Dawid Radziszewski

Adam Rzepecki

Born in 1950, lives and works in Kraków, Poland. He studied Art History at the Jagiellonian University in Kraków. Since 1979 he is a member of the Łódź Kaliska group and since 1990 the Stacja Pi.Stacja group. Between 1978 and 1981 he ran the famous Jaszczury Photo Gallery in Kraków. In the ’80s he co-created the Pitch-in Culture (Kultura Zrzuty). He participated in all exhibitions of the Łódź Kaliska. Rzepecki is one of the most important Polish artists of the ’80s and one of the first to ever undertake gender issues. His art is politically marked, and at the same time full of bitter humor of the sad decade of the ’80s in Poland. His works can be found in almost all of the most important museum collections in Poland.

works in collections

  •  Centre for Contemporary Art Ujazdowski Castle, Warsaw, PL
  •  National Museum in Kraków, PL
  • MOCAK Kraków, PL
  • Muzeum Sztuki Łódź, PL
  • Sammlung Verbund Vienna, AT
 
Adam Rzepecki
Project of the Father Pole Memorial
1981
photography

Adam Rzepecki
Project of the Father Pole Memorial
1981
photography

Adam Rzepecki
Project of the Father Pole Memorial
1981
photography


The work was created as a response to the cult of the Mother Pole spread by the propaganda of late communist regime.

Adam Rzepecki
In the struggle for eight-hour working day
1981
photography

Adam Rzepecki
In the struggle for eight-hour working day
1981
photography

Adam Rzepecki
In the struggle for eight-hour working day
1981
photography


En plein air in Miastko, in the struggle for eight-hour work- ing day, Adam Rzepecki for 8 hours (with breaks for meals) was holding a brick hanged on a rope. the action was often interpreted as a mockery of the socialist model of work. In fact, however, it was an appeal to artists to work properly for 8 hours a day, like all other ordinary working people.

Adam Rzepecki
The Male and Other Art
1980
photography on cardboard

Adam Rzepecki
The Male and Other Art
1980
photography on cardboard

Adam Rzepecki
The Male and Other Art
1980
photography on cardboard


Adam Rzepecki
Nose flattened on Duchamp’s Large Glass
1986
photography

Adam Rzepecki
Nose flattened on Duchamp’s Large Glass
1986
photography

Adam Rzepecki
Nose flattened on Duchamp’s Large Glass
1986
photography


The photograph was made in Moderna Museet in Stock- holm. Rzepecki took advantage of the distraction of the security guard by sticking his nose to the “Large Glass” in order to greet Marcel Duchamp.

Adam Rzepecki
An Artist Has to Be Taken for His Work 
1983 
photograph

Adam Rzepecki
An Artist Has to Be Taken for His Work
1983
photograph

Adam Rzepecki
An Artist Has to Be Taken for His Work
1983
photograph


Adam Rzepecki
I know DADA, please go out!
1983
photography

Adam Rzepecki
I know DADA, please go out!
1983
photography

Adam Rzepecki
I know DADA, please go out!
1983
photography


The work was made at a time when Rzepecki was partic- ularly interested in Marcel Duchamp. The phrase referred to his film script titled “The Meeting” and the scene when Tristan Tzara and Marcel Duchamp knock on the door of Adam’s studio in Kraków. Rzepecki greets them, at the same time saying goodbye with words: “I know DADA, please go out”. The current fate of the film is not known. It is only known that it once appeared in Amsterdam.

Adam Rzepecki
Jak Bóba bobu, tak boba Bubie
1983
photography

Adam Rzepecki
Jak Bóba bobu, tak boba Bubie
1983
photography

Adam Rzepecki
Jak Bóba bobu, tak boba Bubie
1983
photography


Adam Rzepecki together with his friends came to Warsaw to make a presentation about current activities of “Kultura Zrzuty” in the gallery Dziekanka. Upon arrival it turned out that the gallery was closed. During the walk down Kra- kowskie Przedmieście street they took a photo that has be- come kind of a summary of the trip. Simple, well-known and understood gesture was a short comment to the situa- tion of the national artistic community. Since martial law this environment was clearly divided. Some artists bound to the official stream, enjoying all the benefits (shows in galleries, state scholarships). The second group was hiding “under the wings” of the Church, but this type of artistic activity was considered – even by Kultura Zrzuty – dead in the ideological terms. This simple gesture in front of the Ministry on Krakowskie Przedmieście was a signal, that there is a third group, which offers independent art (from the “reds” and the “blacks” – how they called themselves). The photograph was taken by Marek Grygiel.

Adam Rzepecki
Cactus
1980s

Adam Rzepecki
Cactus
1980s

Adam Rzepecki
Cactus
1980s


Adam Rzepecki
Mother of God with mustache
1983
postcard, ink

Adam Rzepecki
Mother of God with mustache
1983
postcard, ink

Adam Rzepecki
Mother of God with mustache
1983
postcard, ink


destription

Adam Rzepecki
From now on I pretend to be an artist (9.9.81)
1981
photography

Adam Rzepecki
From now on I pretend to be an artist (9.9.81)
1981
photography

Adam Rzepecki
From now on I pretend to be an artist (9.9.81)
1981
photography


The inscription was made en famous avantgarde plein air in Osieki.

Adam Rzepecki
Pass the brick
1980s
photography

Adam Rzepecki
Pass the brick
1980s
photography

Adam Rzepecki
Pass the brick
1980s
photography


This work was made en plein air in Teofilów. The person to whom Adam passes the brick is Andrzej Różycki.

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CV

Selected solo exhibitions

2018

  • Exhibition for Dwarfs, Galeria Dawid Radziszewski, Warszawa
  • XOTED/KYWDO, Bielska Galeria BWA, Bielsko-Biała

2017

  • NADA Miami Art Fair (with Tomasz Kowalski), Galerii Dawid Radziszewski booth, Miami

2016

  • Adam and Ewa (with Ewa Ciepielewska), Galeria Olympia, Kraków, PL

2014

  • I Prefer Pitch-in than Culture, BWA Sokół, Nowy Sącz, PL

2013

  • I Apologize the Society for My Temporary Absence in Art, Dawid Radziszewski Gallery, Warsaw, PL

2011

  • In Search of Real Art performance (with Andrzej Wielogórski), Art Biennale in Venice, IT

2010

  • Magyar nyelvlecke/Hungarian Lesson, performance, Centre for Modern and Contemporary Arts, Debrecen, HU

2009

  • 50, performance at Main Square in Kraków, PL

2008

  • Amsterdam, performance, Galeria Olympia, Kraków, PL

2007

  • If You can read…, “Piękny Pies” club, Kraków, PL Feminismus, Otwarta Pracownia, Kraków, PL

2006

  • Pioneering video from UK, Canada and Poland (1968–88), Tate Modern & Tate Britain,
  • Londyn, UK Above All I’m a Polish Artist, II Łódź Biennale, Łódź, PL
  • Feminismus, II Łódź Biennale, Łódź, PL
  • Green Power, from the Male and Other Art series, “Piękny Pies” club, Kraków, PL
  • Intimissimi, street performance, Kraków, PL

2005

  • Szczapa, Triangle, actions, Black Rock City, Nevada, USA

2004

  • Diesel, private performance, I Biennale Łódź, PL

1990

  • Kącik patriotyczny, “Mandala” Theater Gallery, Kraków, PL
  • Cóż arystokracie po małym Fiacie, screening, Zderzak gallery, Kraków, PL AVE Festival Video, screening, Arnheim, NL
  • Zwei Kinder System, “U Zofii” gallery, Łódź, PL

1986

  • Śmierć Ajschylosa, Jaszurowa Galeria Fotografii, Kraków, PL
  • Cabaret Voltaire, performance, Main Square, Kraków, PL
  • Motorem mojej sztuki jest SHL-ka, performance, “Mandala” Theater Gallery, Kraków, PL
  • Above All I’m a Polish Artist, performance, BWA Konin Gallery, Konin, PL

1985

  • Śmierć Ajschylosa II, TV-plecak, performance, plein air, Teofilów, PL

1984

  • Pokaz filmów autorskich, screening, Nieme Kino – II Festiwal Kina Niezależnego, Strych, Łódź, PL

1982

  • Jak Buba Bobu, tak Bobu Bubie, performance in front of the Ministry of Culture and Art, Warsaw, PL

1981

  • In the struggle for eight-hour working day, plein air, Miastko, PL
  • Tail, performance, Main Square, Kraków, PL