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Stan Buglass - AUTO DECO, MAY 2024

Stan Buglass' exhibition, Auto Deco, presents paintings and sculpture that use found forms from the street to blur the line between abstraction and reality. These semi-abstract, rather semi-representational works echo commercial and industrial objects. They are undulating remnants and rejects of forgotten architecture and mechanical forms reorganised to become a remnant or ruin of what they once were, while becoming something else entirely. These precarious recollections of buildings and machines transport us to a realm of ageing infrastructure, where thick drops of glazed oil paint run down architectural facades and accumulate in crevices. Painting and sculpture work together to create a fragmented illusion of walls and passageways, suggesting a sense of human transience. Buglass shows us weathered man-made forms as remnants of the recent past, yet they appear to be objects of the future.

Stan Buglass (b. 1999, London, UK) lives and works in London, UK, and Phoenix, USA. His work investigates new industrial materials and forms to offer a study of the manmade and our ever-changing relationship to the objects and ecologies that we create. Buglass combines the commercially made with a sense of human trace, through autographic markings on reanimated manufactured materials and surfaces. Recent exhibitions include; A Slash of Blue, Gerald Moore Gallery, 2023, Memories Of A Social Club That Doesn’t Exist, ZÉRUÌ, 2022, Silver Sunsets, Usual Business, 2022, Latent Traces, Changing Room Gallery, 2021 and Vestige Astray, 213 Kupfer, 2021, London. Buglass received his BA from Central Saint Martins, 2021, London. He is currently studying for his MFA in sculpture at Arizona State University, USA, and is due to be graduating in the summer of 2026. Buglass was also awarded a place on the Associate Studio Programme, upon graduating his BA, hosted by Double Agents and ACME, London.

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Paweł Zaręba, Ula Urban - Cimmerian Screening / Warsaw, FEB-MAR 2024

Artists: Paweł Zaręba, Ula Urban

A unique exhibition without an opening by painter Paweł Zaręba and sculptor Ula Urban. If you are looking for an experience on the threshold of your senses, we invite you to unique sessions in the dark, during which you will be able to experience art in a more subtle way. Due to the unusual formula, the number of seats is limited, so we will be splitting into groups in case of too many people.

CIMMERIAN SCREENING takes the audience into the dark and fascinating recesses of the human psyche, inspired by both history and the present day. Two exceptional talents meet here - Paweł Zaręba and Ula Urban, whose works explore the theme of darkness as an integral part of Central European nature and culture, a place where darkness is as natural as light.

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Małgorzata Widomska - Myself, after all, I’m not hungry / WGW, Warsaw, SEP-OCT 2023

Artist: Małgorzata Widomska

Painting is a utopia in which Malgorzata Wiadomska seeks to recover what she has - the sentimental emotion of her own history - the originally pure image of the world. Although the artist uses the language of abstraction, she tries to make sure that references to specific events can be sensed in her works, so that the painting remains true to the cause inherent in life. The elaborate titles mark the connection from which the painting will free itself anyway. The freed image is the result of working with the nature of memory and truth. She observes how experience under the influence of memory becomes turbid, and she tries to restore it to the purest possible royal form that the language of art allows. An honest and skillful application of its rules allows one to feel the wonder, the ego-releasing jolt called sublimity. Formally, she is inspired by that moment in painting when the turn to her own means of expression takes place and her modernist experiment begins: what of the fabric of life will be transformed and what truth and power will emerge from it, leaving her in the role of a tool. As Krystyna Miłobędzka wrote: Myself, after all, I'm not hungry.

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Małgorzata Widomska, Suwon Lee - Windows Shopper x Kravitz Contemporary / London, JUL - AUG 2023

Artist: Małgorzata Widomska, Suwon Lee Curator: Elaine ML Tam

Kravitz Contemporary x Death of Man are pleased to present Window shopper, a two-person exhibition featuring works by Venezuelan-Korean photographer Suwon Lee and Polish painter Małgorzata Widomska, curated by Elaine ML Tam. The exhibition takes its title from a suite of formal qualities the artworks share – namely the recurrence of the window as a literal and metaphorical device that shapes the virtual act of seeing. Drawing together photography and abstract painting for their respective abilities to speak to personal-cultural memory through the retinal pleasure of specific chromatic fields, Window shopper calls to attention the situatedness of the viewer of art. In so doing, the exhibition explores the parsimony of the frame edge, the aesthetic logic of transparency and the role of passionate detachment in memory.

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Małgorzata Widomska - Colours of the Weather / Warsaw, MAY 2023

Artist: Małgorzata Widomska

When I was a little girl, I used to play the radio play of Donkey Skin over and over again on the adaptor. The heroine of Charles Perrault's fairy tale, a beautiful, hard-working princess forced to live in poverty, kept three dresses in a chest: the colours of the sun, the colours of the moon and the colours of the weather. I could easily imagine two of them, but I still couldn't see the last one... until recently, when I painted a picture and realised it was her / Malgorzata Widomska

Małgorzata Widomska's exhibition was organised in collaboration between Death of Man Gallery and Gallery 35A.

Małgorzata Widomska (b. 1978) works in painting, painting installation, drawing and increasingly writing. Together with Wojtek Gilewicz, Monika Mamzeta, Bartosz Kokosinski, Katarzyna Sobczuk and Agata Groszek, she is co-founder of the collective Inne Towarzystwo. She lives and works in Warsaw. She bases her own creative practice on the conviction that the painterly image allows one to get closer to the meaning of the source experience, and that aesthetics is a tool for the artist to verify its meanings and can play a role comparable to logic.

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Julia Kowalska - Milky Blind Eye x Kravitz Contemporary / London, APR-MAY 2023

Artist: Julia Kowalska

In collaboration with Kravitz Contemporary, presents a solo exhibition of new works by Warsaw-based painter Julia Kowalska (b. 1998). Milky Blind Eye is Kowalska's first international solo exhibition Milky Blind Eye is Kowalska’s first international solo exhibition, and follows the artist’s participation in Kravitz’s group show Under the Jaguar Sun (Oct/Nov 22) and Death of Man’s presentation at Hotel Warszawa Art Fair (Nov 22). The exhibition is curated by Elain Tam White Cube exhibition coordinator and editor of FIELDNOTES. Full event description in discussion.

During the span of her undergraduate study at Warsaw’s Academy of Fine Arts, Julia Kowalska intensely interrogated the importance of figuration, that corporeal consideration currently so prevalent in the field of contemporary painting. Beginning by physically looking inward, she produced a series of sinuous almost biological abstractions that flayed the figure and exposed every gastroenteric, pulmonary or cardiovascular component that underpins our ongoing existence, all amalgamated into a mass of rich sanguine reds and putrid prurient pinks.

Now, however, in her latest paintings produced for ‘Milky Blind Eye’ and those displayed at her recent degree presentation, Kowalska applies a more transcendental approach to introspection. A spiritual soul-searching that, rather than using the body as an agent for abstraction, attempts to instead abstract the body from the figure itself.

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Victor Gałka, Louis Appleby, Mattia Guarnera-MacCarthy, YageGuo - Under Jaguar Sun x Kravitz Contemporary / London, FEB-MAY 2023

Artists: Victor Gałka, Louis Appleby, Mattia Guarnera-MacCarthy, YageGu, Julia Kowalska

The exhibition contains a hidden story about the struggle of light coming outwards and inwards. Where the desire for inner light is a desire to reach for the heavens, the power of the divine, yet still based on the ordinariness of life.

The broken glass used in the exhibition symbolises all that we have sacrificed in the pursuit of this, all that we have destroyed to achieve the apparent divine power. The pursuit of light by beings living on earth in particular humans can be perceived as predatory. Predatory like a Jaguar.

Julia Kowalska and Victor Gałka’s paintings are in opposition to Yage Guo’s work, as they show a world in which light comes out of beings rather than the outside world.

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Michał Matejko, Linda Lach - Opensources, WGW / OCT 2022

Artists: Michał Matejko, Linda Lach

In their performance, Linda Lach and Matejko Michal will defy the need for cognitive closure, seen as the aspiration to have a clear and certain explanation of reality. Together but next to each other, Lach and Matejko meet on a staircase to find common denominators in similar artistic practices and assumptions: not closing but tapping into a seemingly inorganic reservoir of possibilities.By entering the space, Linda Lach tries to take it over, treating it as a notebook to self-direct her actions, she wrestles with thought and matter, standing in opposition to the principle of fixed closure.  For her, artistic practice is rather a tool to fill an existential space. Matejko, on the other hand, observes, reflects on perception and the possibilities of 'framing' reality, including looking for gateways to reveal visual phenomena. She meticulously frames and transforms, on her terms, the technology that increasingly inundates us. 

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Kamil #2 - The Twilight of Man, the Dawn of Art, WGW 23 / OCT 2022

Artist: Kamil #2

Kamil #2 employs a method he has called "tauto", which involves the avoidance of meaning or the overloading of meaning. Despite his semiotic approach, the artist focuses on aesthetics. He believes that the aspirations of supermathematism, which he identifies with in his work - transcending reality through art - in our times, have been satisfied thanks to the development of virtuality/digital world. He dedicates his art to Other Awareness (non-human being), hoping to understand the essence of a particular work and the author's intentions. In his exhibition "The Twilight of Man, the Dawn of Art", he raises the issues of the limit of perception and the inability of human beings to transcend the reception of art. Man has reached his limit and has begun to move for his own convenience only in circles, against the inexhaustible aesthetics (as seen, for example, in abstract painting), which is the main construct of reality.

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Magdalena Żołędź, Lou Jaworski - +Q NC Y / FEB 2022

Artists: Magdalena Żołędź, Lou Jaworski

Inattentive frequencies are submerged in everything - both us and the things around live in a world of waves and vibrations. The sound of the sea, the singing of birds are rhythmicities: four, three two. This is the most ubiquitous range, presumably for all those entities that operate on the human scale. One Spanish artist has extended her sensorium with sensors connected to devices that record the movements of tectonic plates. For us, however, this spectrum of perception is inaccessible, we are only able to feel vibrations on a narrow scale while standing by the columns at a party, an earthquake, or a passing vehicle that sets the building we are in motion. These are unusual situations. Does this mean that the artist feels more every day thanks to the sensors? If the vibrations are constant, then maybe the brain has started to read them as noise that needs to be cancelled out.One of Lou Jaworski's works is about these very feelings, about the mind silencing external signals. On professional vinyl records, at the starting point of the gramophone needle, before the actual piece, silence is recorded - not absolute, but human, earthly (what do you think it is?). Magdalena Żołędź’s works are also about similar imperceptible waves, those which constitute the ubiquitous silence in the networked world that is barely visible to humans. They appear while constantly peering into the vibrating, humming pixels as the world around changes under the influence of the weather. The exhibition +Q NC Y is precisely about this 

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Michał Matejko - OiMACTTA / SEP 2021

Artist: Michał Matejko

The axis of Michal Matejko's practice is rooted in experimentation with physical phenomena. This exhibition constitutes the result of over two years of the artist’s ongoing process of observing illusory occurrences. One of them is when the perceived object is closer to the observer than it might appear. The illusion in this case becomes a kind of poetry of the moment. By splitting the light, the artist deforms the representation of objects. He strips them of their primordial, practical functions and subordinates them to the rules of composition. While rigorously keeping his works in a raw aesthetic, he puts utilitarian objects in an isolated gallery space and exploits them to construct his very own order. The light of a flash hits the mirror surface of a car headlight too fast for the human eye to register. If one could slow it down to a fraction of a second, one would see the light spill over the folds, grooves, and curves of the laminate. You could see dozens of images. Some of them could be captured on the camera's sensor, fixed and enlarged. We encounter a stop in the loop of events: light - reflector - artist - matrix - matter - viewer. The creative process works here as a mirror in front of which there is yet another mirror. A safety warning on a vehicle’s side mirror reads: objects in a mirror are closer than they appear. This simple notice tells us something about the imperfection of the perception process. The implication of realizing there is an error is a fear and a desire to avoid it. To see more. To step back - step forward - step back again: the loop. Is there freedom in the loop? The light almost begs for our attention, creating forms that invite contemplation. The charm of the form is addictive. The artist transforms, reigns the untamed, registers, reorders. However, he is always torn between what he sees and what he would like to see.

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Andreea Anghel, Łukasz Stokłosa - Silver Shining Tears At 3 a.m / JUL 2021

Artists: Andreea Anghel, Łukasz Stokłosa

[Intro] There is no escaping (Yo) There's no place to hide (Ayo) You scream, "Someone save me!" (Yo) But they don't pay no mind (Ayo) Goodnight, goodbye![Verse 1] You're walkin' down a horror corridor It's almost four in the mornin' and you're in a Nightmare, it's horrible, right there's the coroner Waiting for ya to turn the corner so he can corner ya You're a goner, he's onto ya Out the corner of his cornea, he just saw ya run All you want is to rest 'cause you can't run anymore, you're done All he wants is to kill you in front of an audience While everybody is watching in the party, applauding it Here I sit, while I'm caught up in deep thought again Contemplating my next plot again Swallowin' a Klonopin while I'm noddin' in and out on the ottoman At the Ramada Inn, holding onto the pill bottle, then Lick my finger and swirl it 'round the bottom And make sure I got all of it Wake up naked at McDonald's with Blood all over me, dead bodies behind the counter, shit Guess I must've just blacked out again—not again! [Hook] It's 3 a.m. in the mornin' Put my key in the door and Bodies layin' all over the floor and I don't remember how they got there But I guess I must've killed 'em, killed 'em I said, it's 3 a.m. in the mornin' Put my key in the door and Bodies layin' all over the floor and I don't remember how they got there But I guess I must've killed 'em, killed 'em[Verse 2] Sitting nude in my living room, it's almost noon I wonder what's on the tube, maybe they'll show some boobs Surfing every channel until I find Hannah Montana then I reach for the aloe and lanolin, bust all over the wall panellin' Dismantlin' every candle on top of the fireplace mantel and Grab my flannel and my bandana, then Kiss the naked mannequin man again You can see him standin' in my front window if you look in I'm just a hooligan who's used to using hallucinogens Causin' illusions again, brain contusions again Cutting and bruising the skin, razors, scissors, and pins Jesus, when does it end? Phases that I go through Dazed and I'm so confused Days that I don't know who gave these molecules to Me, what am I gon' do? Hey, the prodigal son, the diabolical one Very methodical when I slaughter them [Hook] It's 3 a.m. in the mornin' Put my key in the door and Bodies layin' all over the floor and I don't remember how they got there But I guess I must've killed 'em, killed 'em I said, it's 3 a.m. in the mornin' Put my key in the door and Bodies layin' all over the floor and I don't remember how they got there But I guess I must've killed 'em, killed 'em[Bridge] She puts the lotion in the bucket It puts the lotion on the skin Or else it gets the hose again She puts the lotion in the bucket It puts the lotion on the skin Or else it gets the hose again[Verse 3] I cut and I slash, slice and gash, last night was a blast I can't quite remember when I had that Much fun off a half-pint of the Jack, my last Vic and-a-half A flashlight up Kim Kardashian's ass I remember the first time I dismembered a family member December, I think it was, I was having drinks with my cousin I wrapped him in Christmas lights Pushed him into the stinkin' tub, cut him up into pieces And just when I went to drink his blood I thought, "I oughta drink his bathwater, that oughta be fun" That's when my days of serial murder manslaughter begun The sight of blood excites me, that might be an artery, son Your blood-curdling screams just don't seem to bother me none It's 3 a.m. and here I come, so you should probably run A secret passageway around here, man, there's got to be one Oh no, there's probably none He can scream all that he wants, top of his lungs But ain't no stopping me from chopping him up-up, 'cause… [Hook] It's 3 a.m. in the mornin' Put my key in the door and Bodies layin' all over the floor and I don't remember how they got there But I guess I must've killed 'em, killed 'em I said, it's 3 a.m. in the mornin' Put my key in the door and Bodies layin' all over the floor and I don't remember how they got there But I guess I must've killed 'em, killed 'em[Outro] Yo, yo, ayo (Evil… rise) Yo, yo, ayo (Evil… rise) Yo, yo, ayo (Evil… rise) Yo, yo, ayo (Evil… rise) (Evil… rise) (Evil… rise)

- 3 a.m. Eminem

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Natalia Symonowicz, Karolina Mełnicka - alpha 0.3 / FEB 2021

Artists: Natalia Symonowicz, Karolina Mełnicka; Curator: Kamil #2

The background of the works in the exhibition "alpha 0.3" by Natalia Symonowicz and Karolina Mełnicka is memory. They differ in the point of focus: Karolina is based on personal memory - transformations in the body of the city, the space where she grew up; Natalia, on the other hand, on foreign memory, hidden in the object - the negative. Karolina has found what is close to her: the struggle between the rich and the poor bourgeoisie, the partisanship of city kids. She presents the problem of appropriation of living places by those who have the power and money behind them, and on the other hand, the ways of inhabitants fencing off their territory (e.g. by graffiti, destruction). Natalia's artist has taken a different strategy. Having no connection with the image contained in the negative, she decided to create a bond that originally did not exist. She did this by degrading the negative, thanks to which a new image was created. Despite their different attitudes, the artists' works complement each other. Perhaps this is due to the nature of memory, which is not pure. It is composed of many mixed up layers. We can be sure about many things, but in the age of networking, it is easy for us to assume that something looks different than it did, especially when one has already forgotten how it was. Now: memory is translucent.

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Marceli Adamczyk - Solar Panels / FEB 2020

Artist: Marceli Adamczyk; Curator: Kamil #2

Solar panels convert solar energy into electricity. I noticed here a certain analogy to what I do and what I expect from a work of art. Drawing on my own imagination I do create energetically charged paintings and fabrics - components of this exhibition. I want to talk about what you see as general as possible. Important for me is a completely unfettered perception so that everyone can process what they see through their own experiences and moods. Therefore, you will not find captions with titles, great narratives following each subsequent image and such unnecessary (in my opinion) things.The SOLAR PANELS slogan through its loose association with energy processing is to lead the recipient (you) to more than narrative way (nature) of perception.  – Marceli Adamczyk

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Mateusz Wójcik, Michał Matejko - Densities / NOV 2019

Artists: Mateusz Wójcik, Michał Matejko; Curator: Kamil #2

According to Aristotle's thought, objects merge with each other, create new objects, change into other objects. Everything is a great, one substance, inside which are created beings stretched, not separated from each other (always in some kind of relationship). Physics puts it this way: reality - a glass, a Saturn, a rainbow - is a form resulting from a space-time bend. However, if we did not follow the trace of physics, but aesthetics and thought that everything is aesthetics. One is a dynamic Aesthetics within which other Aesthetics act in dependence on each other. Thus, Mateusz Wójcik's works are the condensed aesthetics of sculpture, which is the condensation of the aesthetics of marble, cast iron, elastane, and which are the condensation of aesthetics themselves: crystalline calcite, uretine blocks, coal... And Michał Matejko's works are the density of the aesthetics of photography, which is the density of ink, paper... And they mutually derive from the density of grays, whites, sharp edges close to the aesthetics; creating the aesthetics of the exhibition at the "Śmierć Człowieka" Gallery.

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Inside Job (Ula Lucińska, Michał Knychaus), Barbara Żłobińska, Mariusz Maślanka, Kamil #2 - Cold Drift - WGW / SEP 2019

Artists: Inside Job (Ula Lucińska, Michał Knychaus), Barbara Żłobińska, Mariusz Maślanka, Kamil #2; Curator: Kamil #2

Can you hear that laughter coming out of nowhere? Like a suddenly awakened memory, an echo of the past. No! You probably haven't heard it before. It's a new laughter, fresh – a cold drift.

They laugh unimpressed.The exhibition A Cold Drift refers to the concept of The Speculative Time Complex presented by the Austrian philosopher Armen Avanessian and the British writer Suhail Malik. The exhibition’s concept functions in contrast to humanity’s post-dominant categories of thought in post-contemporary times. Through Positivism, historical analysis is considered an indispensable tool for avoiding atrocities previously committed, as well as presumptive future mistakes. The cause- and-effect way of thinking, however, is not solely linear in nature and isn’t merely the result of past events. Causality does not manifest itself solely in the present either, but also in what exists outside of it. Therefore, the human tendency to under- take irrational actions generates effects which come forth only in the future - or as the artists suggest – beyond the comprehensible perception of time as well. The unique sensitivity to this complexity is presented in the work of many artists, sci-fi authors, libertine-futurists and inventors, and A Cold Drift presents the work of these artists who resonate, create and function in the unconscious time-complex. Their works are opposite or indirect forms of archetypes.

The exhibition was part of the Warsaw Gallery Weekend 2019

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Gustaw Gliwiński  - Warsaw Gallery Weekend / SEP 2019

Artist: Gustaw Gliwiński; Curator: Kamil #2

A sound performance by Gustaw Gliwinski that will feature a parametric composition on the wind.

https://soundcloud.com/gustawgliwinski/the-blow