BIELSKA JESIEŃ BIENNALE 2019
8 lNovember – 29 December 2019
Paricipating artists: Yui Akiyama, Karolina Balcer, Paweł Baśnik, Natalia Bażowska, Włodzimierz Betleja, Bezimienny, Daria Bidzińska, Martyna Borowiecka-Mikuszewska, Ireneusz Botor, Sławomir Brzoska, Robert Bubel, Grzegorz Bugaj, Michał Chudzicki, Maria Cichoń, Michał Cygan, Bartosz Czarnecki, Dawid Czerniejewski, Dawid Czycz, Paweł Jan Dunal, Wiktor Dyndo, Michał Gątarek, Beata Grim, Krzysztof Grzybacz, Paula Kaniewska, Pavlo Kazmin, Karol Kędzierski, Karolina Konopka, Radim Koros, Piotr C. Kowalski, Kamil Kukla, Tomasz Kulka, Anna Kunka-Kawełczyk, Agnieszka Łapka, Małgorzata Mirga-Tas, Magda Morczerw, Jan Możdżyński, Adam Nehring, Paweł Olszczyński, Bartłomiej Otocki, Karol Palczak, Zofia Pałucha, Wojciech Pietrasz, Krzysztof Piętka, Julia Pilecka, Dominik Podsiadły, Cyryl Polaczek, Igor Jerzy Przybylski, Małgorzata Rozenau, Mateusz Sarzyński, Radosław Szlęzak, Agata Szymanek, Jan Eustachy Wolski, Marcin Zawicki, Konrad Żukowski.
"11603: una exposición en una maleta"
IK PROJECTS, Lima, Peru
Maess Anand, Teodor Ajder, Bettina Bereś, Agata Borowa, Izabela Chamczyk, Wiktor Dyndo, Katarzyna Górna, Maja Kitajewska, Jan Lubicz Przyluski, Jan Mioduszewski, Eliza Proszczuk, Luka Rajski, Piotr Szpilski
Album from the Exhibition
Wiktor Dyndo’s uncut impressions
An overwhelming sense of excitement and familiarity arises the moment the viewer’s eye falls on Wiktor Dyndo’s work. Familiarity is caused by the flag-burning image, which has become a political fetish crowding the Internet and television.
On the other hand, excitement is associated with the intense appearance of symbols in an extraordinary atmosphere. However, Dyndo’s flag-burning image, which frequents television coverage of mass demonstrations, does not propagandise a message. The exception is, nonetheless, his lampoons of ‘the liar Internet’ in several paintings. Perhaps, Dyndo’s paintings on display in this exhibition carry eluding messages; the artist has probably shifted this task to the viewer.
Initially, the viewer has the impression that there is a kind of communication between him/her and the paintings. Although contemporary art has become more complicated, nebulous and intriguing, Dyndo’s introduced stereotyped images and symbols, such as the national flags, politicians popular on television, and controversial images recurring in the media.
However, familiarity and excitement quickly subside, creating a perplexing atmosphere. The viewer feels that the ground is moving as s/he searches the painting for a keyword(s).
Although Dyndo’s symbols and images are not extraordinary, they do not display signs, which could draw our attention to the artist’s political leanings. He must be inviting the viewer to examine his technique and colour so closely and attentively that s/he could come across the artist’s eluding message therein.
Dyndo must be aware that visitors, while touring his exhibition, would not stop browsing through their mobile phones. He has concerns that the visitors would do likewise by mistaking his paintings for being downloads. Therefore, the artist seeks a technique of intrigue, which could appeal to the visual language of the contemporary Internet captives. He cleverly treated his images to produce new values, which could persuade the viewers to associate them with images recurring day and night, such as the images downloaded on the Internet’s, news highlights on television, [YouTube] uncut videos, images associated with political propaganda or the visual icons of nationalist regimes.
Despite the vogue for the conceptual art, Dyndo keenly sought a conventional medium—the canvas—to express his ideas. He deliberately sought oil colours—not acrylic—to create a sense of a halo around the image.
Dyndo named his oeuvre in this exhibition “Internet Lies”. His oil paintings are vertical; their dimensions are equal to the laptop’s or the dimensions of the book cover. As a result, the viewers find these paintings familiar, reminding them of the contemporary man’s first sources of images.
Nonetheless, Dyndo’s oil paintings and his isolated symbols reveal the vast distance between the work and the political meaning the symbol could bear. The artist is fully aware that symbols bear different meanings in different environments. For example, Eastern and Western cultures would appreciate the same symbol differently.
Dyndo’s artistic experiment is the product of two different cultures. The artist (b.1983) studied art in Poland and Egypt. He also exhibited his impressions in several Arab and Western countries. An image of intersected Polish and Saudi flags gives an impression in Poland different from that, which an Arab culture would stir up. The portrait of the Pope of the Vatican surmounting the statement “Internet Lies” must be stirring up a multitude of interesting interpretations.
Dyndo’s art provokes suspicions. Open-minded visitors should not close their eyes. They should pay close attention to the whirlwind of images and paintings. That Dyndo is maintaining that the Internet is telling lies should draw our attention to the fact that reality is not a mansion built in the middle of a garden; perhaps, reality is concealed under a brushstroke in the surface of the canvas.
Modern Art from Krzysztof Musial Collection, Centre del Carme , Valencia, Spain
mori info: http://www.consorcimuseus.gva.es/exposicion/inauguracio-llunyanies-art-jove-polac-en-la-col·leccio-k-musial/
Notes na 6 tygodni Magazine
about the upcoming exhibition "Anxiety", Cantrast Gallery, Warsaw
"Manhattan Gallery 25 years of activity"
editor Magdalena Milewska
©Poleski Ośrodek Sztuki
"Game Over" painting joins the collection of the National Museum in Gdansk
Wywiad dla "Magazynu Świątecznego" Gazety Wyborczej (13/14 Maja 2017)
Opening: 17 June 2017, 4 pm
Exhibition continues : 17 June‒20 August 2017
The MODEM Center for Modern and Contemporary Arts
Baltazár Dezső tér 1, Debrecen, Hungary
Exhibition continues 15.05‒02.06. 2017 (MON‒FRI 12pm‒6pm)
Galeria Salon Akademii
Academy of Fine Arts in Warsaw
Krakowskie Przedmieście Str. 5
The exhibition analyzes the way in which media, and the Internet in particular, influence the construction of contemporary identities. Becoming part of our personalities, they enable us to incorporate elements of the foreign into ourselves.
In the rooms of the Salon Akademii gallery in Warsaw, eight selected artists present their new, hitherto unexhibited works. Some of them refer to different ‘tribes’ inhabiting the Internet, focusing on the phenomenon of celebrities and their psychofans (Aleksandra Natalia Koper, Sonja Orlewicz), or the culture of the so-called squatting Slavs (Princ Polo, Rafał Dominik). Others analyze the way in which digital media create ‘facts’ and represent politicians, in an incessant and infinite circulation of images (Bean Gilsdorf, Wiktor Dyndo). Finally, works by Izabella Bryzek and Barbara Łuczkowiak bring to the limelight the need to travel, with all the curiosity, first-hand experience and ‘xenophilia’ involved – an idea still valid in the times when even the most remote corners of land (and the universe) are just ‘one click away.’
The title of the exhibition refers to the positive energy of ‘hugs and kisses’ we send in Internet conversations. This optimistic connotation also plays with the sonic aspects of the prefixes ‘exo’ and ‘xeno’ – denoting the things that are different, strange, and exotic, suggesting our attitude towards them.
Participating artists: Izabella Bryzek, Rafał Dominik, Wiktor Dyndo, Bean Gilsdorf, Aleksandra Natalia Koper, Barbara Łuczkowiak, Sonja Orlewicz, Princ Polo
Curator: Klara Czerniewska-Andryszczyk
The catalogue of the exhibition
Part of a panting "Boom", on a poster to a play "Quay West" by Bernard-Marie Koltès
directed by Kuba Kowalski, Żeromski Theatre, Kielce, Poland
Ankieta-wywiad dla Nowej Orgii Myśli
THE DRAWERS vol. 2
Kasia Michalski Gallery
ul. Poznańska 16, Warszawa
Kasia Michalski Gallery is delighted to present its second edition of The Drawers project, opening the gallery’s cultural season before the Warsaw Gallery Weekend held on 23-25 September.
The uniqueness of the show’s format, initiated in 2015, continues to be based on a standard piece of gallery furniture which holds nine drawers. Each drawer contains works by one artist only, and only one drawer can be opened at a time. As a result, nine small-scale, ephemeral solo shows emerge, encouraging the audience to interact with each individual presentation.
While the last year’s edition played with the physical limits of the drawers themselves, the exhibition this year presents works by nine emerging Polish artists who take this idea further. Franciszek Buchner, Norbert Delman, Jan Domicz, Jacek Doroszenko, Wiktor Dyndo, Jacek Kołodziejski, Maciej Ratajski, Gregor Różański, and Piotr Rymer were asked not only to submit projects constrained by the 144 x 49 x 4.3 cm format of a single drawer, but also were encouraged to create works that could be presented in the main gallery space, which thus enabled them to develop their projects in more depth, and to demonstrate their individual styles and manifold interests in more detail.
The works, in vast majority created specially for the show, engage a diversity of media, from painting and sculpture to various multimedia projections and installations. Some of the artists, as in the case of Franciszek Buchner, Maciej Ratajski or Piotr Rymer, play with the site-specificity of the place of display, while others, like Jan Domicz and Jacek Kołodziejski, allude to our perception of art as a commodity and our desire to possess it. While Jacek Doroszenko explores the theme of visual sonorities, others, such as Norbert Delman, Gregor Różański and Wiktor Dyndo, question current political and media-related behaviors, shedding light on various forms of oppression and on the Internet’s artificiality.
Although the exhibition lasts only for two weeks, the pieces displayed in the chest of drawers will remain accessible to public after that period.
©Kasia Michalski Gallery
©Kasia Michalski Gallery