04.06.2020 – 31.07.2020
Samuel Szczekacz
The Image and Its Limits
The display features Samuel Szczekacz’s early works, all of the showcased items were executed in the ’30s. The artist of Jewish origin, born in the industrial city of Łódź (Poland) in 1917, as soon as in 1933 became one of the central figures of the Polish avant-garde interwar movement. Being a student of Władysław Strzemiński—the author of the theory of Unism, Szczekacz got acquainted both theoretically and practically with the achievements of the avant-garde. The displayed sketches, gouaches, lithographs, and paintings enable the beholder to gain a deep understanding of Szczekacz’s ingenious and unique way of reinterpreting and reinventing the Dutch Neoplasticism, the French Cubism, the Russian Constructivism, and the Polish Unism.
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01.02.2020 – 29.02.2020
Bogusław Szwacz
Infinite Possibilities of the Matter
Bogusław Szwacz’s solo show features his works from the 50s. Exhibition’s narrative focuses on the aspects of freedom and expression exuding from the abstract compositions. In times of the rise of Socrealism’s literal and utilitarian aesthetic, Szwacz explored all the possibilities of the paint’s substance; each part of the composition is piecemeal, defined by a variety of colors, shapes, and textures.
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20.09 – 20.11.2019
Magdalena Więcek
Glin
Magdalena Wiecek was one of the most radical as well as modern artists during communist rule in Poland. Amazed by aluminum- as state-of-the-art, began working on her abstract metal sculptures and works on paper.
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23.03 – 15.05.2019
Stefan Szmaj
Linocuts 1916-1920
The Regained Independence of Expression
Over 40 works of Stefan Szmaj conceived in between 1916 and 1920 are displayed in the Olszewski Gallery. A closer look up on the artist’s oeuvre is another initiative taken to reintroduce the key figure of a Polish avant-garde movement to a wider audience.
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15.12.2018 – 15.02.2019
Karol Hiller
Heliographs 1931-1939
At the Karol Hiller: Heliographs sixteen works are on display. Heliography is a new medium, invented singlehandedly by Hiller in 1930. Whereas Man Ray is famous for his photograms, Hiller went further, and managed to eliminate element of fortuity from photographic technique.
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