellence but also fosters a dialogue on the urgency of recognizing and overcoming global challenges through the unity and healing potential of art.

Sana Shahmuradova Tanska, 24th Biennale of Sydney, 𝙏𝙚𝙣 𝙏𝙝𝙤𝙪𝙨𝙖𝙣𝙙 𝙎𝙪𝙣𝙨, 2024, Artspace, Sydney, Australia, exhibition views, photo: Document Photography

Exhibiting artists at Artspace include: Doreen Chapman, Adebunmi Gbadebo, Li Jiun-Yang, r e a, Eric-Paul Riege, Sana Shahmuradova Tanska, Trevor Yeung

Agata BogackaHannah Sophie Dunkelbergat NADA Villa WarsawMay 16 – 19, 2024Villa GawrońskichAl. Ujazdowskie 23, Warsaw, P...

Agata Bogacka
Hannah Sophie Dunkelberg
at NADA Villa Warsaw
May 16 – 19, 2024
Villa Gawrońskich
Al. Ujazdowskie 23, Warsaw, Poland

Find us on the Ground Floor of the Villa!

Thursday, May 16th
3 – 7 pm
Friday, May 17th – Sunday, May 19th
12 – 7 pm

Gunia Nowik Gallery is pleased to join NADA Villa Warsaw with works by German sculptor Hannah Sophie Dunkelberg and Polish painter Agata Bogacka. Both artists, through surreal and abstract approaches, respectively, delve into feminist and political subjects. The exhibition reimagines Gawroński’s Villa, turning a formal space into one of domestic presence.

Dunkelberg's Müdes Pferd (2022), consisting of equestrian statue named Venny and a couch, evoke symbolism of powerful form of public art, contrasting horse's tired pose that hint at the necessity for relaxation and rejuvenation in a relentless neoliberal world. The sculpture is shown along Bogacka’s painting, that emphasizes blurred boundaries and societal critique through its gradient technique. Meanwhile, Dunkelberg's Art Cars like the Susanne Paesler BMW Z1, 1991 (2021) and Etel Adnan BMW 535i, 1990 (2021), mimic children's abandoned toys but with a feminist twist, reinterpreting history by featuring female artists. Collectively, these pieces create a dreamscape that critiques prevailing patriarchal institutions, using Gawroński’s Villa as a historical backdrop and challenging viewers to reflect on the power structures that shape their existence.

Agata Bogacka and Hannah Sophie Dunkelberg at NADA Villa Warsaw, May 15–19, 2024, Villa Gawrońskich, Al. Ujazdowskie 23 Warsaw, Poland, exhibition views 📸


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