Marcin Maciejowski

Painter, illustrator, author of press illustrations and cartoons. Born on June 14, 1974 in Babice near Kraków, lives in Kraków.

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Marcin Maciejowski, source: raster.art.pl / rastergallery.com

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Marcin Maciejowski

After graduating from Secondary Technical School of Construction in Krzeszowice, he studied at the architecture department of the Kraków University of Technology from 1994–1997 . After his third year, he dropped his architecture studies and continued his higher education at graphics design department at the Academy of Fine Arts in Kraków. He obtained his diploma in 2001 at professor Piotr Kunce's studio of poster design. Maciejowski uses oil paints and a 4B pencil.

Since 2000 he has worked for the weekly magazine Przekrój, where he publishes cartoon entitled "I live here and I feel good in here". Between 1996–2001 together with Wilhelm Sasnal, Rafał Bujnowski, Marek Firk and Józef Tomczyk "Kurosawa" Maciejowski belonged to an artistic formation Grupa Ładnie or Ład-nie. He founded and edited an artzine Słynne Pismo we Wtorek (Famous Magazine on Tuesday). He is the author of the work How to live in here now? displayed at billboards in many cities in Poland by Galeria Zewnętrzna AMS / Outdoor Gallery AMS.

Currently, Maciejowski is affiliated with Zderzak Gallery in Kraków and Galerie Mayer Kainer in Vienna. In 2001 he was awarded a scholarship by Bayer AG concern in Leverkusen. He was awarded Polityka's Paszport an award presented by the weekly magazine Polityka, for the year 2002 in the field of visual arts 'for perceptiveness, sense of humour and innovative use of advertising media stylistics to describe contemporary Polish customs'.

Maciejowski is one of the most interesting artists of his generation. He has created an original and at the same time, clearly readable, style of painting allowing him to communicate in a simple and direct manner with viewers of different backgrounds. Inscriptions are an integral part of his paintings, which help the artist to explain what is painted. Maciejowski paints in a realistic fashion, depicting simplified scenes and schematically presented characters. His works are narrative and figurative. They formally hint on concise language of ads, posters, cartoons and press illustrations. Maciejowski is a realist not only in a sense of painting style which reflects reality, but also in his particular interest in issues of ordinary contemporaneity.

Marcin Maciejowski, "Grupa Ładnie. Oświęcim. 1999.", 1999, olej na płótnie, 35 x 40 cm, własn. Galerie Meyer Kainer, Wiedeń — Marcin Maciejowski, Grupa Ładnie. Oświęcim. 1999, oil on painting, 35 x 40 cm, own by Galerie Meyer Kainer, Vienna

Maciejowski paints from photographs cut out from daily newspapers and colour weekly magazines. He often uses the photographs he takes himself. The illustrations that interest him or make him laugh, the artist first collects in special notebooks, and then depicts them on canvas. He treats newspapers like sketch books. Sometimes, Maciejowski literarily copies illustrations, but usually he adds various alterations: he removes unnecessary details, uses fragments of photographs, or changes their format. As for the inscriptions, he usually makes them up, or he uses a fragment of a text attached to the original photos, or quotes original captions. His paintings distinguish themselves with light sketches and a clear contour filled with flat areas of colour. The artist uses characteristic, loose track of paintbrush and tends towards cartoon shortcuts.

The artist draws themes for his paintings and drawings from newspaper and television iconoshphere while focusing mainly on what can be found in media.His art reflects a 'second-hand' reality; it shows what has already been selected and undergone medialization process, it gives a specific testimony of a condition of the social consciousness because people see the world as it has been created by mass media. Thus, on Maciejowski's paintings the images of celebrities appear (e.g. Claudia Schiffer with a sign Naturlich Blond, Andrzej Gołota Gołota Polak ze złota (Gołota Golden Pole), popular painter Joanna Sarapata Subtle acts of Joanna Sarapata are created under a moment of inspiration, criminal events (fights of football fans, car thieves caught red-handed), sensational news (Tajemnicze kręgi w zbożu /Mysterious Crop Circles) Kazimierz Domański miał już ponad 200 objawień / Kazimierz Domański has already had more than 200 revelations), but also social and economic problems (Młodzi nie chcą się uczyć ani pracować / The young do not want to study nor work), family violence, unemployment, subculture of dresiarze.

Copying the newspaper illustrations on canvas, Maciejowski takes away their status of an accidental, one-time documentary record, and extracts what is most significant, that is meaning. The fragmentary shot painted by oil paints on canvas acquires an attribute of a permanent depiction, without a temporary autonomous representation. What becomes most important are not specific events but information behind them. It spreads messages about not only what is of interest to an average Polish person, but show the mechanism of reality representation in media as well.

Following a collective/group exhibition Dobrze / In Ordnung (2002) organized in Vienna by a curator Goschka Gawlik as a part of the Polish Year in Austria, a prestigious Mayer Kainer Gallery became interested in Maciejowski's work. The fruitful cooperation between them in a next few years gave rise to a development of Maciejowski's international career.

Marcin Maciejowski, "Jak tu teraz żyć?", 2002, plakat, fot. Galeria Zewnętrzna AMS — Marcin Maciejowski, Jak tu teraz żyć?, 2002, poster, photo: Galeria Zewnętrzna AMS

Maciejowski displayed works painted in a characteristic photographic style. An interesting series Młodzi (the Young, 2003) showed 25 portraits of world-famous and Polish artists (including Cezanne, Picasso, Pollock, Beuys, Kantor, Nowosielski, Dwurnik, Libera) in their youth. Maciejowski referred to black and white, passport size photographs, which gave an effect of unification of the images of famous individualities since they do not differ much on his paintings. It is noticeable that the artist concentrated on the person's hairstyle and collars, omitting the psychological quality of the portrait.

I had an idea I could search for portraits of famous artists from the times they were young and these portraits will not be the ones commonly recognised, but that their faces will look like faces of average people. I also thought I could mix portraits of world famous artists with those less known. Because everybody deserves the same treatment, all of them were engaged in art and should not be classified according to arbitrary category of success.

Similarly to Marynarze na kotwicy (Mariners at Anchor, 2003), the title painting of the exhibition Zachowujmy się normalnie (Let's Behave Normally, 2003) follows the convention of a group portrait. In a series of paintings depicting amateur weapon constructors, the artist juxtaposes their faces, painted in a similar style of an ID-size photography, with guns exposed as attributes completing their images. Military themes appear in other paintings of this exhibition. The most intriguing work is entitled Baza (Base) and depicts a detailed image of an underground, military shelter which brings to mind a computer-game scene.

Maciejowski often admits that in his works he does not criticise reality, but rather describes and promotes it:

As for my approach in visual arts to an established reality, it is not critical in a negative sense (I do not mock reality, as it may seem at first); it is meant more to advertise and promote reality itself, that is life stories and misfortunes of people (friends, characters of press articles, movies etc.).

Marcin Maciejowski, "Do not copy (BB)", 2006, olej na płótnie, 150x130 cm, kolekcja prywatna, Monachium — Marcin Maciejowski, Do not copy (BB), 2006, oil on canvas, 150x130 cm, private collection, Munich

In June 2004, Galerie Meyer Kainer exhibited Maciejowski's art at an Art Statements exhibition during a prestigious art show Art Basel. In this same year, the artist's first individual exhibition was organised in the United States, in the Californian Marc Foxx Gallery, as a result of which four of his paintings were purchased by Los Angelse County Museum of Art. Maciejowski's exhibition overseas was made possible due to the efforts of Galerie Meyer Kainer which represents the artist abroad (at the same time a reproduction of his paintings appeared on the cover of a prestigious Kunstmagazine.) At Marc Foxx Gallery, the artist exhibited works that were a continuation of his interests in the question of infiltration and a dialog with the art world. In particular, he was intrigued by the figure of Picasso, whose images and works he reproduced. The exhibition was opened with a series of paintings on Picasso's life including Picasso's self-portrait (Boulevard Respail, 1913), portraits of his wives (Dora Maar, Francoise Gilot), portraits from different life stages (Picasso 1915/16, Picasso 1928, Picasso 1952) and reproduction of the artist's famous works (Picasso's 'Boy with a Pipe' ). The composition of the last painting consists of three elements: reproduction of the title work, black-and-white image of Picasso and an inscription informing that a Boy with a Pipe was purchased by an anonymous person for one hundred four million dollars. This convention is followed by the paining Martwa natura z Cezannem (Still nature with Cezanne) on which the artist inscribed a 'memo' informing about the price for which the painting was purchased. One of Maciejowski's works bought by Los Angeles County Museum of Art is a painting entitled Edyta (Edith) painted on the basis of a source downloaded from internet, which is emphasized by a tool belt visible at the forefront.

Marcin Maciejowski, "Siłownia", 2005, własn. Kolekcja Susan D. Goodman, Nowy Jork — Marcin Maciejowski, Siłownia (Gym), 2005, in the collection of Susan D. Goodman, New York

The same discursive motif of other artists and their works appeared at Marcin Maciejowski's exhibition Pictures at the Exhibition at the Meyer Kainer Gallery in Vienna (2005). The artist exhibited paintings including Exhibition View depicting works by Haimo Zoberinga which were hosted earlier by the same gallery in Vienna, Atelier Dusseldorf, with a view on Gerhard Richter's studio, as well as portraits of acclaimed artists Kazimierz Malewicz, Aleksandr Rodczenko and Marc Rothko. Some of his earlier works were dedicated to Polish avant-garde artists including Alina Szapocznikow and Katarzyna Kobro.

The paintings of this time clearly indicate that Maciejowski's works do not carry as obvious a message as his earlier ones and open a wide area of interpretation. The painter started leaving the role of a chronicler of contemporary Poland and moving closer to the position of a publicist and reporter. It can be noted that Maciejowski is more interested in universal themes such as art, the figure of an artist, fame or popularity. History is often depicted through motifs of a history of a revolutionary, avant-guard art and the history of resistance movement, which at times the artists combines at his exhibitions. At the exhibition in Vienna, Maciejowski displayed Pożegnanie (Bór Komorowski) (Farewell (Bór Komorowski)). Yet, Maciejowski still remains a painter of a warm, kind-hearted irony, a master of portrait and a familiar style of scenic painting, which in his works acquired the up-to-date value. His paintings are sometimes 'read' as a newspaper.

Paintings depicting celebrities known from TV or cinema screens constitute an autonomous motif in Maciejowski's art. Images of Claudia Cardinale or Brigitte Bardot are remakes by paint produced on the basis of film scenes. Maciejowski also created a series of paintings depicting famous actresses caught in various poses, in monochromatic palette of greys, at a neutral background and deprived of facial expressions. Scenes, painted as film shots, make whole sequences corresponding to mafia films such as The Godfather or Scareface. By usage of the 'mosaics' form, Maciejowski depicts love stories and ruthless fights between gangsters. In these series, the technique of depriving the models of facial expressions reappears, as if the artist wanted to take their identity or individuality away or even dehumanise them.

The summer of 2006, Maciejowski spent as an artist-in-residence at Osterreichische Galerie Belvedere in Vienna. The fruit of this stay was an exhibition I used to live in Vienna at the Meyer Kainer Gallery and the artist's participation in a collective exhibition at Atelier Augarten influenced by Egon Schiele works. The title painting is a specific commentary on a then-prevailing conflict on the restitution of works by Gustaw Klimt, towards which the Austrian government made endeavours. In a form of a diagram, the painting depicts the Belvedere building located in a park and portraits of three women in tondos, characters of a conflict on Klimt's oeuvre: Adele Bloch-Bauer, an artist's model depicted on one of his most famous paintings, Maria Altman, the then-owner of the painting, and Elisabeth Gehrer, the Minister of Culture of Austria.

Marcin Maciejowski, "Bust of a Woman, 1944", 2014, olej na płótnie, 190 x 140 cm, fot. dzięki uprzejmości Galerii Raster — Marcin Maciejowski, Bust of a Woman, 1944, 2014, oil on canvas, 190 x 140 cm, photo: courtesy of Raster Gallery

While in Vienna, Maciejowski painted many works devoted to Gustaw Klimt and Egon Schiele. Nacht Schiele, a painting depicting both a master and his student, is one of them. The painter created a photomontage based on two old separate photographs and the images of artists 'sown' together on canvas painted in en grisaille technique.Another example of the artist's reinterpretation of Klimt is a series of oil paintings with portraits of Maria Beer, which were painted on the basis of subtle portrait sketches by Klimt.

In 2007 a beautifully edited album was published of around 100 reproductions of Maciejowski's paintings exhibited at various exhibitions of the artist including I Used to Live in Vienna (Galerie Meyer Kainer, 2006), Struktury Dobra (Structures of Good) (Galeria Raster, Warsaw, 2006), Stan wewnętrzny (Internal state) (Centrum Kultury Zamek/ Centre of Culture 'Zamek', Poznan , 2006), Discovery (Galeria Leo Koenig, New York, 2005).

The exhibition Tak jest (That’s How It Is) was the first such large presentation of works by Marcin Maciejowski and it opened at the National Museum in Krakow in 2010. The exhibition included works from Polish and foreign private collections as well as new paintings prepared especially for the exhibition at the museum.

The arrangement of the exhibition That's How It Is has been inspired by the film Synecdoche, New York (2008) by Charlie Kaufman, in which a theatre director, perhaps the alter ego of Kaufman himself, builds a replica of the city in an enormous post-industrial warehouse for the purpose of the spectacle supposed to replace the real life. Visitors who will come to the museum will have the impression of wandering around squares, streets, corners and passages of the artificial city. This setting is the background for individual scenes of the exhibition bearing names inspired by the titles of the artist's paintings – the organisers wrote.

The paintinf Nie Kopiować (Do Not Copy) showed famous actresses Brigitte Bardot and Claudia Cardinale. The icons of the idols are like the Hesperides, guarding the access to the gold apples of the mass culture – writes Goschka Gawlik, the exhibition curator. The title of the scene Do not copy refers to the technique of copying images on mass scale, typical of our times. Copying has become part of the consumer culture, and since the 1960s it has begun to be regarded as a permanent component of creative work and has acquired the status of art.

The next scene – Byliśmy Szczęśliwi (We Were Happy Together) – focused on different conventions of portraying women. Podziemny Magazyn (Underground Storage) posed the question: how to express in painting what is usually invisible or only fragmentary? Maciejowski applied the technique of presenting information in the form of diagrams and infographs, known from the mass media. In Horta de Ebro, Maciejowski explored the ways of understanding the notion and myth of the artist in European culture. He often paints images of artists in the context of social-historical phenomena and private situations. Przed Gołębnikiem (In Front of a Dovecote) asked a question about self-creation, encouraging reflection on the habit of showing off in the public space. Skakanka (Skipping Rope) featured the artist's imagined and painted collection of works dedicated to images of other artists and their oeuvres. It was a kind of an unreal collection, study and artist's atelier.

Paintings displayed in the space called Oświęcim on one hand imposed on the viewer the role of a voyeur, and on the other hand – referred to the viewer's private collection of memories. In the scene Myślisz, Że Pozwolę Ci Odejść (Do You Expect Me to Let You Go), the artist was concerned with a film image perceived by the viewer as in conformity with reality. Maciejowski deconstructed e.g. The Godfather into fragments following the principles of composing a painting. Odpoczynek (Rest) was a part of the exhibition aimed at relieving the viewer of the pressure of everyday image overload.

The exhibition ended with the scene entitled 07.15, which gathered works that refer to the observation and analysis of the painter's everyday environment. In Maciejowski's painting, a reserved gaze upon his own circle is mixed with the need to create a specific solemn atmosphere.

According to the artist, the exhibition title Dimmed Colours (2016), refers both to the palette he used in these new works, and to his view of the current scenarios in international politics. In this series, Maciejowski mixed political slogans heard on the radio as he worked with motifs taken from his daily life or from the art world; political statements often sound to him like the platitudes of an art critic. The interplay of political rhetoric and artistic practice and their interpenetration is the theme of this exhibition. Minor personal concerns are mixed with fundamental political themes.

In Private View (2019) Maciejowski continued with the exploration of his immediate surroundings, including scenes from the art world, fragments from art history and the often-overlooked moments that permeate urban culture and daily life. The artist merged a comic-book aesthetic with Old Master traditions to present an intimate, enigmatic form of contemporary social commentary. Large-scale paintings and graphic works on paper mixed minor personal concerns with universal political themes, and political rhetoric was often equated with the glib statements of an art critic. Populated by imagery sourced from photographs, movies, posters and newspaper illustrations, some of Maciejowski’s works feature speech or thought bubbles offering ambiguous musings on culture that nod to the universality of these isolated moments. Referencing not only social histories but motifs from art history, Private View includes a number of works drawing on both traditional and contemporary art. Maciejowski explained:

I find satisfaction in painting views of works by other artists, including my artist-friends – this is my way of insightful art viewing. This is also my way of having these works for a moment, just for myself.

I was fascinated by the repetition, which takes on a rhythm. This is also the source of my fascination with face types – each painter paints them differently, everyone creates their own vision of the oval of a woman’s face. I analysed Klimt’s by repetition and painted nine of his drawings of Friederike Maria Beer. What is important here is how the face is drawing, using just a few lines. The index painting has only the backgrounds – the paper of these drawings, reflecting their authentic colours.

The exhibition we are awesome (2020) was created during lockdown, when everyone was forced to stay at home and everyday reality was focused around the immediate vicinity of a home, a studio or at best – a garden. Interactions with people, work and entertainment transferred to the Internet. However, Maciejowski’s life did not change drastically overnight; his routine was pretty much the same and he did not feel isolated, but creatively he was stuck. On one hand, lockdown was inspiring – Maciejowski sketched and kept notes in his diary every day, but he did not quite know how to translate it onto a canvas. He asked himself: what should one paint during a pandemic? Should they be particularly important, meaningful and unifying images? Something closer to reality and more practical? Or maybe nothing at all, maybe in the face of an epidemic, painting makes no sense, and culture should recede into the background?

Ultimately the artist found solace in animals. Friends shared photos of their furry companions who saved them from loneliness and stress. The painter's studio was regularly visited by the neighbours' cat, who as Maciejowski joked, ‘broke the rules of quarantine’. The adventures of animals replaced the adventures of people, and small things which brought joy became soothing. The protagonists of numerous paintings from the we are awesome exhibition are accompanied by dogs or cats. Maciejowski explains:

For some reason, I expected more from paintings than drawings and sketches, until I returned to my own world without being sure that it fits in global current affairs. I started painting. I found myself in a quiet place where the most important decisions are about what to eat for dinner and which of the sketches await me to start painting today. It's the best place for the artist and an awesome feeling.

Selected solo exhibitions:

2020 – We Are Awesome, Galerie Meyer Kainer, Vienna
2019 – Private View, Galerie Thaddaeus Ropac, London
2016 – Dimmed colours, Galerie Thaddaeus Ropac, Salzburg
2015 - Unsettled Matters, Wilkinson Gallery, London
2014 – Kompozycja Na Niewielkiej Przestrzeni (Composition for a Small Space), Raster, Warszawa
2013 – Marcin Maciejowski, Galerie Meyer Kainer, Vienna
2012 – Could Renoir Really Be Wrong?, Wilkinson Gallery, London; Fantom, Galeria Bielska, Bielsko-Biala
2010 – Marcin Maciejowski, Kunstforum Ostdeutsche Galerie Regensburg; Tak jest. Marcin Maciejowski, Muzeum Narodowe w Krakowie, Kraków; Are You Really from the Art World?, Galerie Thaddaeus Ropac, Paris
2009 – Galerie Meyer Kainer, Vienna
2008 – Bildpolitiken, Salzburger Kunstverein, Salzburg.
2007 – I Wanna Talk To You, Galerie Meyer Keiner, Wiedeń; Będzie wielka burza / There will be a Huge Storm, Gallery Pies, Poznan
2006 – Struktury Dobra / Good Structure, Raster Gallery, Warszawa; I used to live in Vienna, Galerie Meyer Kainer, Wiedeń
2005 – Pictures at an Exhibition, Galerie Meyer Kainer, Wiedeń; Discovery, Gallery Leo Konig, Nowy Jork, USA
2004 – Dziupla/Schlupfloch/Stash, Arsenał Gallery, Białystok; Marc Foxx Gallery, Los Angeles, USA
2003 – Zachowujmy się normalnie / We're Behaving Normally, PGS, Sopot
2002 – Tu żyję i tu jest mi dobrze/ I Live Here and I'm Comfortable Here, Zachęta Gallery, Warszawa; Traurig, schon, Gallery Meyer Kainer, Wiedeń
2001 – Polska, Zderzak Gallery, Kraków; 18. Stadtmaler, Gallery am Werk, Leverkusen
2000 – Sport i pielęgnacja / Sport and Care, Zderzak Gallery, Kraków

Selected Group Exhibitions:

2006 – Malarstwo polskie XXI wieku / 21st Century Polish Painting, Zachęta Gallery, Warszawa; Nowe tendencje w malarstwie polskim / New Trends in Polish Paintings, BWA, Bydgoszcz; W Polsce, czyli gdzie? / In Poland, where?,Centrum Sztuki Współczesnej, Zamek Ujazdowski, Warsaw; Nach Schiele, Atelier Augarten, Wiedeń, Austria; Stan wewnętrzny / Inner State, Centrum Kultury Zamek, Poznań; Zuruck zur Figur, Malerei der Gegenwart, Kunsthalle der Hypo–Kultirstiftung, Monachium, Germany.
2005 – Superstars, Von Warhol bis Madonna, Kunsthalle Wien, Wiedeń; Prague Biennale 2, Kerlin Hall, Praga, Czech; Stadtmaler / Artists in Residence 1988–2001, Bayer AG, Leverkusen, Germany; Nach Rykotnik, Die Sammlung EVN, Museum Moderner Kunst, Wiedeń; Podróże 'Made in Poland' , Galeria Zderzak, Kraków; Vom Bild zum Bild. Metamorphose, Museum der Moderne, Rupertinum, Salzburg, Austria; Wystawa o niczym / Exhibit of Nohting, BWA Gallery, Zielona Góra; In this (our) country, VIA, Turku, Finlandia
2004 – Habitat, Arndt & Partner, Berlin; Far West, Near East. New Art From Poland, Forum Kunst & Architektur, Essen, Germany; Under The Red & White Flag, New Art from Poland, Contemporary Art Centre, Vilnius, Litwa; Under The Red & White Flag, New Art from Poland, Estonian Art Museum, Tallin, Estonia
2003 – Dessinez avec Desiree, Gallery Meyer Kainer, Wiedeń
2002 – Rzeczywiście, młodzi są realistami / Indeed, the Youth are Realistic, CSW Zamek Ujazdowski, Warsaw
2001 – Rybie oko / Fish Eyes, BGSW, Ustka; Relaks, Arsenał Gallery, Białystok; Popelita, Bunkier Sztuki, Kraków; Dobrze in Ordung / Its Good in Ordung, Kunstbuero, Wiedeń
2000 – Scena 2000, CSW Zamek Ujazdowski, Warsaw

Selected group exhibitions:

2021 – Wszystkie Arrasy Króla. Powroty. 2021–1961–1921, Wawel Royal Castle, Kraków; 30 Years in Paris, Galerie Thaddaeus Ropac, Paris
2018 – Art From the Collection of Wojciech Fibak, Muzeum Okręgowe im. Leona Wyczółkowskiego, Bydgoszcz; Dzikość Serca. Portret i Autoportret W Polsce Po 1989 Roku / Wild At Heart. Portrait And Self-Portrait In Poland After 1989, Zachęta – National Gallery of Art, Warsaw; Gdybym był księżycem, Raster, Warsaw
2017 – Od Sztucznej Rzeczywistości Do Selfie. Autoportret W Polskiej Sztuce Współczesnej / From Artificial Reality To A Selfie. Self-Portrait In The Art Of Contemporary Polish Artists, BWA Wrocław, Wrocław; 13 Wystawa Kolekcji Małopolskiej Fundacji Muzeum Sztuki Współczesnej, Galeria Bielska BWA, Bielsko-Biała; Teraźniejszość? Kolekcja Fundacji Sztuki Polskiej ING / The Present? ING Polish Art Foundation Collection, Galeria Sztuki Współczesnej, Opole
2016 – Szalona Galeria, Muzeum Sztuki Współczesnej, Warsaw; L’arte differente: MOCAK al MAXXI, MAXXI – National Museum of XXI Century Arts, Rzym; 140 Uderzeń Na Minutę, Muzeum Sztuki Nowoczesnej w Warszawie (Muzeum na Open’erze), Gdynia
2015 – Sztuka w Naszym Wieku, Zachęta, Warsaw; Dr Werner Jerke Collection. The Selection, Atlas Sztuki, Łódź; Picasso in Contemporary Art, Deichtorhallen Hamburg; Umenie na hlave / Procedures for the Head, Kunsthalle Bratislava, Bratislava; Slovensko – Pol’ská Únia / Unia Słowacko–Polska, Kasarne/Kulturpark, Koszyce
2014 – Dla Każdego Gestu Inny Aktor, galeria Art Stations, Poznań
2013 – Way Back Home, Fundacja Sztuk Wizualnych, Kraków
2012 – Fantom, Galeria Bielska BWA, Bielsko Biała
2011– Historia W Sztuce, MOCAK, Kraków; The Power of Fantasy: Modern and Contemporary Polish Art, Brukssels
2010 – Schizma. Sztuka Polska Lat Dziewięćdziesiątych, CSW Zamek Ujazdowski, Warsaw; Książka W Polskiej Sztuce I Literaturze, Delikatesy, Kraków; Das Porträt im Wandel der Zeit, Sehnsucht nach dem Abbild, Kunsthalle, Krems; The Making of Art, Schirn Kunsthalle, Frankfurt nad Menem; Over and Over Again, Instytut Sztuki Wyspa, Gdańsk; Ostatni film, Galeria Raster, Warsaw
2009 – Sehnsucht nach dem Abbild, Kunsthalle Krems, Krems; The Making of Art, Schirn Kunsthalle Frankfurt, Frankfurt; Ostatni Dzień Lata, Galeria Pies, Poznań
2008 – Bildpolitiken, Kunstverein Salzburg, Salzburg
2007 – Exitus, Tod alltäglich, Künstlerhaus, Vienna; Franz West: Souffle, Kunstraum Innsbruck, Innsbruck; Malarstwo Polskie XXI Wieku, Zachęta, Warsaw; Andrzej Finansowo Stoi Bardzo Dobrze, Galeria Zderzak, Kraków

Autor: Ewa Gorządek, February 2004; updated: July 2021

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cartoonist