Dawid Radziszewski

Warsaw Gallery Weekend 2018
Joanna Piotrowska, Ewelina Chrzanowska, Adam Rzepecki

Recreating three exhibitions:

Joanna Piotrowska
Art Basel Statements, Basel

Ewelina Chrzanowska
[][][][] [][][][][]
Artpol, Cracow

Adam Rzepecki
Exhibition for dwarfs
Mała Galeria ZPAF, Warsaw

This year I decided to take a look at the past and make an exhibition consisting of three shows that premiered one, ten and thirty-three years ago.

The oldest of them is a reconstruction of Adam Rzepecki’s 1985 solo show at Galeria Mała ZPAF in Warsaw. Adam created an installation consisting of photos glued to matchboxes. We were able to obtain the entire set shown in 1985. The pictures include reproductions of his works and photos from the wide range of the Pitch-In Culture. The artist intended to create an exhibition that only dwarfs could see without much difficulty. As we know dwarfs do not exist, so everyone else in order to see it will have to make an effort – bend down or lie down on the floor. Unless some little dogs will drop by. But will little dogs understand anything from contemporary art?

The second exhibition from 2008 from Artpol gallery in Cracow was a solo show by Ewelina Chrzanowska, who simultaneously co-hosted this great and completely forgotten place. Ewelina was primarily a graphic artist. Her works share a certain element of obsessiveness. When she was drawing a sphere, she used 17 types of pencils. The drawings were time-consuming and accurate. The work we’re showing is a redrawn flooring from her Cracow apartment. Ewelina precisely reproduced the image of almost 400 wooden staves, which took her several months to complete. The staves filled the whole space of the Artpol gallery. This year marks the 10th anniversary of her death. This dramatically sad anniversary has become a pretext to recall this exceptional artist and our friend.

The third show is a reenactment of Joanna Piotrowska’s performance, which took place at our booth in 2017 during ArtBasel. The artist has created a choreography for performers in reference to self-defense techniques. The performance lasted continuously throughout the whole week of the fair. To a certain extent, it stays close to her photographic practice, based on uncomfortable poses, choreographies, and complicated situations, against which she puts her models. Piotrowska’s international career has already begun for good. Since the show at Art Basel, she took part in the Being: New Photography 2018 exhibition at the New York MoMA and was a participant of the Berlin Biennale. The immediate future will bring her a march through the most important European art institutions.