Attention! For reasons beyond our control, the entrance to the SARP premises is temporarily closed. Guests visiting the gallery are kindly asked to make a phone call +48228276243

we are sorry for inconvenience

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Czarny tekst na białym tle: Open call #LasRzeczy

We are announcing recruitment to participate in the Foksal Gallery internet project #LasRzeczy. We invite artists from various fields who will present proposals for works or activities – one-off or cyclical – in the virtual space, on the website: https://galeriafoksal.pl/las-rzeczy/

Project assumption is to grow heterogeneously and gradually change and searching for such forms that will work in virtual space. The navigation tool here is a cloud of tags with which the works are marked, but you do not need to rely only on those already existing, this collection may grow.

Interested artists, please send:
– a short project proposal
– short bio
– and presentation of previous works (portfolio / website / instagram)

From among the submitted applications, we will select people with whom we will talk about the proposed project, in order to finally select 9 people who will receive a fee of PLN 1,000.

Deadline for submitting applications: March 8, 2021

Please send all questions, doubts and applications to: m.stolpiec@mik.waw.pl

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Zdjęcie przedstawia fragment wystawy: dwa czarno-białe rysunki oprawione w jasne, drewniane ramy, na szarej ścianie. Na pierwszym rysunku dwie postaci kobiece. Pierwsza, Bonnie Parker, w sukni z lat 30. XX w., w berecie na spiętych włosach i papierosem w ustach, opiera się lewym łokciem o reflektor automobilu, w prawej dłoni, którą opiera na biodrze, trzyma rewolwer. U jej stóp, nieproporcjonalnie mniejsza, siedzi druga kobieta, artystka, Sonia Delaunay, w sukni w geometryczne wzory i gładko upiętymi włosami. W prawej dłoni zbliżonej do twarzy trzyma papieros. Tło sceny stanowią zarośla. Drugi rysunek przedstawia przenikające się rzeźby Rudolfa Bellinga, pt. Bokser i Triada - klasyczna sylwetka mężczyzny w dynamicznym skręcie prawego sierpowego otoczona trzema kubistycznymi formami. Obok rzeźby widać napisany ręcznie, nieczytelny tekst.

Paweł Książek, Plates

Eksibition runs: 5.02. – 26.03.2021

Curators: Katarzyna Krysiak, Przemysław Strożek

Partner: ZAiKS

Paweł Książek’s Plates is a series of works which allude to the illustrative-cum-informational plates used in encyclopaedias, dictionaries and the natural history textbooks that became popular in the eighteenth and nineteenth centuries as incontrovertible compendiums of knowledge. They are intended to bring out surprising and revealing connections not only between individual events, works of art and the biographies of artists, filmmakers and musicians, but also in a wider aspect, between, scholarship, biology, philosophy and anthropology and, at the formal level, between the shapes, colours, and lines of sketches and scores.

Based on facts drawn from those works, all the episodic stories in Plates fall into cohesive narratives, while the numbering need not always organised from first to last. There is neither chronology here nor a chain of cause and effect. At the formal level, grounded in montage, and at the semantic level, rooted in the exploration of episodic events, they point to an open-ended practice of creating a sequence of alternative interpretations in the sphere of cultural history, where every phenomenon and every concept has a relationship, often hidden. Because the plates do not constitute a closed formula, they can be developed in any direction with no real end.

The problems broached by the Plates series are focused on a great many diverse matters from which we need to single out the primary questions of the artist’s role as a historiographer, an art historian and a (post)scholar. Can a detective-like and factual stance in a scholar-artist analysing a work of art by asking questions and carrying out individual, exploratory searches for connections between paintings and scholarly texts, have an influence on the history of art and, at the same time, on new and refreshing perceptions of artistic phenomena rendered commonplace in that history? Can the schematisation of scholarly works be broken and a new concept for scholarship indicated? Can an art historian base their studies on interpretations formulated by artists? Can an art historian themself improvise ? Can art, in the end, give rise to changes in the field of art history itself?

The exhibition is composed of 25 drawings from the Plates series, and it is accompanied by an artbook, designed by the artists, in limited edition.

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From February 5, 2021, the Foksal Gallery is open for the visitors again

New opening hours: Monday – Wednesday, Friday 12 – 5 pm, Thursday 12 – 7 pm. Free admission.

The archival documantation and the book’s collection of the Foksal Gallery remain unavailable until further notice.

Rules for visitors of the Foksal Gallery during the pandemic

We have adopted a few simple rules that will make your visit to our gallery safe:

  • Please, comply with the obligation to wear masks or scarves covering the mouth and nose in the gallery.
  • Due to the small space of the gallery, we limited the number of visitors to the exhibition at the same time to two people. Please keep a distance of at least two meters apart. In both cases, the exception is people who live together on a daily basis.
  • Please disinfect your hands with disinfectant liquid available at the entrance to the gallery.
  • Please do not touch exhibits, multimedia and other devices activated by touch.
  • If you notice disturbing symptoms or your well-being indicates that they may occur in the near future – please postpone the visit to the gallery.

 

 

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