What will we find at the exhibition?
In September 2017, struck by the Architecture of the Night exhibition where we displayed Janusz Tarabuła’s gouaches of the 1950s, Łukasz Stokłosa began painting small pictures in gouache on cardboard. Work in the new technique was a true success. Almost all these views are European landscapes – sprawling, seen from a lofty perspective, or intimate, mysterious, fragmentary. Venice, Vienna, Naples, Pompei, Casserta, Kew Gardens, Versailles… We see different seasons of the year, times of the day and night, various cities and gardens. What draws our special attention is the quantity and subtlety of the luminous effects, seldom found in contemporary painting. Stokłosa’s marvellous technique will come as no surprise to those admirers of his painting who know that he is inspired by Gerhard Richter and David Hockney. This views are painted from his imagination, without consulting photographs, they are autonomous painting solutions that announce a new phase in the artist’s development. The title pertains to “100 Famous Views of Edo” by Utagawa Hiroshige. We will be showing several dozen new works at the exhibition.
The One Hundred Views exhibition is accompanied by a collector`s catalogue with a preface by Geneviève Bernard and Gaston Vieux, in fifty copies numbered and signed by the artist. Format 28 x 23 cm, 88 pages. This is a catalogue raisonné of all the gouaches painted from September 2017 to late November 2018. As Dr. Vieux notes: “Looking at Stokłosa`s pictures can be as soothing as the old Dutch pictures: woolly trees, translucent seas, the suggestion of an infinite aerial perspective. And when you are calmed and have surrendered to the mood, you conclude that it has all been woven from disquiet.” Come one, come all!
Avant-garde Experiments of the 1960s
Galeria Zderzak, 1.03 – 4.05.2019
Opening: Friday 1 March 2019 at 7:00 p.m.
on the 88th birthday of the artist
Please confirm attendance by 28 February by telephone or e-mail: +48 12 429 67 43, firstname.lastname@example.org
For the At the Margins of the Material exhibition we are displaying works from the first half of the 1960s by Janusz Tarabuła, a precursor of material painting in Poland. These are a variety of formal experiments, most never before put on display. The artist saw them as dress rehearsals, lesser works, less successful than those we know from the Krakow Group exhibitions and museum shows. Shamefaced, abandoned, forgotten, they littered the corners of his studio in Dębniki, some getting damaged. Yet for precisely this reason – their peripheral language and history of neglect – they interest us today, and are worth revisiting.
We have titled the exhibition to stress the avant-garde aspect of these creative explorations in a new artistic language – structuralism in painting. Where does it take us? What can it tell us? The young Tarabuła’s work is highly expressive, yet revolves around what defies expression: human captivity and obliteration, memory, and transcendence. In the pictures of the 1960s we see numbers – repeating, squeezed into a mass of elements, gathered in groups or piling up inertly, we see boarded windows and bars with prisoners’ faces, we see rails and traces of tracks. This is the most palpable, dramatic layer of these works’ meaning. We delve deeper through intuition. What is the significance of the opalescence of the strips of photographic paper, black matte “soot” or “graphite”, the cracked layer of “mortar” or “crumbling mud”? The whole geological aspect?
The rawness of these compositions is mollified by the subtle tones of color – gray, silver, ruddy, green, honey, ivory – they are unique, seldom encountered. Their combination with sparing and balanced texture effects, with materials that absorb or scatter the light, incline the viewer to contemplate these odd mnemonic pieces. At the Zderzak exhibition the viewers feel as though they are inside an old clock with a curious mechanism. It measures time from eternity to the present, without ticking, in utter silence.
The exhibition will be accompanied by a catalogue with full documentation.
Born in 1931 in Krakow, he graduated in 1956 from the Painting Faculty at the Academy of Fine Arts in Krakow, taking his diploma from the studio of Professor Czesław Rzepiński. He was a member of the Second Krakow Group. A co-founder of the Nowa Huta Group (1956-61), and a precursor of structuralism in painting (material painting) in Poland. In 1974-1976 he lectured at Maria Skłodowska-Curie University in Lublin, and in 1982 he began running a painting studio at the Academy of Fine Arts in Krakow, where, in 1996, he was made professor. He works in easel and monumental painting, drawings, and graphic art. He was a co-creator of the monument to the Murdered Jews of Lublin, and the creator of frescoes in churches. Janusz Tarabuła’s paintings are found in the National Museum in Krakow, the National Museum in Warsaw, the Studio Gallery collection in Warsaw, and others.
Presentation of Andrzej Wróblewski`s works (1927-1957) collected by the Zderzak Gallery. The first part of the exhibition will be held on June 5 – July 31, the second part will be held on September 18 – November 16, 2019.
In the first installment we will present works on papers from the 1940s and related to the subject of cosmic catastrophe. So the motives of Sunken Cities, Fish, Heaven over Mountains, Holy Cities and Holy Geometry.
On this occasion, a catalog of all works in the collection – paintings, gouaches, drawings, graphics, photographs, portfolios, typescripts, manuscripts – with the commentaries of Jan Michalski will be released. Planned catalog presentation day: Saturday 16th November 2019
Collections Part II
on Wednesday 18 September 2019 at 7:00 pm
7:00 pm opening of the exhibition
8:00-8:25 introduction to the subject of the exhibition – a lecture by Jan Michalski.
We warmly welcome you to Part Two of the presentation of works by Andrzej Wróblewski (1927-1957) collected by Zderzak Gallery. In this autumn edition we will be showcasing figurative works: pictures, gouaches, drawings, and photographs. The theme of the exhibition is The Trouble with Man.
The central wall of the gallery will hold “Cosmic Man” in place of “Cosmic Fish.” We will see “Man” dancing in pain – a great sketch for “Execution VIII.” We shall also see the legendary “Golden Age of Humanity” with its levitating ryshi.
The postwar image of man and personhood in Wróblewski’s art was created in hardship and suffering. Man sometimes undergoes total destruction, sometimes there are images of ancient gods standing behind him – Cybele, Isis, Shiva, Buddha, Bodhisattva, or Avalokiteśvara. The young artist’s imagination turned toward the great religious system of humanity and contemporaneous soteriologies, seeking a response to fundamental questions: the link between body and soul and the central position of man in the cosmos. What is left to the modern man after having been so diminished? Has he lost his link to the Mountain of the Double Horizon? Wróblewski’s art depicting the drama of the modern man is filled with visions, dreams, and transgressions. It tells us something vital, which makes it speak to generation after generation. “Artists are those who possess, often unconsciously, the gifts of having visions,” said Mickiewicz. The Zderzak exhibition is a footnote to the anthropology of Andrzej Wróblewski’s work.
The third and final instalment of the exhibition – “Andrzej Wróblewski: Photography” – will open on Thursday 12 December 2019.