Dawid Radziszewski

Adam Rzepecki

Adam Rzepecki urodził się w 1950 roku. Studiował historię sztuki na Uniwersytecie Jagiellońskim w Krakowie. Od 1979 jest członkiem grupy Łódź Kaliska, a od 1990 grupy Stacja Pi.Stacja. W latach 1978–1981 prowadził słynną Galerię Fotografii Jaszczury w Krakowie. W latach 80. współtworzył Kulturę Zrzuty. Brał udział we wszystkich wystawach Łodzi Kaliskiej.

Rzepecki jest jednym z najważniejszych polskich artystów lat 80. i jednym z pierwszych, którzy podjęli problematykę gender. Jego sztuka jest nacechowana politycznie, a jednocześnie pełna gorzkiego humoru smutnej dekady lat 80. w Polsce. Jego prace znajdują się niemal we wszystkich najważniejszych kolekcjach muzealnych w Polsce.
Mieszka i pracuje w Krakowie.

Prace w kolekcjach

Centrum Sztuki Współczesnej Zamek Ujazdowski, Warszawa
Muzeum Narodowe Kraków
MOCAK Kraków
Muzeum Sztuki w Łodzi
Sammlung Verbund Vienna, Wiedeń, 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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wystawy indywidualne

2018

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

2017

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

2016

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

2014

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

2013

  • I Apologize the Society for My Temporary Absence in Art, Dawid Radziszewski, Warszawa

2011

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

2010

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

2009

  • 50, performance Rynek Główny, Kraków

2008

  • Amsterdam, performance, Galeria Olympia, Kraków

2007

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

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
  • Feminismus, II Łódź Biennale, Łódź
  • Green Power, from the Male and Other Art series, “Piękny Pies” club, Kraków
  • Intimissimi, street performance, Kraków

2005

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

2004

  • Diesel, private performance, I Biennale Łódź

1990

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

1986

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

1985

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

1984

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

1982

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

1981

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