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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.’ – Linda Lach

artist’s page

PRESS:
Thinking is action. Sonia Jaszczyńska in conversation with Linda Lach

Each activity is. – interview with artists

SELECTED EXHIBITIONS AND FAIRS:

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“In his paintings, Patryk Staruch touches upon the psychoanalytical background of the cinema. He uses cinematic narrative and compositional strategies, when recreating scenes from his own memories and dreams. Aware of the power of the patriarchal gaze as well as both male and female gaze shaped by the cinema, he reflects on how his female protagonists see themselves and others and, what’s the most important, how they wish to be seen? In his painting Sleepwalker (2023), the artist makes a reinterpretation of the cinematic montage. The black outline of the girl’s face with her eyes closed suggests that the scene in the background – evocative of Kate Bush’s music video for Wuthering heights – may be a dreamlike projection of her. But it could also be an image formed by someone else, gazing at her. Is she the one who dreams, or is the person looking at her dreaming about her?

* Glancing is a Form of Contact
Aleksandra Sadulska

artist’s page

SELECTED EXHIBITIONS AND FAIRS:

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Hanna Antonsson’s (b. 1991) 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.

„I see the sculptures as somewhat living creatures when turned into these car debris and bird wing hybrids, and for that reason it makes sense that they should be able to move and live their own lives. I think the materials I use often come charged with an embedded knowledge of what has happened to them before I took care of them.

The Auto wing series theme would be the collision and came to me quite naturally. Since the birds I use very often are hit by cars and I find them on the side of the road I saw an opportunity to speak of why the animals I use have died and work from there.

I have also somehow explored mythologies and different symbols in a backwards way when doing my art. Everything you put wings onto has been done before in Greek mythology, the motor industry or sports logos. There’s wings everywhere that are used today which originate from a tale a long time ago.”

artist’s page

PRESS:
From Taxidermy to Technology: The Evolution of Winged Art in Hanna Antonsson’s Work

until soil unites – Interview with the artist

Interview with the artist in Coevel Magazine

SELECTED EXHIBITIONS AND FAIRS:

2024

2023

2022

I wouldn’t touch that if I were you, group exhibition at A house Ark, Stockholm
WHO IS PLUTO, group exhibition at Subtitled.nyc in New York
VARSE – mentally I’m here, group exhibition at Vulkano in Gothenburg
Cautere, group exhibition at FRAC Corsica
ART or WORK, group exhibition at Way Gallery, Stockholm
Lust 4 life, group exhibition at Galleri NOS, Stockholm
The Interrupted Journey, group show in Unterägeri, Switzerland

2021

Being amongst, within and without, group show at Safehouse 2, London
SILENT MAIL, group show at 3:e Våningen, Gothenburg
vad är nytt? group show at Nya Fabriken, Gothenburg
Skogens konung, offsite group show at Groddammen, Gothenburg
Slätten vårsufflé, group show at Galleri Slätten, Malmö
Scattered Rhymes, group exhibition at XY Gallery, Olomouc 

2020

Further down the drain, online group show at soloshow.online
Under rådande omständigheter, group show at Vandalorum
We’ve been sent a strange sign, group show at Landskrona Foto Festival
Aerosol, Sage, Intent: Unlock, group show at Göteborgs konstförening and online
Solo show chapter 3.2: Everything must be rendered perfectly (p2), online group show at soloshow.online
Ride or die 2.0 / EARTHFLAX, group show at Ödledammen, Gothenburg
UGot Distance, Online graduation show at ugotphotography.se
The Thicker the Woods, the Vaster the Vista, group show at Nevven, Gothenburg
The Icelandic Photography Festival, Photobook viewing in Reykjavik

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Filip Rybkowski’s (b. 1991, Poland) practice is based on painting, installation, video and photography. His works transcend the traditional boundaries of painting, entering the field of mosaic, objet trouvé and installation. Rybkowski combines the poetics of the fragment, juxtaposing original artefacts with reconstructions and images. He is interested in the problematic status of “authenticity” and the processes of a historical construction of memory. In his most recent projects, his basic tool is the critical act of reconstruction combined with reflection on the political nature of the gesture of restoration, preservation and conservation.

“Having a set of visualities at one’s disposal, and for concrete purposes – this might be the descriptive definition of a pictorial propaganda, which has many times assisted in the colonial appropriation of the concrete areas.
Pictorial artefacts, as well as those entirely tangible ones, are substrates that find their application in the context of historical politics, specific ideologies designed to confirm the circulating versions of memory, thus indicating what the present condition should be. 

Locating the discourse close to the body, if bone transforms into chalk, it can well transform into a titanium, which will restore the displaced elements to their correct positions. However, as it happens, repair can be close to tearing apart, for in order for something to be repaired it must be broken in the first place. From this point of view, assembling into a whole, especially while done with the hands of state or nation, can be extremely ambiguous and dangerously close to the breaking of one’s moral spine. This premonition, that not only the disassembly but also reconstruction used in the correction of the social body can be violent, gives proper value to artist’s aesthetic explorations.” *

*With Displacement / Exhibition of Not Only Domestic Antiquities
Szymon Maliborski, Museum of Modern Art, Warsaw

artist’s page

Showtime Liste Art Fair Basel

Interview with Filip Rybkowski in Hygge Issue “Artistic activity is for me a way to understand the world”

SELECTED EXHIBITIONS AND FAIRS:

Upcoming: solo exhibition, TRAFO, Center for Contemporary Art, Szczecin

2024

2023

2022
The Discomfort of Evening, group exhibition at Zachęta National Art Gallery, Warsaw
Bufer Zones, individual exhibition at Piana Gallery, Krakow

2020
Balm. Entire Paris in a blue haze, like in spirit, duo exhibition at Krupa Gallery, Wroclaw
Innocent Eyes, Week Arm, duo exhibition at Sopa Gallery, Košice Balm

2019
Dry Crust and Oceans of Liquid Matter, group exhibition at Horse & Pony, Berlin
Mirage Travel, duo exhibition at Wozownia Art Gallery, Torun
Primal Fantasies, duo exhibition at BWA Katowice

2018
Domestic Animal, group exhibition at Bunkier Sztuki Gallery of Contemporary Art, Krakow
Scattered Rhymes, group exhibition at XY Gallery, Olomouc
24H, Krakauer House, Nurnberg
Déjà vu, duo exhibition at Hanryk Gallery, Krakow

2017
What About This Abstraction, group exhibition at Stefan Gierowski Foundation, Warsaw