DEBUTS (edition 2016) – Krakow Photo Fringe

Hotel andel’s by Vienna House Kraków and Warimpex Finanz- und Beteiligungs AG cordially invite you to the DEBUTS photo show, held as part of the Kraków Photo Fringe 2017 festival

Opening reception at the andel’s Hotel Kraków, 8 May 2016 from 7pm

The exhibition will be running through May 26 th to June 18th, at the andel’s Hotel Kraków main lobby© Ola Nguyen Van _ DEBUTS (edycja 2016) on the 1st floor as part of the ANDEL’S PHOTO series.

Another edition of DEBUTS comes to the end. Traditionally, the last exhibition presenting the most talented emerging Polish photographers will take place in Cracow as a part of the Cracow Photomonth festival’s Krakow Photo Fringe project!

In these days where images surround us everywhere choosing people has not been an easy task. Additionally, the majority of these images are bland and are instantly forgotten as we flick through the pages of a newspaper or skip between television channels and websites. How do we find the best images in this ocean of mediocrity? How to ensure the good pictures reach a wider audience? To find an answer these questions is why we started our project. We want to present the photography enthusiasts, who care, who are worth watching, despite the fact that they are at the beginning of their artistic roads, in the hope that with our support their careers will flourish and not trundle into a blind alley.

What do the emerging Polish photographers tell us in their pictures? What preoccupies their minds? They discuss the issues that, at certain moments, are important in everybody’s life: the joy of experiencing childhood, loneliness after the loss of a loved one, anxiety about the future. They observe and document their nearest surroundings; comment on the reality around them. Sometimes photography helps them accept themselves, and sometimes it lets them take refuge in ideal world they themselves have created.

Despite of the range of photography we have to deal with – documentary, travel, street, fashion or fine art – all the portfolios are combined by the conscious use of the medium. The 40 people, whose photographs are presented at the exhibition and in the book, prove that the photography is something more than just pictures. It is about capturing forever emotions and life’s experiences. It is a joyful moment and a link between the present and the past, as well as a great gift for the future. It is a commentary on the photographer’s “here” and “now”, and it is up to us, the recipients, how we will decode this commentary. It requires us to open our minds to these pictures and to take the photographer’s point of view. Only then we will be able to decode his/her message. Only then we will understand his/her way of thinking. Only then we will be able to see ourselves in these pictures. So little and at the same time so much.

“As I dived deeper and deeper into the stories, the images, the portfolios the intensity raised. All of a sudden, I realised that I was not just starring into a screen – I was staring out. Out through the eyes of a young and talented Polish man or woman. Out on the world that surrounds him – but even more interesting than the naked facts – I was looking at his surroundings through the intriguing gaze of his mysterious mindset. That is photography for me. The photography I was looking for. The photography that tells us important stories about people and the realities that surround them, but always told with the photographers engaged and distinct voice. Because, if we don’t feel much when we take the picture – for sure – neither will anyone else when they see the image. And if the images are too sharp – too precise – then there is no room for thoughts. In the portfolios that I selected, I found just that, that magic that makes photography something much bigger than pictures.” (Mads Nissen)

Photographers:
Basia Abramowicz, Joanna Bałaś, Adam Biernat, Katarzyna Bojko-Szymczewska, Alicja Brodowicz, Patryk Bułhak, Katarzyna Czerniak, Natalia Dołgowska, Kamil Domański, Tytus Grodzicki, Małgorzata Gwiazdonik, Edyta Jabłońska, Marta Kaczmarek, Julia Kaczorowska, Marta Kiela-Czarnik, Barbara Kosakowska, Katarzyna Kubiak, Magdalena Kuca, Artur Kucharczak, Dominika Kucner, Jacek Laube, Anna Lemke, Paweł Malinowski, Michał Matejko, Jakub Michalec, Maciej Narożny, Ola Nguyen Van, Laura Ociepa, Michał Orliński, Arkadiusz Pisarek, Arek Rataj, Sandra Recka, Marta Rybicka, Wojciech Ryziński, Małgorzata Skrzypczyk, Kamil Śleszyński, Weronika Twardowska, Dominik Witaszczyk, Weronika Woźniak and Aleksandra Zinkiewicz

Jury:
Calin Kruse (Germany), Petra Leene (the Netherland/USA), Mads Nissen (Denmark), Moshe Rosenzveig (Australia), Grzegorz Kosmala (Poland)

Organiser | Organizator:
BLOW UP PRESS

Partners of the exhibition | Partnerzy wystawy:
andel’s Hotel Cracow, FOMEI Polska, Foto-Grafika, Medikon Polska

Media patrons of the exhibition | Patroni medialni wystawy:
doc! photo magazine, Szeroki Kadr

www.docphotomagazine.com/debuts

The exhibition is part of | Wystawa jest częścią:
Krakow Photo Fringe

www.krakowfringe.com


Nicolas Grospierre and David Sardaña Ceci n´est pas un bâtiment.

We cordially invite you to join us and the artists Nicolas Grospierre and David Sardaña to celebrate the opening of the show Ceci n´est pas un bâtiment. The exhibition is hosted by the andel’s Łódź and Warimpex Finanz- und Beteiligungs AG, as part of the project ANDEL’S QUARTER.

Curator Inés R. Artola

Hotel Andel´s Vienna House (Łódź). Opening: April 6th , 2017, 7:00 P.M.

Realism, distance and documentarian objectivity are concepts that emerge at the first thought of photography on modern architecture. None the less, the work of Nicolas Grospierre and David Sardaña selected for this exhibition tells us much07. david saardaña, 110X110 EDIFICIO16-PARKING more. In fact, it is thanks to them, we can deconstruct this logic of concepts on up to five different levels. As if it were, indeed, an elevator. Let’s go up.

Level one. René Magritte, with his famous pipe, got us into a semantic predicament. It is with this same game that we begin the journey, although giving it another twist: if the Belgian surrealist maestro questioned works on canvas, here we are suspicious of photography itself.

But, when we see a photograph of a building that states the word „edificio” [building] as occurs with one of Sardaña’s images, don’t we stop seeing it or even „believing it”? Even as a direct shot, the reality of the image dissolves „caused by” the word. A frame that isn’t accidental puts us in a different state, beyond words and things. Grospierre with his „Kolorobloki” [Colored Blocks] does just the opposite process, but with similar results: the photographic editing is so subtle that it cannot be detected. Buildings that aren’t buildings.

Level two. To think of modern architecture is to think of Le Corbusier. „The most practical, democratic and visionary architect of our time” in the words of Berger, left a widely known legacy that was extended throughout the world… very misunderstood. You only need to stop in front of the images in this exhibition. If the notion of modernity implies a promise of future, then: why when we contemplate these photographed buildings do we automatically think „how long will they last?”, „are they still standing today?”. It is hard to believe that they are examples of the named unité d´habitation but more so a way of transforming architecture into an efficient business that is sadly perishable.

Level three. The modulor by Le Corbusier, the human scale that should be the foundation of inhabitable architecture, is called into question when observing the vertically cramped accumulation and the urban landscape found in these photographs. Forms that one day wanted to give a neutral element to the ensemble without keeping man in mind. Now a shelter for multitudes, they have been transformed into swarms that secrete as many worlds as they do windows. Façades that house distinct microcosms. Mass-produced geometric shapes mocked by umbrellas, clothespins, awnings and plants. Decorations that are only comprehended by the free imagination of their neighbor.

Level four. It is curious, at the very least, to think that these modern architectural forms arise from a constructivist tradition to end up just leaping across the pond, adapting paradoxically to the profit driven media and space in the purest capitalist sense of the term. Political and aesthetic ironies are echoed in Sardaña’s photographs (showing this supposed modernity in full on Spanish autarchy) while Grospierre uses architecture developed during communism as a basis. Ideologically opposed regimes that share an absolutist foundation erasing all evidence of democratization.

Level five. Taking the selected buildings out of context is a strategy undertaken by both photographers. Used as isolated subjects, the interpretation of their reality is altered. Here, with a new twist, we decontextualize these works, separating them from their usual cast of members (the photographic series to which they belong) to also deconstruct on curatorial level.

David Sardaña’s work belongs to the „Levantine Rationalism” series, a set of photographs of the architecture from Spanish eastern coast that proliferated during the touristic boom of the 70s, used by the regime to appear open and modern. An unhinged urban development that resulted in the accumulation (illogical and even disrespectful) of recreational buildings along the coast. Removed from their reality, monumentalized with frontal perspectives or low angles, Sardaña work gives them back their dignity, delves into their abstract origin, extracting their battered beauty and showing the universality of their forms.

The buildings that compile Nicolas Grospierre’s Atlas are a detailed and exhaustive game of abstraction, which only demonstrate the universalization of modern forms. A modernity, however, seen through the cracks of its decline as a broken promise of future. If we consider the ironic wink of his Kolorobloki, we reach the highlight of our discourse: what seems like documentary photography is but a montage and clear sarcasm.

Et voilá… Ceci n´est pas un bâtiment.
(And voilá… This is not a building.)

/Ines Artola/


Urszula Tarasiewicz Ogrodowa/Garden Street – Kraków

We cordially invite you to join us and the artist Urszula Tarasiewiczto celebrate the opening of her solo show Ogrodowa/Garden Street The exhibition is hosted by the hotel andel’s Cracow by Vienna House and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO.

Opening : 23.02.2017, 7 pm

The curator of the exhibition Lucyna Sosnowska

Everyone in Łódź knows this story. Wealthy entrepreneur Izrael Poznański, in order to ensure a steady supply of labor forceUrszula_Tarasiewicz_Ogrodowa-GardenStreet04 to his factory, decides to build a housing estate for workers on its grounds. This is how famuły in Łódź and Silesian familioki were developed. Indeed many more of such estates were built in those times. They played an important role in the development of industry and generally shared the fate of the factories that belonged to their founders: when their heyday had passed, the function of the buildings got changed. That’s exactly what happened with the subject of this exhibition, the housing estate at Ogrodowa street.
Izrael Poznański (1833-1900) is regarded as being one of the icons of Łódź. His monumental factory just across Ogrodowa street (at the intersection with Zachodnia street) along with the laborers’ tenement houses, is a true city within a city. In its best years nearly 7000 people in total worked and lived here. The moment Poznański’s empire fell was the beginning of the estate’s and all of its inhabitants’ long agony. Its fate was concluded with the decommission of the Poltex company in 1991. Famuły became a no man’s land, its residents left to their own devices. This could have gone on forever if it hadn’t been for the project Mia100 Kamienic, thanks to which a major renovation of the Poznański’s factory housing estate started in 2014. The renovation was preceded by a long process of relocating all the residents. It was during this time that Tarasiewicz began to document the empty flats. The artist herself admits, “I’ve always wanted to be the guy who comes to read the meter – that’s a great way to peek into how people live. This has fascinated me since childhood, because the way a flat is decorated says a lot about its residents – whether they fill their walls with great grandparents’ wedding pics or a calendar full of naked ladies. Here the task was more difficult, because all this had to be imagined against the abandoned walls”.
That’s indeed the case. Looking at Tarasiewicz’s photos, we’re confronted with desolate rooms, dilapidated walls out of which someone ripped off electrical wiring and where time imprinted the ghosts of furniture and lost artworks. Such images feel quite familiar to us. This is what we’re always confronted with after a flood or some other catastrophic event. The crucial difference lies elsewhere: as far as in these cases such photos document the traces of the destructive forces of nature, in Tarasiewicz’s works everything is man-made. The greater the power of these photographs is.
In Urszula Tarasiewicz’s photos famuły rooms stun with their ruthlessness, their coldness. At the same time they won’t let you forget about them, lingering in memory for a long time, and we cannot help but think about the visibly absent inhabitants. Viewing the photos, we also cannot help but think, how anyone could reduce his home to such a state? Who were the people who used to live here? Where are they now? How have their lives turned out after they left the flats often inhabited by their families for many generations? The photo wallpapers in those tiny flats, an attempt to escape from the surrounding reality, what do they symbolize?
The artist guides us around the world which is already gone, lost. She does this in a leisurely manner, as if to give us time to reach the conclusion that this is the natural course of things. For the city is made of unique tissue that must evolve constantly. It was conceived of as such, this is its essence. If it’s stopped at some point – then it is doomed. Only a revolution could resurrect it. Just next door, round the corner, on the other side of the street the revolution has already been made: the Poznański factory was revitalized and turned into the andel’s Hotel. Factory spaces have been brought back to life, attracting people again, but this time the sort of people who would seem out of this world to the former residents of famuły. This must have been a real civilization shock for them, yet another proof of their exclusion.
Tarasiewicz’s photos are just simple film frames. Here you could look in vain for the play with the composition, an attempt to construct interesting shots. This is not their goal anyway. They were not conceived of as source of entertainment, or to make us feel good. We should instead perceive under our own skin the feeling of hopelessness which must have accompanied the residents of these spaces every day. Confronted with these images, one feels the roughness of this place as it’s becoming a thing of the past. Thanks to these photographs however, its recollection has a chance to be saved.
Grzegorz Kosmala, August 2016
Urszula Tarasiewicz /b. 1975/ studied Photography at the Leon Schiller National Higher School of Film, Television and Theatre in Łódź, Poland. Her path as a photographer began with a Major Project completed under the supervision of Professor Wojciech Prażmowski, in which she used the, largely forgotten now, technique of photo wallpaper. Tarasiewicz is based in Poland and Norway, where she has gained her professional experience on film sets.
Tarasiewicz as a documentary photographer is a sensitive observer of her surroundings, who often emphasizes the absurd and marginal aspects of a given situation. Growing up in the industrial reality of the city of Łódź influenced her artistic explorations: for beauty in kitsch, color in grayness, and happiness in people who have bad luck in life. She photographs her subjects in a straight, raw, ascetic way, recording on the film strip the moments which are the symbol of their times and depict their surrounding reality without any sort of embellishment. Photographing people, she lets them play a role of their own design in front of the camera; she doesn’t create psychological portraits, instead encouraging her subjects to develop the situation in harmony with the spirit of the moment.
The works from the series New Urban Legends which are on display at the andel’s Hotel in Łódź /curator Lucyna Sosnowska/ have won the portrait category at the 2010 Curator’s Contest of the Photo District News Magazine, the 2012 New Talent Award of the German edition of the FotoMagazine, the 2012 Ars Victoria Book Award of the Photographers’ Network in Germany, as well as the contest of the Norwegian photography website Fotografii.no for a place at the 17#Debutantutstilling 2012 exhibition in Oslo. The New Urban Legends series has been exhibited in, among others, the Milk Gallery NYC (2010), the Art Galerie Siegen (2012), Bølgen & Moi Briskeby Oslo (2012), and the Wypieki Kultury gallery in Warsaw (2013, curator Agnieszka Gniotek).
Other photo series by Urszula Tarasiewicz have been shown internationally: in the US at the Critical Mass exhibition (2012), the series The Future Is So Bright created in Norway during the Artist in Residence program at the Halsnøy monastery was presented at a group exhibition in Norway in 2013 and in Warsaw in 2015 at the Ja to Ktoś Inny show /curator Klima Boheńska/, at the Krinzinger Galerie in Vienna during the group exhibition Call Me on Sunday (2014, curator Ursula Maria Probst), at the Jam Factory gallery in Oxford (2014), in Stuttgart at the Face to Face show (2014), at the Bunkier Sztuki gallery in Kraków during the show Kasa z Widokiem /curator Lidia Krawczyk/. In 2015, as one of only two people from Poland, Tarasiewicz was selected for the Third Annual New York Portfolio Review, sponsored by the New York Times Lens blog and the City University of New York’s Graduate School of Journalism.


Michał Sobczak World Magic Moments – America!

We cordially invite to enjoy the second unveiling of the WORLD’S MAGIC MOMENTS project, that is the exhibition of photographies by Michał Sobczak, called ‘America’, organised by Warimpex and Hotel andel’s Łódź by Vienna House Łódź, as part of the ANDEL’S PHOTO series.

Vernissage: 28.01.1017 (Saturday), 6:30 P.M.
Exhibition: 29.01. – 03.03.2017

WORLD’S MAGIC MOMENTS – AMERICA!

Let us imagine pre-Columbian America unspoilt by the “white man’s”civilization, the land of an unimaginable beauty. Periods, in which the westernAntelope Canyon (1 of 1) coasts of America, bathed by the Pacific Ocean waves, were overgrown by the oldest and greatest trees on Earth – giant sequoias. The ages, when great plains in that area reverberated with the hollow sound made by running herds of bison, and the peoples of pre-Indians Anasazi settled the canyons of today’s Arizona.
Let us imagine times, when the time itself was a mystery. It constituted the sacred force of nature, and the cycles of the seasons returned and departed like migratory birds. At night the stars looked over the North American continent, indeed completely different from that of today. Glittering above people’s heads they were somewhat a mirror image of twinkling bonfires; out of the darkness there came sounds of dogs barking and children screaming. On the prairies and coasts, in canyons and woods, the prehistoric peoples of North America led surprisingly rich and complex life.Those people developed over three hundred various languages. They bred dogs and cats, but they did not keep horses. They could light a fire, though they did not know the wheel. They had bows and arrows, but they did not know the gunpowder. They built cities the same size as London, paved new trade routs thousands kilometres long. They would spun stories without knowing the writing, they had the physicians, but could do without lawyers.
To such America the author of the exhibition ‘World’s Magic Moments – America!’ would like to take us. The exhibition itself is an attempt to present the grace of those beautiful long past days. You will have here an opportunity to look at the biggest and oldest trees on Earth, the age of which reaches two thousand years, and which remember Indians who used to hunt among them for wapiti (a species of deer). Today, when following the same paths in a dark wood, between tremendous trees, and in an undisturbed by any singing birds silence, one has the impression of communing with the world of the redskin warriors of the periods gone by. Interestingly – from the world’s smallest cones grow the biggest and oldest trees on Earth – redwoods. (Redwood National Park)
The viewers will be able to wedge themselves into the crack in the Navajo sandstone in Arizona, where, below the rocks, due to the process of carving by rushing streams of the rains in those areas, there emerge amazing, even fantastic rock formations of a surprising colouring. (Antelope Canyon)
Finally, anyone willing to, will see the oldest in Northern America dug into the rock abodes of Indians – Anasazi People, who 200 years B.C. grew maize at the bottom of great canyons (Canyon de Chelly). ‘When crossing the Navajo Indian Reservation in the area inhabited by Hopi People, the oldest, most mysterious, mystical tribe of America – I lost my way and spent the night somewhere on the plateau. The Indian I met in the morning, and whom I invited to have a cup of tea, showed me the way to the place, in which some tribal ceremony of the Hopi took place. I was incredibly lucky to experience it as the only white man, and, what is more, I also got the permission to take pictures.’- says the author of the photographs. (Navajo Indian Reservation)
At the exhibition one will be also able to find images of the immeasurable, washed by the waves of the Pacific Ocean, rocky eastern coast of today’s State of Oregon, see the bamboo forest in Hawaii…

During the vernissage you will also have the opportunity to listen to the sounds of the Native American Flutes, that take you to those places; they will be played by my bosom Friend, the Indian – Marko Sanchez.

Jarosław Michał Sobczak – entrepreneur who has realized many business projects and international transactions, man of many passions and interests. An explorer, curious about the world, its taste and smell, always on the lookout for the large and small – Magic Moments of the World….


Borys Makary Unseen Dialogues

We cordially invite you to join us and the artist Borys Makary to celebrate the opening of his solo show Unseen Dialogues
The exhibition is hosted by the Hotel andels by Vienna House Kraków and Warimpex Finanz- und Beteiligungs AG.

Opening : 12.01.2017, 7 pm

The curator of the exhibition Grzegorz Kosmala

Borys Makary is an exploring artist. It seems that he hasn’t found his favourite form of expression yet. Thus so many intriguing forms of depicting and methods of presenting topics. No matter if it is an attempt to discover links between a man and nature, putting him into the landscape, or Man-Ray’s like presenting the reality using negatives and numerological15271423_10154798498382427_1149820856_o describing of man, Makary’s photographs are a journey through the corners of human mind, an attempt to catch that what is ephemeral and simultaneously – a set of his own photographic path. During this journey, Makary proves he is an unusually talented artist able to break cliches and replace them with his own original observations and associations.

Borys Makary’s photographs are like opium: addictive and unforgivable. Once seen, they come back to the recipient repeatedly like a boomerang thrown in the Australian bush. They tempt. They hypnotise. They addict. Through his pictures, Borys plays an endless game with a viewer, a game in which he establishes the rules, and during which he is both, the demiurge and an active participant. The unconscious of anything recipient gets caught up in this game as easily as the insect lured by the carnivorous sundew. Each Makary’s exhibition reveals another scene of this peculiar game and the key to the understanding of its principles is total immersion in the magic of his images.

There are two trends noticeable in Makary’s work. On the one hand it is a fascination with the human body, especially the female body and femininity in general; on the other hand, it is admiration for the beauty and power of nature. Both threads are led parallelly, although it happens to them to enter together into an invisible dialogue. Such a dialogue is the latest presentation of Makary’s works, that consists of works from the artist’s archives that have never been displayed publicly before as well as the photographs made specially for the Cracow exhibition.

Why Invisible Dialogues? Because they are not obvious, one must look for them in the game of the pictures, in their associations. Seemingly simple, they can make a mess in one’s head. To understand them properly can cause some trouble. In addition, Makary doesn’t help us in this task. He makes us analyse them carefully picture by picture in order to find their connection, to hear their dialogues. What they are talking about? What they want to tell us? Let’s listen to…

Borys Makary (b. 1977). Visual artist. Deals with conceptual, creative and commenting reality art. In his work, mainly uses photography, but also creates installations. More and more often uses the video. Master of Visual Arts by education. Graduate of the Academy of Fine Arts’ Faculty of Multimedia Communications in Poznań (currently University of Arts). Learnt photography from Miles Aldridge and at the International Centre of Photography in New York City (NY, USA). Former assistant to Richard Warren, a fashion photographer. Has presented his works in Poland and abroad at individual exhibitions in based in Paris NUE and Claude-Samuel galleries, and at collective exhibition FOTOFEVER at the Louvre Museum, among others. Has participated in the WeArt (Barcelona, Span) and Photo Independent (Los Angeles, CA, USA) festivals. Since 2012, has received many awards of international photography contests in the USA and in Europe, including two medals at the 2013 Prix de la Photographie Paris for advertising campaigns as well as his own projects. Has published in many photographic magazines, including Secret Behaviour or contra doc! Lives and works in Cracow (Poland).
Niewidzialne dialogi/ Unseen Dialogues

Serdecznie zapraszamy do hotelu andel’s Kraków na wystawę Borysa Makarego Niewidzialne dialogi/ Unseen Dialogues organizowaną przez Hotel andels by Vienna House Kraków oraz firmę Warimpex

Wernisaż: 12.01.2017 (czwar


Monstfur Rudeal Realm

We cordially invite you to join us and the artists Monstfur to celebrate the opening of the show Rudeal Realm.

The exhibition is hosted by the andel’s Łódź and Warimpex Finanz- und Beteiligungs AG, as part of the project ANDEL’S PRESENTS.

Opening on Thu, 24th November 2016TIRES 5...65 90x50
Duration 25.11-16.12.2016

The exhibition RUDERAL REALM presents the latest series of paintings, in which Monstfur explores the subject of the world altered by human
activity, where the invasive flora struggles with man’s interference. Concrete ruins, rusty fences, landfills with all kinds of rubbish are juxtaposed with various plants – the ones which are prickling, toxic, or resistant to harsh environmental conditions. The fight is such a commonplace phenomenon on the arena of urban space as to become invisible to its inhabitants. Changing the scale and context makes it perceptible to the human eye. The aesthetic layer shows the means of expression known from Monstfur’s previous works, such as metal bases, screwed-on fragments of steel plates, or of course the multi-layered, hand-cut stencil.

MONSTFUR is an organism living in the field of art which feeds on the remains of the previous era and pop culture products. It creates its art from hand-cut templates on rusty metal sheets, old bulletin boards, walls, as well as on canvas. The works of the collective have been featured at prestigious art fairs, including at the STROKE ART FAIR MUNICH, where you can also find works of BANKSY and MR BRAINWASH. In 2015 Monstfur was awarded the Grand Prix in the STENCIL ART PRIZE competition organized by the Ambush Gallery in Sydney (92 participants from 21 countries got to the final). Monstfur’s works have been presented at solo and group shows in Berlin, Paris, Stockholm, Sydney, and Warsaw.

Media Partners: artinfo.pl, Kalejdoskop, TVP3 Łódź, Radio Łódź


Łódź Kaliska The Return OF THE Quivering Machines

The Grand Reception/ Opening 27.10.2016, 7 PM

Curator Małgorzata Dzięgielewska

As the city quivering with human hustle and bustle, the activity and roar of textile machinery, Łódź is a world of the past, totally forgotten by many. It’s a world which nevertheless still determines the nature of this place, as this was the time of its greatest glory. This project refers to this era: ŁÓDŹ KALISKA is here, for the first time, openly reflective and nostalgic. The machines, covered with shrouds, wait for the return of their owners, to come back to life, to once again be needed. It’s no coincidence that this time they are waiting at the andel’s Hotel Łódź where, with each step, we encounter the history of the city and its machines which, together with the people, used to constitute its quintessence. The former weaving mill is teeming with life, after years of dead silence you can hear the bustle again; but that’s a different kind of noise now, the world of the machines has changed forever and yet they returned to the place where they used to work, and now, like the ghosts of a bygone era, they remind us of themselves and their people …
ŁÓDŹ KALISKA – an art group founded in 1979, it has worked without interruption ever since. Its members include: Marek Janiak, Andrzej Kwietniewski (until 2007), Adam Rzepecki, Andrzej Świetlik, and Makary Wielogórski. Initially neo-avantgarde, later on more dadaist, Łódź Kaliska has created photographic works, experimental films, happenings and performances. Sarcastic and provocative, the artists have always commented through their works (sometimes viciously) on the Polish artistic, social, and religious reality, exposing and ridiculing the stupidity, the hypocrisy, the lack of content and, in recent times, also the progressive consumerism. Under the hood of humor, absurdity, scandal and provocation, the artists force the viewer to the, often bitter, moment of reflection on our contemporary world, earning themselves through this a crowd of devoted admirers, and an equally large number of fierce enemies. The most import_ant pieces of the group include: the manifesto SZTUKI ŻENUJACEJ, the film and painting FREIHEIT, NEIN DANKE!, the periodical TANGO, the installation CZYSTA SZTUKA / PURE ART, the project ORLICA / THE EAGLE LADY (for the Polish edition of the Playboy magazine), projects TRYUMF / THE TRIUMPH, INSTRUKCJA ZABIJANIA SZTUKI / HOW TO KILL ART, ALEMENTARZ, NIECH SCZEZNĄ MĘŻCZYŹNI / MAY MEN ROT. Łódź Kaliska’s works are in the collections of the Museum of Art in Łódź, the National Museum in Wrocław, the Atlas Sztuki gallery in Łódź and in many private collections.


Michał Gayer Exhausted Body, Eyes Closed

We cordially invite you to join us and the artist Michał Gayer celebrate the opening of his solo show Exhausted Body, Eyes Closed The exhibition is hosted by the andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG.
The exhibition has been organized in partnership with the Monopol Gallery in Warsaw.

Opening : 29.09.2016, 7 pm

The curator of the exhibition Anna Ciabach

The exhibition Exhausted Body, Eyes Closed is a reference to an artistic experiment, the starting point of which was a performance that Michał Gayer gave once in GdańskMichał-Gayer-Stanie-na-suficie-2016-tusz-papier-508x406mm in a parking lot in front of an abandoned building. After a busy day, the artist sat down in a driver’s seat and for a long time concentrated on his physical and mental reactions, jotting down his perceptions. These moments weren’t seen by anybody else, therefore an objective image or sound recording of the event doesn’t exist. Everything happened in the body of the artist, whose mind processed the stimuli received by the exhausted senses and formulated a literary description of these events in real time. Later on, the text became the basis of a diagram drawing which captured the most import_ant moments of the “session.” The opening of the exhibition itself will be the next stage of this performative experiment. It will reveal the new versions of the recording as well as interpretations of a similar event.
Exhausted Body, Eyes Closed is an exhibition about communication – in a very original sense of the word. It’s a show about the way our body can inform us about the state it’s in, how we read our psychophysical condition, what is created when we try to express it to others – their senses in turn interpreting the message we’ve sent? In a sense it is also an attempt to search for the sources of emotions and experiences that trigger us off to create.
What creates an interesting context here is the hotel space – a space used to chill out, the design of which aims to relax the body and mind of a tired guest.
Michał Gayer is an artist-trickster who constantly reverses the meanings and interpretations of his work. When, for example, he portrays the “Cowbey Cowboji,” he becomes the modern equivalent of a cowboy, who simultaneously questions and contemplates the transience of urban life. On another occasion, when he restored the room of his younger sister (Living in Younger Sister’s Room, 2011) he became a zealous reconstructor of the scraps of everyday life which are constantly being filtered by our awareness.
He is also interested in the boundary states of the human body and mind. The extreme example of this exploration was a performance Standing on the Ceiling (2016), when the artist suspended himself upside down from the gallery’s ceiling, in such a way that the viewers could notice only after a while an inverted human figure that turned out not to be a mannequin.
Michał Gayer was born in 1984 and graduated from the Academy of Fine Arts in Katowice. To classify him as a multimedia artist is definitely misleading, because he is an artist who with astonishing liberty employs all possible means and tools of art, from the classical ones, like painting and drawing, to the surprising solutions of craftsmanship and engineering.


Urszula Tarasiewicz Ogrodowa/Garden Street

We cordially invite you to join us and the artist Urszula Tarasiewiczto celebrate the opening of her solo show Ogrodowa/Garden Street The exhibition is hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S ART.

Opening : 08.09.2016, 7 pm

The curator of the exhibition Lucyna Sosnowska

Everyone in Łódź knows this story. Wealthy entrepreneur Izrael Poznański, in order to ensure a steady supply of labor force to his factory, decides to build a housing estate for workers on its grounds. This is howUrszula_Tarasiewicz_Ogrodowa-GardenStreet07 famuły in Łódź and Silesian familioki were developed. Indeed many more of such estates were built in those times. They played an important role in the development of industry and generally shared the fate of the factories that belonged to their founders: when their heyday had passed, the function of the buildings got changed. That’s exactly what happened with the subject of this exhibition, the housing estate at Ogrodowa street.

Izrael Poznański (1833-1900) is regarded as being one of the icons of Łódź. His monumental factory just across Ogrodowa street (at the intersection with Zachodnia street) along with the laborers’ tenement houses, is a true city within a city. In its best years nearly 7000 people in total worked and lived here. The moment Poznański’s empire fell was the beginning of the estate’s and all of its inhabitants’ long agony. Its fate was concluded with the decommission of the Poltex company in 1991. Famuły became a no man’s land, its residents left to their own devices. This could have gone on forever if it hadn’t been for the project Mia100 Kamienic, thanks to which a major renovation of the Poznański’s factory housing estate started in 2014. The renovation was preceded by a long process of relocating all the residents. It was during this time that Tarasiewicz began to document the empty flats. The artist herself admits, “I’ve always wanted to be the guy who comes to read the meter – that’s a great way to peek into how people live. This has fascinated me since childhood, because the way a flat is decorated says a lot about its residents – whether they fill their walls with great grandparents’ wedding pics or a calendar full of naked ladies. Here the task was more difficult, because all this had to be imagined against the abandoned walls”.

That’s indeed the case. Looking at Tarasiewicz’s photos, we’re confronted with desolate rooms, dilapidated walls out of which someone ripped off electrical wiring and where time imprinted the ghosts of furniture and lost artworks. Such images feel quite familiar to us. This is what we’re always confronted with after a flood or some other catastrophic event. The crucial difference lies elsewhere: as far as in these cases such photos document the traces of the destructive forces of nature, in Tarasiewicz’s works everything is man-made. The greater the power of these photographs is.

In Urszula Tarasiewicz’s photos famuły rooms stun with their ruthlessness, their coldness. At the same time they won’t let you forget about them, lingering in memory for a long time, and we cannot help but think about the visibly absent inhabitants. Viewing the photos, we also cannot help but think, how anyone could reduce his home to such a state? Who were the people who used to live here? Where are they now? How have their lives turned out after they left the flats often inhabited by their families for many generations? The photo wallpapers in those tiny flats, an attempt to escape from the surrounding reality, what do they symbolize?

The artist guides us around the world which is already gone, lost. She does this in a leisurely manner, as if to give us time to reach the conclusion that this is the natural course of things. For the city is made of unique tissue that must evolve constantly. It was conceived of as such, this is its essence. If it’s stopped at some point – then it is doomed. Only a revolution could resurrect it. Just next door, round the corner, on the other side of the street the revolution has already been made: the Poznański factory was revitalized and turned into the andel’s Hotel. Factory spaces have been brought back to life, attracting people again, but this time the sort of people who would seem out of this world to the former residents of famuły. This must have been a real civilization shock for them, yet another proof of their exclusion.
Tarasiewicz’s photos are just simple film frames. Here you could look in vain for the play with the composition, an attempt to construct interesting shots. This is not their goal anyway. They were not conceived of as source of entertainment, or to make us feel good. We should instead perceive under our own skin the feeling of hopelessness which must have accompanied the residents of these spaces every day. Confronted with these images, one feels the roughness of this place as it’s becoming a thing of the past. Thanks to these photographs however, its recollection has a chance to be saved.

Grzegorz Kosmala, August 2016


DEBUTS (edition 2015) @ Krakow Photo Fringe

The andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG cordially invite you to the DEBUTS photo show, held as part of the Kraków Photo Fringe 2016 festival
Opening reception at the andel’s Hotel Kraków, ul. Pawia 3 on Saturday, May 14th, 2016 from 8pm
The exhibition will be running through May 16th to June 12th, at the andel’s Hotel Kraków main lobby on the 1st floor as part of the ANDEL’S PHOTO series.

DEBUTS is the Poland’s first complex initiative which goal is to promote the most talented, emerging Polish photographers. The project is based on portfolio review done by international jury consisting of© Magdalena Wywrot (d. Świtek) - DEBUTS 2015 photographers, editors and gallerists. The results of the project are presented in special book (distributed among the world’s top 100 institutions dealing with photography) and at exhibition, which is presented only during photographic events. The exhibition is a kind of guide to what is happening in the Polish photography. These 55 photographers, selected from 167, still have a lot to do. They are still searching, though many of them can already be said to represent conscious and thoughtful photography. However, regardless of their skills, their photographs cannot be ignored. Whether it be a record of everyday life, fashion or creative photography – it is always intriguing, sometimes mocking, and occasionally even iconoclastic. Their photographs result from an inner need to take them, and not from coercion. They are made without inflation, sparing in their means of expression, almost ascetic. They make us slow down, reflect, and think. They are not photos that merely want to show or introduce something; photographs we soon forget. They absorb with their composition, drive the imagination, free the thoughts. „The current state of photography in the world is in great turmoil. From reportage to fashion and beyond, the abundance of imagery is creating new thought patterns by pushing and pulling the level of greatness to places it’s never been before. Looking at the work of some of Poland’s newest photographers, it is obvious that these issues exist as well. Here we see moments of exceptional photography pushing the limits in visual voice and style across the genres of photography. It is most heartening to see the new generation of photographers coming from Poland to help us find our way today.” (Ron Haviv, VII Photo)
Photographers: Dariusz Bareya, Marta Berens, Paweł Biedrzycki, Alicja Bloch, Paweł Bogumił, Tomasz Böhm, Kinga Brocka, Michał Czech, Katarzyna Dybowska, Katarzyna Gasińska, Mateusz Grybczyński, Mateusz Grymek, Klaudyna Hady, Nadia Issa, Weronika Izdebska, Jadwiga Janowska, Adrian Jaszczak, Mateusz Jaźwiecki, Klaudia Kaczmarczyk, Tomasz Kajszczarek, Arkadiusz Kikulski, Dominika Komowska, Antonina Konopelska, Yulia Krivich, Monika Krzyszkowska, Wiktor Kubiak, Piotr Kutolowski, Mateusz Leźnicki, Paulina Maciejewska, Katarzyna Maluga, Katarzyna Mazur, Marcin Minasowicz, Marcin Mirosławski, Kuba Mozolewski, Maria Nowakowska, Konstancja Nowina Konopka, Karolina Nowosielska, Anna Osetek, Karol Pantelewicz, Justyna Płaczkiewicz, Marta Pociecha, Kaja Rata, Małgorzata Sajur, Jakub Stanek, Maciej Świstek, Magdalena Świtek, Natalia Szemis, Marta Szewczyk, Paweł Tkaczyk, Magdalena Toborowicz-Kuranda, Weronika Tyrpa, Łukasz Ułanowski, Marcin Urbanowicz, Paweł Wieczorek and Dawid Żuchowicz.
Jurors of the second edition of DEBUTS: Regina Maria Anzenberger (A), Luca Desienna (GB), Ron Haviv (USA), Grzegorz Kosmala (PL) and Francesco Zizola (I)

www.docphotomagazine.com/debuts www.facebook.com/debutsbydoc


Shoshanah Ciechanowski „INBETWEEN”

We cordially invite you to join us and the artist Shoshanah Ciechanowski to celebrate the opening of her solo show „INBETWEEN” The exhibition is hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S ART.

The curator of the exhibition Chiara Valci Mazzara

Opening : Thursday . May 19th . 2016 . 7 pm

MYNAMEIS performance . starts at 8 pm

Exhibition INBETWEEN . from Friday May 20th . to Sunday June 5th 2016

For her first solo exhibition in Poland, Shoshanah Ciechanowski continues the INBETWEEN project which includes: MYNAMEIS performance, EARTH WALK site-specific, the series ofIMG_7860 drawings Landscape Borders #, SCHUT #, the videos THE MEAN and THE CIRCLE WHOLE.

Ciechanowski explores the roots of humanity, beyond nationality, identity, language and culture. In an attempt to find answers to her personal questions, she uses her artistic practice as a link to a new form of communication: There is always an action and a reaction. Therefore, influences gained through the experience would continue as a personal change and deliver it. Feelings play a crucial role in determining behavior. Our collective emotional scale influences our environment. The environment, in turn, can facilitate or discourage interactions among people.

During the performance MYNAMEIS, the ‚viewer’ is invited to take a step – by sharing his name and a wish/statement. For about one hour Ciechanowski, standing behind a glass pane, writes up ambidextrously people’s words. The result is bound by its form and the content becomes relative. The words, representing a watermark between the dialogue and the interaction, become a fluid circular content. By using her body as a pivotal tool the artist creates ‚suspended time’ which enables different communication.

EARTH WALK site-specific performance, is a continuation of MYNAMEIS. A walk from ‘A’ to unknown ‘B’ involves approaching random people, in time intervals, with the aim to create an Emotional Geography. In each of the intervals, Shoshanah intends to walk with the stranger for 72 steps, then collect information from the meetings. The essence of these encounters will be subsequently extracted through a drawing on a satellite photograph.

In series of drawings Landscape Borders # and SCHUT # a multifarious transformation occurs. Ciechanowski usually begins with a canonical text, speech or a poem, setting geometrical territories or statistical data, visible through their movement in form and content on paper. The encounter between the artist’s research, the variety of colors and drawn marks, reveals her purpose to re-establish a level of communication.
Beyond language and before words, Ciechanowski proceeds, thus, finding the materiality through contracting aural input. The speech transforms into writing and writing gains interaction with colors and textures, leaving its semantic value behind. A drawing, an action. These action-drawings are represented by a new gaze in her video works. The artist’s body is now an alternate topic, through it she unravels in the whole process the dialogue between the performance and the visual depiction.

Shoshanah Ciechanowski’s multi-disciplinary practice unfolds the tension between content and form. Her work is engaged with the quest for balance through movement, rhythm and sound. Aiming to grasp a present moment, she is generating a mirror questioning the interval between individual and society. Her work attempts to reveal, behind hidden patterns, a basic longing which brings together the mechanisms of the heart.

Shoshanah Ciechanowski (b. 1973), based in Tel-Aviv. She graduated from the BFA Bezalel Academy of Art & Design, Jerusalem in 2000. Since 2004, she has conducted several workshops focused on emphasizing the importance of practice through reconstructing. Ciechanowski has taken part in numerous group shows in Israel and abroad and held solo exhibitions in Israel, UK, Germany, and Italy. Her works are in private and public collections in Germany, Austria, Italy, Israel, France, UK, and USA.


Alicja Łukasiak & Grzegorz Drozd „Things for the Sun”

We cordially invite you to join us and the artists Alicja Łukasiak & Grzegorz Drozd to celebrate the opening of the show Things for the Sun.

The exhibition is hosted by the andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG, as part of the project ANDEL’S PRESENTS.

Opening reception at the Hotel andel’s Kraków, ul. Pawia 3 on Thursday, April 7th, 2016, from 7 PM

Exhibition will be running through Thursday, April 7th, to Saturday, May 7th, 2016

The exhibition Things for the Sun by artist duo Alicja Łukasiak and Grzegorz Drozd, is the result of a long, nomadic art project realized since 2010 in Southeast Asia. The artists’ decision to leave their home country was influenced by the need to view the culture they had lived in from a distance – along with the perspective that only being ‘outside’ can give; as well as by the search for inspiration that comes from unfiltered experience. Thousands of kilometers later, the artists are still exploring the structure of nature and the forms in which it expresses itself, broadening their knowledge and finding sources of inspiration for their art, the works born out of direct contact with communities inhabiting remote islands. Their objective is simple: the creative process inspired by the culture, customs, just the everyday life of the people who, in the era of global changes that homogenize cultural differences, continue to cultivate the traditional model of living.

Grzegorz Drozd born in 1970, based in Warsaw and Southeast Asia. A versatile artist and a vigilant observer of reality. To describe it, Drozd employs his own language, constructing uncomfortable and unexpected situations, often with no script at all. By playing a game where his opponents are Convention and Ritual, he can take art beyond the brackets imposed by conventionality. An artist-manipulator who declares that “an artist is, to me, a society’s outcast and a criminal.” A relational and participatory creator, the author whose works display his personal emotions. In 2010, Drozd symbolically ‘abandoned’ the culture of the West, steering his nomadic journey towards the far South, in search for the lost paradise. Since then, he has inhabited ‘culturally open space.’
From 1992 to 1995, Drozd studied at the Maria Curie-Skłodowska University in Lublin, then continued his studies at the Faculties of Painting and Sculpture at the Academy of Fine Arts in Warsaw, graduating in 2007. He has participated in several art residencies and has received scholarships of the Ministry of Culture and National Heritage. Recently, his individual exhibitions NIGHTMARES were shown at the Centre for Contemporary Art Ujazdowski Castle in Warsaw and the Polish Sculpture Center in Orońsko. Drozd has participated in numerous group shows in Poland and abroad, including at the MOCAK Museum of Contemporary Art in Cracow, the Centre of Contemporary Art Znaki Czasu in Torun, the Waterside Contemporary gallery in London, the BACC in Bangkok, Art Biennale in Yogyakarta, and the Gare Sauveur in Lille.
He has co-created with Alicja Łukasiak the project ZOR Foundation since 2003. zorfoundation.org

Alicja Łukasiak born in 1975, based in Warsaw and Southeast Asia.
In 2000, she graduated with honors from the Maria Curie-Skłodowska University in Lublin, studying at Professor Piotr Lech’s lithography studio. She received scholarships from the Ministry of Culture and National Heritage and the International Visegrad Fund and has participated in numerous exhibitions in Poland and abroad, including at the Zachęta Project Room, the Polish Sculpture Center in Orońsko, and Art Biennale in Yogyakarta. She has co-created with Grzegorz Drozd the project ZOR Foundation since 2003, zorfoundation.org.
Łukasiak’s interest is nature, in the context of which she examines humans as the dominant species. On the one hand, she shows man’s destructive impact on the planet, and at the same time attempts to show the beauty and diversity of life. To her, life is a mysterious phenomenon, artistic creativity – a form of emotional story. In Łukasiak’s works, fauna and flora are subjected to personification. As a result, insects and plants are governed by the laws imposed on them by a superior life form – man.


Veronika Holcova Homo Spiritualis

We cordially invite you to join us and the artist Veronica Holcová to celebrate the opening of her solo show Homo Spiritualis. The exhibition is hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.

The curator of the exhibition dr Agnieszka Wołodźko

Opening 03.03.2016 from 7pm +concert SoundLab from 8pm

Exhibition 04.03-10.04.2016

Opening reception at the Hotel andel’s Łódź, ul. Ogrodowa 17. The organizers provide free round trip shuttle bus travel to the event. Departure point for Łódź: in front of the Kinoteka at 4.30 PM. Departure point for Warsaw: in front of the andel’s Hotel at 9 PM

Seat reservations: contact@andelsart.com

Surprisingly enough, art from one of our immediate neighbors, Czech Republic, is not a frequent guest in Polish art galleries. This time however, we would like to present paintings by an acclaimed artist from Prague, Veronika Holcová.

For those of us who feel they have had enough of conceptual art world’s reduced lingo, this exhibition will be like a breath of fresh air. Aesthetic satisfaction guaranteed. However, the values that the work of this artist contains are by no means limited to this layer. The content is equally important. Those viewers, in turn, who are under the impression that contemporary art is stuck for good in the sphere of rationality, are in for a big surprise. For Veronika Holcová explores the realm of dreams, desires, premonitions, and symbols extracted from various cultures. The figures in her paintings are symbiotically united with the landscape; the non-anthropoid beings – plants, minerals, animals – coexist with humans. Nature is submerged in spirituality. The subconscious plays a significant role in the artist’s decoding of reality.

Holcová admits to having been inspired by the Symbolists’ paintings. An exhibition organized this summer in the St. Agnes monastery in Prague, Mysterious Distances. Symbolism in the Bohemian Lands 1880-1914, presented this interesting style of art, so important for the Czech cultural identity. It was a timely reminder that the artists who used this style to express themselves, among others Alfons Mucha, Max Švabinský, František Bílek, Josef Váchal, Bohumil Kubišta, Jan Zrzavý, deliberately placed themselves in opposition to what they too were experiencing: the rapid technological development, industrialization, and its counterpart in the realm of ideas – the rationalization. By showing their critical attitude towards the surrounding reality, they strived to express the elusive, individual, spiritual, and what’s immune to rational analysis.

Nowadays, the progress in the technicization of life has accelerated and occurs at an incomparably higher rate than it was the case a century ago. However, related concerns remain the same. How can one defend their subjectivity in the age of digitization, how to commune with reality which has been to a large extent subordinated to the processes designed by machines? How can we protect, in such conditions, what is individual to us, spiritual and what cannot be grasped with the intellect? And finally, what are dreams and fantasies worth in contemporary world?

In his book 24/7: Late Capitalism and the Ends of Sleep, New York-based art historian Jonathan Crary sees dreaming as an intensely politically charged phenomenon, not compatible with the requirements of global capitalism. Crary points out that nowadays, there is a tendency to operate 24 hours a day, seven days a week. Therefore, dreaming is seen as time wasted, due to its being unproductive. What’s more, dreams that emerge during sleep refer to something other than strategies for accumulating capital. In this way, dreaming has become something to be treated with suspicion.

Dreaming, however, is the very field that Veronika Holcová intensely explores. Her work can be interpreted as an ecology of imagination, in the sense that it’s an attempt to restore the importance of the spiritual content, instincts, and dreams. Holcová likes to spot her own psychic abilities: the imagined motifs from her paintings sometimes find their counterpart in the real world.

Veronika Holcová – born in 1973 in Prague, since 2015 based in Ottawa. From 1993-2000 she studied Drawing, Painting, and Graphic Art at the Academy of Fine Arts in Prague. Holcová has participated in numerous solo and group exhibitions in the Czech Republic and abroad. Her works are in the collection of the National Gallery in Prague, as well as in private and public collections in the Czech Republic, Germany, Switzerland, Italy United Kingdom, and the United States.
www.veronikaholcova.cz

SoundLab is an inter-disciplinary performance art group created during a series of sound-art workshops at the Galeria El Arts Centre in Elbląg. In their work, the group uses diverse techniques to produce sound and vision, often relying on sampling and audio feedback from the spot where the performance is presented, as an attempt to fill in or delineate physical space.
Group members: Wiktor Piskorz, Maciej Olewniczak, Rafał Wawrzyk oraz Mariusz Owczarek 

Selected actions:
– 25th International Plein Air, Muzeum Ziemi Chełmskiej, Chełm;
– performance at Museums at Night 2009, Galeria El Arts Centre, Elbląg: music created for Zbigniew Kosowski’s visuals;
– Balkony Sztuki, Galeria El Noc Arts Centre: music for Antek Grzybek’s visuals;
– performance at Museums at Night 2013, Galeria El Arts Centre, Elbląg: music for Agnieszka Prusak’s series of photographs At Home; – multimedia installation Aspects, 27th Salon Elbląski, Galeria El Arts Centre, Elbląg;
– multimedia performance 10^n at Museums at Night 2014, Galeria El Arts Centre, Elbląg;

Exhibition sound design:
– Edwardiusz (MDK Elbląg),
– Arkadiusz Sylwestrowicz, Dziękobrazy (Galeria El),
– Quadraphonic installation at the Bez Korekty exhibition opening (Galeria El).

Media Partners: Artinfo, Kalejdoskop Kulturalny, O.pl, Radio Łódź, Szum, Telewizja Łódź


Magic Moments: the Antipodes

We cordially invite you to join us and the artist Michał Sobczak to celebrate the opening of the show Magic Moments: the Antipodes The exhibition is hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as part of the project ANDEL’S PHOTO.
Opening 23.01.2016
Exhibition 24.01-26.02.2016

Opening reception at the Hotel andel’s Łódź, ul. Ogrodowa 17

The ‘antipodes’ is a name used to refer to a place on the Earth’s surface which is opposite to where you are. To me, such a faraway corner of the world are the continent of Australia and the islands of New Zealand.

Australia: through the airplane’s window, it looks like a giant red island surrounded by an azure ocean and, from the east, the world’s largest coral reef that can even be seen from outer space.
The island – a continent larger than Europe as well as the United States of America (excluding Alaska), where time stands still, where you can look at and even touch the history of our planet, where geological forms hundreds of millions of years old are nothing unusual, a natural habitat for fascinating animals you won’t encounter anywhere else.

A country full of places created by eruptions of dozens of volcanoes, and sites where you’ll find incredible amounts of amazing minerals, rocks, and monoliths.
Both the magnificent scenery and the people who live there, joyful, smiling, full of positive solar energy make this continent a truly unique place.

Tasmania: fabulous island, where time flows differently, where life slows down, an island so far away from our everyday frantic hustle and bustle, and so close to nature, with all its eye-opening immense beauty of the wild and open space…

New Zealand: two great islands – a northern and a southern one – which are like a miniature world, where all climatic zones have been condensed into one relatively small place. Deciduous trees and conifers, palm groves and a tropical rainforest with ferns larger than our oaks; glaciers, waterfalls, deserts, geysers, volcanoes and spaces, spaces where you won’t encounter any human being for thousands of kilometers, where you can get lost, only to find yourself…
And the Maori, brave, proud peoples….
I would like to share with you the atmosphere of these places,
the climate enchanted in the photos,
come and look….,
listen…,
feel…,
rejoice in….,
the World’s Magic Moments !

Jarosław Michał Sobczak – entrepreneur who has realized many business projects and international transactions, man of many passions and interests. An explorer, curious about the world, its taste and smell, always on the lookout for the large and small – Magic Moments of the World….
Two things can make a person richer and better –
Travelling is the only thing we pay for
that can make us richer.
And selflessly helping the needy
makes us better people.

I’d like to combine these two objectives.
That’s the reason why I’m going to
throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover*,
I’ll catch the World’s Magic Moments on my camera,
and share my adventures with you…
The photographs will support charity.

*Mark Twain


Adam Pańczuk „Karczeby”

We cordially invite you to join us and the artist Adam Pańczukto celebrate the opening of the show KARCZEBYThe exhibition is hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as part of the project ANDEL’S PHOTO.

Opening on Thursday, November 26th, 2015, from 7 PM
Exhibition will be running through Friday, November 27th, to Tuesday, December 15th, 2015

Opening reception at the Hotel andel’s Łódź, ul. Ogrodowa 17

A slide show will be presented during the exhibition

The organizers provide free round trip shuttle bus travel to the event.Departure point for Łódź: in front of the Kinoteka at 4:30 PMDeparture point for Warsaw: in front of the andel’s Hotel at 9 PM
Seat reservations: contact@andelsart.com

The word ‘karczeb’ is used for a root of a tree, so deeply grown into the ground that it’s practically impossible to pull out. This is also how people who live according to the rhythms of the earth, bound to it as tightly as a root, are called around the regions of Polesie and Podlasie of Eastern Europe. For many years, Adam Pańczuk portrayed this special bond – full of reverence, but also marked by back-breaking toil. The artist captures it in his book – through, among others, a series of astonishing, powerful portraits. The works follow the convention of magic realism, a move which allowed the artist to go beyond the stereotypical view of the Polish countryside. Adam Pańczuk shows the world he feels close to. An extraordinary world where changes are dictated by the passing seasons of the year, but also – by time. Karczeby is a project that tells the story of man and nature, the bond forged between them, man’s attachment to nature, and the sense of belonging to it.

Adam Pańczuk (1978) lives in Warsaw and works wherever there is an interesting topic to explore. He studied at the University of Economics, as well as graduated in Photography from the University of Arts in Poznań, Faculty of Graphic Arts and Visual Communication. According to Pańczuk, realization of his projects involves asking questions – directly, but at the same time metaphorically – about identity, awareness, and attitude towards the world and the people he encounters.
Pańczuk received a scholarship from the Polish Ministry of Culture and National Heritage. The ease with which he works with visual means to depict his observations and insights has won him numerous awards, including the Pictures of the Year International, Magnum Expression Award, Grand Press Photo.

http://adampanczuk.pl/


INMOTION KINETIC ART EXHIBITION

We cordially invite you to the andel’s Hotel Łódź for the Kinetic Art Exhibition hosted by the Fuzjon Fundation and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS

Artists Piotr Bosacki, Piotr Bożyk, Jakub Jernajczyk, Piotr Jędrzejewski, Claus Larsen, Tomasz Opania, Karina Smigla-Bobinski, Jennifer Townley

Curators: Renata Bonter-Jędrzejewska, Kamil Kuskowski

Opening Reception: Wednesday, Oktober 21th, 2015, from 7 PM
Exhibition: 22.10-14.11.2015

The show is accompanied by an album designed by Ania Nałęcka,
Feel the slightest quivering of air, caused by your breath, gestures, emotions, barely at the threshold of perception. Look for associations that unambiguously delineate you in this very space, both geometric and temporal. Look around. Succumb to the sensation of a recorded moment, hovering in your surroundings. . . . You are here now. You’re participating in the mystery play of light, sound, and movement. You’re entering the realm of moving installations, uninhibited by your imagination, which were built with you in mind, dear coveted Viewer.

The spectacle begins in the interiors of old spinning mill. Deserted years ago, battered, lifeless……stripped of hope.
In an inspiring setting, full of astonishing props of the bygone era of the industrial revolution, art can be experienced intuitively. The architecture of the andel’s Hotel becomes an excellent entourage for identifying hidden objects. You have an opportunity to uncover the great mystery of the creators of kinetic art. For centuries, the visual aspects of movement have aroused the admiration and fascination, not just of artists. It has inspired us all. Processual, interactive nature of kinetic art will deliberately engage the viewer in the recording of successive creative acts. Actively, in real time, we become co-creators of a new art form, sometimes solely through our presence. A beautiful gesture of the artist towards you, dear Viewer, isn’t it?

All it takes is to just be here……

In MOTION shows personal interpretations of the phenomenon of movement in the visual space, but that’s just the beginning. It’s also an attempt to confront creative attitudes, sometimes bizarre and surprising by their very nature. Often they were determined through drawing on the substance of important things: in art, science, technology. Movement marked with dynamism and heterogeneous characteristics becomes the perfect medium to manipulate our senses.

Kinetic art surprises, entices, immerses. Any attempt will come to nothing if you do not let yourself experience the passage of time, the speed of perceptions, the distance traveled from the beginning to the end of a cognitive experience……..All this can happen in motion, both the apparent and the real one.

Be our guest!

Renata Bonter-Jędrzejewska, curator

Media partners: Artinfo.pl, Notes na 6 tygodnii,O.pl, Format, TVP Łódź


New Urban Legends

We cordially invite you to join us and the artist Urszula Tarasiewicz to celebrate the opening of her solo show NEW URBAN LEGENDS

The exhibition is hosted by the andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO.

The curator of the exhibition Agnieszka Gniotek

Opening reception at the andel’s Hotel Kraków, ul. Pawia 13 on Thursday, September 24th from 7pm

The exhibition will be running through September 24th to November 1st, at the andel’s Hotel Kraków main lobby on the 1st floor

Urszula Tarasiewicz – one of the most interesting artists of the young generation who use photography in their work. She graduated in Photography from the Leon Schiller National Higher School of Film, Television and Theatre in Łódź. Minimalist photo wallpapers that create the illusion of open space and the mirage horizon are the hallmark of her work. The New Urban Legends is a series of photographs that has been presented and awarded internationally, including in Germany and Norway. Its firefighting subject became a part of the andel’s Contemporary Art collection and is on permanent display in the andel’s Hotel Łódź interiors.

About the show:
Praga remains the poorest district in Warsaw, but ten years ago its potential was discovered by artists. Studios, cafés, and art galleries began to appear all around the area. The dynamism of young, active individuals started to leave its mark on the old atmosphere. Thanks to their efforts, Praga’s poverty has been recognized and named. Several foundations have been launched. Their activity is primarily directed to kids. Children are easier to work with, although they, too, approach the social activists’ efforts with great caution.
New Urban Legends is the Moma Film Foundation’s initiative. It’s a series of activities where kids from the poorest families in Praga were given the chance to participate in creative workshops. Their task during literary class was to invent fictional stories about the place where they live. Then, the stories were turned into screenplays and finally, into films. The kids were engaged in the whole process, working as both film crew and actors. That’s how the Ząbkowska street dentists’ and a barber’s from Targówek adventures were created.
Officially, Urszula Tarasiewicz was employed in the New Urban Legends project as a production assistant and unit stills photographer. However, the workshops got her totally involved. She would be a driver, cared for the catering and solved the kids’ problems. She watched with fascination the joy with which the children turned into the stars of the stories. That’s what inspired her to create a photographic project based on the New Urban Legends – not a photo-journalistic project about the workshop, but rather, an autonomous presentation.
Three main factors contributed to the unique aesthetics of Ula Tarasiewicz’s photos. The first, perhaps the least important of the three, is technique – there’s a sublime magic in the pictures shot with a Hasselblad medium format camera, the kind of imaging that ennobles the model.
It has long been known that there’s no such thing as truth in photography. Objectivity doesn’t exist. In the process of creating the series, Tarasiewicz didn’t strive to be objective. That’s the second factor: her original way of seeing. We’re dealing with costume and characterization here, but still, Tarasiewicz offered her models far more than yet another opportunity to perform as actors, just this time in front of a photo camera.
The ‘stage’ Tarasiewicz created is greater, for it is a stage of life. Her little heroes are serious, but also pleased with themselves, individuals. The children here seem mature and wise, happy and fulfilled. And finally, the third thing: the stars of the photos themselves. In districts such as Praga you have to grow up faster, start to solve adult problems very early and make serious decisions. You do not put your trust in just anybody. Even if a stranger is nice to you and gives you a proverbial candy, he would always remain a stranger. In Tarasiewicz’s pictures the kids do not feel outsiders, they do not keep the distance anymore. They are at home and are proud of it. The artist managed to reach the truth, because she allowed the children to present themselves as they wished. She gave them the ‘stage’ and made no secret of her fondness for them.

The first solo album by Ula Tarasiewicz, published in 2012, features one of the stories from the New Urban Legends. This limited and numbered collector’s edition, in hardcover, is the first volume of the curated series published by the Art Galerie Siegen and Tomas Kellner. It accompanied the New Urban Legends exhibition hosted by the Art Galerie Siegen in 2012. Later on, the works were also shown in Oslo and the Wypieki Kultury gallery in Warsaw.
Ula Tarasiewicz is currently working on an exhibition and a collector’s album focused on the city of Łódź. The project features photos of the tenement buildings at Ogrodowa street and the Bałucki market. It also shows the residents and their belongings left behind after evictions and relocations; the stuff that ended up on the market square, offered for sale, collected in the homes of the low-earning residents of the city of Łódź.

Agnieszka Gniotek

Urszula Tarasiewicz (b. 1975) photographer, organizer of music events. She graduated in Photography from the Leon Schiller National Higher School of Film, Television and Theatre in Łódź. The starting point of her career as a photographer was a diploma project realized under the supervision of Professor W. Prażmowski. In it, she used a forgotten style of photo wallpaper. The artist lives and works in Poland and Norway. There, she gained experience working on film sets.
Tarasiewicz as documentary photographer is a sensitive observer of her surroundings, who in her works ennobles the absurd and marginal elements. The life in the industrial city of Łódź contributed to her search of beauty in kitsch, color in greyness and happiness in people who weren’t lucky in life. Her mode of shooting is plain, raw, ascetic. Tarasiewicz saves on the negative the moments which are a sign of their time and describe the environment without embellishments. When she photographs people, she allows them to play whatever roles they would imagine; she doesn’t create psychological portraits, rather, she encourages the creation of a situation that a particular moment demands.
The photographs from the series New Urban Legends are on display in the andel’s Hotel Łódź interiors. The series has been awarded in the Portrait category in the 2010 Curator’s competition of the Photo District News magazine, won the 2012 New Talent Award of the German edition of FotoMagazine, the 2012 Ars Victoria Book Award of the Photographer’s Network of Germany, and the 1st place at the competition organized by the Norwegian magazine Fotografii.no for the publication and exhibition during the #17 Interfoto Debutantutstilling in Oslo in 2012. The series has been exhibited internationally, including in the Milk Gallery in NYC in 2010, Art Galerie Siegen in 2012, Bølgen & Moi Briskeby Oslo in 2012, and in the Wypieki Kultury gallery in Warsaw in 2013.

Urszula Tarasiewicz’s other series were shown at numerous group exhibitions, including the Critical Mass (2012) show in the United States; The Future is So Bright series created in Norway during the scholarship on Halsnøy Kloster was presented in Norway in 2013 and at the Ja to Ktoś Inny (‘I am Someone Else’)show in Warsaw in 2015 (curator Klima Bocheńska). Her photographs were featured at group shows, including the Call Me on Sunday show in the Galerie Krinzinger in Vienna (2014, curator Ursula Maria Probst), the Jam Factory gallery in Oxford (2014), and the Face to Face show in Stuttgart (2014). In 2015, Tarasiewicz was chosen by the New York Times magazine as one of only two Poles for the prestigious portfolio review in NYC.


WE HAVE TIME

We cordially invite you to the andel’s Hotel Łódź for the exhibition WE HAVE TIME hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S QUARTER.

Artists: Karolina Breguła, Monika Drożyńska, Rafał Milach, Joanna Piotrowska
Curator: Katarzyna Sagatowska

Opening Reception: Thursday, September 10th, 2015, from 7 PM
Exhibition: 11.09-10.10.2015

The show is accompanied by an album designed by Ania Nałęcka, which, alongside the works from the show, features a short story by Filip Zawada „Ravens Live the Longest”.

We would also like to invite you to visit the Wschodnia Gallery, ul. Wschodnia 29/3, the same evening of Thursday, September 10th at 6 PM, for the opening reception of a partner exhibition „It’s Not Going to Be Me” by Łukasz Filak.

We Have Time

Arrival and departure, the beginning and the end. Time is experienced in a particular way when you’re staying at a hotel. Viewed from this perspective, the andel’s Hotel is a unique place, for the past here is always visible in the present. The structure and elements of the former Izrael Poznański’s factory have determined the hotel’s present form and influenced its future development. The exhibition We Have Time is a reflection on the meaning of time. The works presented here relate to this concept in various ways. It’s also possible to find in each of them the „threads” that link them with the exhibition site – the hotel, or the city of Łódź. The show consists of two parts: the public – displayed in the lobby, and the private – presented in the hotel’s suites.

Public space:

In Karolina Breguła’s series of photographs The Histories of Art time has no beginning and no end – it flows erratically, unexpectedly returning, unwinding in loops. The artist refers to works that mark out points on the twentieth century art history’s timeline, like Joseph Beuys’ Fettecke, Maurizio Cattelan’s The Ninth Hour, or Spatial Composition 4 by Katarzyna Kobro. According to Breguła, instead of remaining at the more and more remote pages of art history textbooks, these points relocate, manifesting themselves in the present-day as absurd and disturbing eruptions on the everyday reality of ordinary people.

While working on the series Very Beautiful Project Rafał Milach was inspired by his trip to places such as Łódź and Upper Silesia – post-industrial areas typically associated with brutal transformation and visual austerity. What Milach gives the visited places is the opportunity for self-promotion – showcasing their beauty and achievements through the presentation of the winners of local competitions. Ania Sztuba – the champion of dancing with fire, Dynami Mouse Golden Autumn – the most beautiful mouse, and Iso – the most beautiful dog of the Łódź Pet Fair 2007, or Professor Jan Ślężyński, a handstand champion who at age 80 did 201 stands in 27 minutes. Each of the protagonists has found her time. Every one of them is the best.

Private space:

Half of a Whole by Monika Drożyńska is a personal story about the beginning and development, about the changeability and invariability of an image as a function of time. It’s a self-portrait-in-the-process that consists of reproductions of the same photograph, which was printed on fabric and then unraveled by the artist in tens of ways that differ from one another. A piece from the Urban Embroidery 3 series is, in turn, a site-specific installation on one of the hotel’s curtains, created in the hand embroidery technique. Needlework is for the artist a form of political action, and it will be the case this time, too. Drożyńska will present her own personal reflection on the history of Poznański’s factory.

Joanna Piotrowska examines the complexity of human relationships, especially within the family. In a series of black-and-white photographs the artist evokes the past through the reconstruction of pictures from family albums. Duplicated positions of bodies and gestures are ambiguous. A handshake can be perceived as both supportive and oppressive. The pictures are static. The presented figures are inanimate, time has stood still. The title of the series itself, Frowst, means warm but stuffy atmosphere. Closeness may lead to suffocation. How to get out? In another series Piotrowska re-enacts poses taken from self-defense techniques. We can see the struggle, but again – there’s no unambiguity here. It is not known who defends and who attacks. The atmosphere gets stifling again.

Katarzyna Sagatowska, curator of the exhibition

Artists

Karolina Breguła (b. 1979), multimedia artist, author of films, photographs, performative events and installations. She graduated from the Leon Schiller National Higher School of Film, Television and Theatre in Łódź (currently a PhD student at this university). In her works, Breguła examines art in a humorous manner, takes a closer look at its viewers, and searches for space for heritage in contemporary everyday life. Her projects include: Fire-Followers (2013), Art Translation Agency (2010), Let Them See Us (2003). Winner of the second prize at the Spojrzenia 2013 contest and the third prize at the Samsung Art Master 2007. The Ministry of Culture and National Heritage, Młoda Polska, and the International Visegrad Fund scholarship holder. Her exhibitions include: the Jewish Museum in New York City, 55. Venice Art Biennale, the National Museum in Warsaw, and the Zachęta National Gallery of Art. Her works are in the collections of the Centre for Contemporary Art Ujazdowski Castle and the Centre for Contemporary Art Znaki Czasu in Toruń.

Monika Drożyńska (b. 1979), artist and fashion designer. Graduate of the Academy of Fine Arts in Kraków. Apart from working in fashion design, Drożyńska also creates embroidery, as well as uses fabrics in public space installations and at social campaigns. From 2004-2010 she ran Punkt, a place dubbed the first concept store in Poland. Drożyńska is a winner of the prestigious British Council International Young Fashion Entrepreneur Award. The artist received scholarships of the Ministry of Culture and National Heritage and the Visegrad Artist Residency Program. She’s a finalist of the Kulturalne Odloty of Gazeta Wyborcza newspaper and the Polish Radio Three Kulturysta Roku contests and has been nominated for the Polityka Magazine Passport twice. The galleries she’s collaborated with include: the Centre for Contemporary Art Ujazdowski Castle, the Zachęta National Gallery of Art, the MuseumsQuartier Vienna, and the European Culture Association in Istanbul. Drożyńska’s works are in the collections of Bunkier Sztuki Contemporary Art Gallery in Cracow, the National Museum in Cracow, and Deutsche Bank.

Rafał Milach (b. 1978), photographer, author of books, curator. He graduated from the Academy of Fine Arts in Katowice and the Institute of Creative Photography in Opava, Czech Republic, where he is currently a PhD student and lecturer. For the last ten years he’s realized projects focused on the transformation of Russian-speaking countries, as well as Central and Eastern Europe. The albums he’s published include The Winners, Black Sea of Concrete, 7 Rooms. Milach received scholarships from the Ministry of Culture and National Heritage, the Magnum Foundation, and the European Cultural Foundation. The artist has been awarded at several contests, including World Press Photo, Pictures of the Year International, and New York Photo Festival Awards. Co-founder of the Sputnik Photos, a multinational collective of photographers. Among the galleries he’s exhibited in are the C/O Berlin and the Zachęta National Gallery of Art in Warsaw. His works are in the collection of the Kiyosato Museum of Photographic Arts in Japan, the Gliwice Museum, the C/O Berlin, and the Brandts in Odense, Denmark.

Joanna Piotrowska (b. 1985), photographer and author of installations. Graduate of the Royal College of Art in London. In her work, the artist is focused on examining oppressive situations. Her pieces formally refer to the style of classic black-and-white documentary photography. Winner of the Jerwood / Photoworks Award and the main prize at the First Book Award competition for the series Frowst, which was published in book form by British publishing house MACK. In 2014 magazine Dazed selected her as one of the 100 people who redefine style and culture. Her exhibitions include: Institute of Contemporary Arts in London, Hayward Gallery, Science Museum, as well as galleries in Spain, Italy, Poland, Russia, Great Britain, the Netherlands, and Latvia. Her works are in the National Photography Collection in Bradford and the Northern Gallery of Contemporary Arts in Sunderland.

Filip Zawada (b. 1975), musician, photographer, writer, and poet. He graduated in Cultural Studies from the University of Wrocław and studied at the Institute of Creative Photography at the Silesian University in Opava, Czech Republic. He’s the author of books: The Unary Numeral System (1997), The Aldehyde God (1998), Sniper (2004), The Excellent Owls (2013), and Three Paths Sum Up over One River (2014). For his prose works Train Dogs (2011) and Against the Sun Was (2014) Zawada was nominated for the prestigious Gdynia Literary Prize. He released a debut photo album Wooden Nuptials in 2011. Member of bands AGD, Pustki, and Indigo Tree. Currently, he plays in his own band ITOITO. Polish Champion in Field Archery 2014. He posts on his blog www.filipitoito.com every day.

Exhibition partner: Profilab
Media partners: Artinfo.pl, contra doc!, FotografiaKolekcjonerska.pl, MAGENTA MAG, MaleMEN, NOTES.NA.6.TYGODNI, TVP Łódź


JULIA POPŁAWSKA PATTERNS

We cordially invite you to join us and the artist Julia Popławska to celebrate the opening of her solo show Patterns. The exhibition is hosted by the andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO.
The curator of the exhibition Agnieszka Gniotek

Vernisage 25.06.2015 from 7pm

The exhibition will be running through June 25th to August 2nd, at the andel’s Hotel main lobby on the 1st floor

Deciphering patterns

The specific, film-like manner in which she frames motifs is the key to Julia Popławska’s exhibition Patterns. The composition of the presentation is based on contrast. Thus, the viewer, led from the particular to the general or vice versa, is being made familiar with the biological reality of the jungle. Julia Popławska is not a photographer. She’s a filmmaker who’s used her experience in the field of moving pictures to interrupt the movement, freeze the frames that the eye would otherwise not bother to focus on. The artist has set herself a goal to prevent us from merely gliding inertly over the structures in the world of plants.
When you watch exotic landscapes on TV or directly experience them on a trip, the exuberance of vegetation is stunning. However, overwhelmed by the inexhaustible greenness, we tend to perceive it as a homogeneous whole. The jungle is beautiful, fascinating, and dangerous. That’s what makes it so captivating. But it’s also what turns it into a mere symbol of the tropics, or an archetype of ‘virgin’ nature untainted by human touch. This feeling of amazement makes us blind to the immense detail in what spreads before our eyes. How far, then, is our view from the way nature is perceived by indigenous peoples or scientists.

In Julia Popławska’s case, the plant patterns selected for the project were not accidental. The pictures were created in Centro Selva, an artist-in-residence center deep in the Amazon forest of eastern Peru that the artist visited three times in 2013 through 2014. There, she discovered not only the abundance and uniqueness of the Amazon rainforest, the richest ecosystem on Earth, but also the culture of indigenous peoples living along the Ucayali River. The Shipibo – Conibo tribe is famous for covering their faces, clothes, as well as objects of everyday use with patterns derived from nature. The Shipibo – Conibo find inspiration in the wild. Depictions of anaconda – a snake that lives in the Ucayali region – mingle with visions experienced during ritual trips on hallucinogenic brew ayahuasca. Encoded in these designs, as well as songs, are the tribe’s folk tales and legends.

The artist was inspired not so much by the decorative motifs of the Shipibo – Conibo, but the idea behind the whole process. How the patterns found in nature can seep into culture and embed themselves in the products of human work and thought, functioning as a means of conveying content. The message contained in the image composed of green fragments along with their counterpoint – the beauty of the jungle is a story about the raw diversity of apparently identical motifs, as well as the vital force of nature. Popławska photographed leaf patterns in a manner that shows their ‘veins’ and the movement of life-giving light – the process of photosynthesis.

How the rainforest is on the brink of extinction due to human activity has been so often discussed that the issue has been deprived of its meaning and just mentioning it here may seem almost hackneyed. But this is what Julia Popławska’s Patterns are to express, apart from the amazing beauty of nature. Their task is not only to encourage admiration, but also serious reflection. To be a carrier of information code, just like their tribal counterparts.
Agnieszka Gniotek

Julia Popławska
Born 1973. First and foremost a director and scriptwriter, she graduated in Journalism from the University of Warsaw and the Andrzej Wajda Film School. The Ministry of Culture and National Heritage scholarship holder. Popławska is the author of documentary films, including Dzieci Dalajlamy (‘The Children of the Dalai Lama,’ TVP 2008), Polscy Sprawiedliwi (‘The Polish Righteous,’ TVP 2008), Rozmowy Istotne (an interview with the Dalai Lama for TVP Kultura), Oj Boże, Drogi Boże (‘Oh Dear God, Dear God,’ Szkoła Wajdy), Centro. Miejsce (‘Centro. The Place,’ Studio Munka). The awards she received include the award for Best Short Documentary Film at MiradasDoc Festival, Guía de Isora, Spain and a Honorable Mention at the Documentary Film Festival NURT 2011 in Kielce, Poland. In 2012 Popławska won the Docs DF Mexico contest for a screenplay about Mexico City’s Old Town. Patterns is her first photography presentation.


The Sony Icons and Other Film Posters

We cordially invite you to join us and the artist, Andrzej Pągowski, to celebrate the opening of his solo show, with the pieces from the Sony and the Museum of Cinematography Łódź collections.

The exhibition is hosted by the andel’s Hotel Łódź

The exhibition will be running through June 18th to August 31th, 2015 at the andel’s Hotel Łódź main lobby; Address: Ogrodowa 17, Łódź.
Wystawa będzie dostępna dla zwiedzających w lobby głównym hotelu andel’s w Łodzi ul Ogrodowa 17 do 31.06.2015.


DEBUTS (edycja 2015)

The andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG cordially invite you to the DEBUTS photo show, held as part of the Fotofestiwal Łódź 2015

Opening reception at the andel’s Hotel Łódź, ul. Ogrodowa 17 on Saturday, May 28th, 2015

The exhibition will be running through May 28th to June 14th,at the andel’s Hotel Łódź main lobby as part of the ANDEL’S PHOTO series.

The DEBUTS (2015 edition) exhibition showcases the work of photographers distinguished in the second edition of the project. The first program of this kind in the country, DEBUTS was brought to life to actively promote and support the most talented young photographers in Poland. The exhibition, as well as the accompanying album, are intended to be a guide to Polish contemporary photography. DEBUTS was created for those photographers whose work has already been published in the media, exhibited in a solo as well as a group show, or who took a degree or course in Photography – provided that they graduated in the last three years.  

Over 200 photographers took part in the second edition of DEBUTS. 167 of them reached the final round, during which their portfolios were carefully assessed by a panel of judges, experts in their fields. Among this group of internationally recognized professionals were:

  • Regina Anzenberger, Austria, curator, founder, and director of the AnzenbergerAgency and owner of the AnzenbergerGallery & director of the Vienna Photo Book Festival
  • Luca Desienna, UK, director of Gomma Books Ltd., art director of Gomma Magazine & juror of the Gomma Photography Grant
  • Ron Haviv, USA), co-founder of the VII Photo Agency, central character in 6 documentary films, recipient of a number of awards, including World Press Photo (twice) and Pictures of the Year International (four times)
  • Grzegorz Kosmala, Poland, founder, publisher, and editor-in-chief of two online photography magazines doc! photo magazine and contra doc!, originator of the DEBUTS project
  • Francesco Zizola, Italy, co-founder of NOOR Photo Agency, nine-time winner of the World Press Photo Award (including the Photo of the Year 1996) and Pictures of the Year International

The jury decided to invite 55 photographers, whose portfolios are most promising, to take part in the exhibition and the book. These works will be presented at the DEBUTS show during the 2015 Fotofestiwal in Łódź, Poland.
The album DEBUTS will be launched during the exhibition. Apart from mini-portfolios, the book includes short biographical notes about their authors. Then, the album will be sent to the top 100 world’s institutions operating in the field of photography (museums, galleries, festivals, collectors).

These 55 photographers still have a lot of work to do. They are still exploring, although many of them represent photography that is conscious and well thought-out. However, regardless of the skill level, their works are not something you could pass by with indifference. No matter if it’s just a record of everyday life, fashion or creative photography – it is always intriguing, sometimes mocking, and sometimes even iconoclastic. The photos are sincere, coming from the internal necessity to take them, not coercion. Created without any conceit, they make use of means of expression_ sparingly, almost ascetically. This, in turn, causes the photos to force the viewer to slow down, reflect, think. These images are not of the kind that strives for nothing more than to show you, or illustrate something; pictures forgotten the moment you saw them. Many of them linger in memory for long, constantly coming back. With their absorbing composition, these photos ignite the imagination, provoke thoughts and feelings.
The exhibition and album DEBUTS are not only an opportunity to be introduced to the current trends in Polish photography, but also to get to know the photographers themselves. Their perceptiveness, talent, and hard work deserve wide recognition. 


DEBUTS (edition 2014) @ Krakow Photo Fringe

The andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG cordially invite you to the DEBUTS photo show, held as part of the Kraków Photo Fringe 2015 festival

Opening reception at the andel’s Hotel Kraków, ul. Pawia 3 on Saturday, May 16th, 2015 from 6pm

The exhibition will be running through May 16th to June 14th, at the andel’s Hotel Kraków main lobby on the 1st floor as part of the ANDEL’S PHOTO series.

The DEBUTS (2014 edition) exhibition presents the works of 36 most talented emerging Polish photographers distinguished at the first edition of DEBUTS. The project is ran by online photography magazines: doc! photo magazine and contra doc!. The purpose of establishing DEBUTS is to actively promote and support young Polish contemporary photographers in the early stages of their career. Their portfolios were presented for the first time on July 18, 2014 on the 35th floor of Warsaw Trade Tower. The exhibition has since been shown in Wrocław and Toruń. 

DEBUTS presents a broad view of contemporary Polish photography. The works shown here indicate that it does not slavishly follow international trends or duplicate foreign artistic mannerisms and themes that have come to dominate international photo contests. Polish emerging photographers tell mainly about the world they’re directly surrounded with. They’re not afraid to tackle difficult subjects in an honest way, without showing fake restraint. What their work is dominated by is man and the place he finds himself in, how he relates to it as well as to the group in which he functions. Increasingly, the artists are fascinated by the meeting point of the natural environment with the man-made world. They document it in a neutral way, without making an assessment. Here you won’t find shots taken for the amusement of the audience, for effect only. What you’ll find here instead is a thoughtful, examined vision of reality – both the processed one and the one created from scratch. The real world has been photographed consciously, with curiosity and great visual sensibility.

Photographers: Mateusz Baj, Marcin Bańdo, Ewa Behrens, Magdalena Borowiec, Jan Cieślikiewicz, Marta Cieślikowska, Mariusz Drezniak, Edyta Dufaj, Marlena Jabłońska, Karolina Kamycka, Magdalena Kącikowska, Anna Kieblesz, Marcin Kwiecień, Anna Liminowicz, Bartek Lurka, Tomasz Łaptaszyński, Robert Mainka, Gabriel Orłowski, Jerzy Piątek, Patryk Pietras, Igor Pisuk, Maciej Przemyk, Dawid Rus, Krzysztof Sienkiewicz, Filip Skrońc, Panda Aleksandra Staniszewska, Agnes Szedera, Olga Świątecka, Marta Wapiennik, Bartek Warzecha, Agnieszka Wąsik, Natalia Wiernik, Anna Witkovska, Wiktoria Wojciechowska, Gosia Ziębinska oraz Katarzyna Zolich.
Więcej informacji o projekcie można znaleźć na stronie docphotomagazine.com/debuts.

Jury:Filip Ćwik, Anna Fronckiewicz-Spodnik, Grzegorz Kosmala, Maciek Nabrdalik, Rafał Milach, Agnieszka Olszewska, Katarzyna Żebrowska

www.docphotomagazine.com


Małgorzata Kosiec ABSTRACT

Exhibition under the auspices of the President of Łódź Hanna Zdanowska

We cordially invite you to join us and the artist Małgorzata Kosiec to celebrate the opening of her solo show ABSTRACT
The exhibition is hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.

The curator Agnieszka Gniotek

Vernisage from 7pm

+concert Sebastian Madejski from 8pm

The Triumph of Will
The first abstract paintings that Małgorzata Kosiec created a few years ago were a real surprise both for the admirers of her work and art critics. Few noticed the consistency with which the artist strived towards abstraction in an attempt to take control over space. Judged in the context of over fifteen years of her artistic work, the currently created large format abstract paintings might be perceived as a tamed version of expressive paper drawings from the beginning of Kosiec’s career. At the time, the artist would create biologically oriented compositions: focused on man and human form, but at the same time radiating verve and freedom, they’ve got so perfectly reflected in the current abstractions.
It doesn’t necessarily mean that abstract art superseded figurativity in Małgorzata Kosiec’s work. It’s just developed in parallel. At least for now, it is more private than not. It’s an extremely personal author’s statement. But in this case, private doesn’t mean cozy. Here, we are confronted with large format compositions, brimming with verve, arranged in a meticulously thought-out manner, stunning with vivid colors and detailed, pedant almost, finish. In Kosiec’s work technique remains a supreme and immutable value. A monochromatic piece appears occasionally in the abstract series– a brief respite, as well as a proof of how diverse this series is and how surprising the solutions is offers can be.
The artist has always played a game with the viewer, seducing his gaze and employing innocent artifice. It’s no different this time around. Flat paintings give the impression of profound depth; there’s unrestricted spilling of the composition out of its frame, three-dimensional, highly complex systems of lines, building multi-level structures. They represent a new proposal in the realm of abstract thinking. It’s flirting of geometry and biological concepts. The artist does not cut herself from the roots of her work, with all their ornamentation and multilayered pop art elations. However, she extracted them from the necessity of literality and figuration.
Kosiec’s recent work is a triumph of the artist and of a woman. I know it sounds pretentious. Nevertheless, I do not hesitate to use such a phrase. I’ve watched Małgorzata Kosiec’s artistic development for fifteen years. I admire her for artistic regime, creative sensibility and intelligence, perseverance, amazing diligence, the ability to establish priorities. I am therefore aware that the series of abstract works, which so strongly radiates unbridled expression and almost girlish joy, is a quintessence of how satisfied she is with her life right now. I know her too well to consider this point of her career as a point of arrival. She’ll definitely surprise us with new art works soon. For now, however, I feast my eyes on Kosiec’s large format, abstract paintings. What I can see in them is a manifesto of a fulfilled author.
Małgorzata Kosiec
Graduated with honors from the Academy of Fine Arts in Łódź in 2000. She was awarded a scholarship from the Ministry of Art and Culture and was a finalist of the ArtLink@Sotheby’s International Young Art program in 2002. She’s had exhibitions in New York, Tel-Aviv, Amsterdam, Denver, Gothenburg, Malmö, Stockholm, London, and numerous shows in Poland. Kosiec is represented by leading Swedish galleries: in Gothenburg, Malmö, and Stockholm. Her works are in prestigious collections in Poland (including the Zwierciadło Foundation) and abroad: in the USA, Sweden, Netherlands (her pieces are in the collection of Charles Simonyi, one of the first Microsoft execs and the first space tourist).
Kosiec’s pieces have been recognized for the unique portrait technique, as well as combining modern visual effects with the heritage of the Old Masters. Her work develops in two directions at the same time: the so-called typographic portraits, where the representation is constructed from layers of letters, words, and symbols, and the other direction – large format abstractions. What makes these two methods intersect are multilayered structure, the search for depth and the atmosphere of mystery.

Sebastian Madejski -Fragmentary Reverb-Tunes

- that is, the masquerade of sounds performed by one human voice. Vocal parts recorded on the spot then looped on a sequencer, melodies from Orthodox Church, operas, Africa, melodies whispered, cried out, sometimes completely abstract, in different tones, unknown languages, beatboxed….

For the last twenty five years, Sebastian Madejski has been the lead singer of the acclaimed progressive rock group Beltaine Improved. A vocalist of remarkable vocal range and multi-instrumentalist, during his career he has collaborated with Władysław Komendarek, Wojciech Konikiewicz, and Maciej Cierliński. Currently, he’s involved in a few music projects: Tańce Snu (co-founded with India Czajkowska), folk-gothic Loopus Duo (with Robert Jaworski), and progressive rock duet Dama Kruk(with Liz Katrin).


Painting + Performance – Izabela Chamczyk

We cordially invite you to join us and the artist Izabela Chamczyk to celebrate the opening of her solo show Poisonings. The exhibition is hosted by the andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.
The curator of the exhibition Małgorzata Garapich

19.03.2015
Vernisage from 7pm

Performance from 8pm

Poison is a substance which, when it is absorbed by a living organism in a sufficient dose, causes a number of changes in the way it functions – irreversible injury that puts its life in danger and can lead to death. Therefore, ‘poisoning’ is an entire group of symptoms observable in a body exposed to a harmful substance. We can watch such a process on Izabela Chamczyk’s paintings in extreme close-up. Her works resemble film frames cut and examined in a microscope where we can watch painting’s tissue exposed to poison. Swellings, rash and eruptions, rough and flaking surfaces are not a shock in such a context. Chamczyk’s paintings look like the painting tissue was cut into pieces which were used as biological preparations subject to grueling experiments in the lab of a ruthless researcher.

The practice is nothing new for the artist. During one of the exhibitions in the Twelve-month War (2013) project, realized at the Centre of Contemporary Art ZNAKI CZASU in Toruń, Poland, Chamczyk created a spectacular series
The Annihilation. The paintings, locked in Plexiglas boxes, were methodically flooded with paint, only to be abandoned at the mercy of time and putrefaction. The works that have been created arise in the space between unfinished process of creation and physical annihilation of the painting as the object. They’re on display at the artist’s studio; a view not for the faint of heart.

Izabela Chamczyk’s work carries a strong emotional charge and the traces of direct use of this charge. It is one of the facets of ruthlessly sincere and spontaneous attitude towards the viewer and herself. That’s why, even when she declares that from now on she does nothing more than to simply paint, in Chamczyk’s case it means moving around extremes. Hence poisoning. Hence transgressing the physical durability of the canvas. Lucio Fontana harmed and pierced the surface of his paintings; Chamczyk puts salt into these wounds, pours streams of thick paint in glaring colors on them. A strong erotically charged energy shows through the surface of the pieces. It is unrestrained, toxic, destructive; all the more impressive is the artist’s skill and maturity that allow her to keep the balance. Her various violations (from the emotional, through carnal, to institutional ones) are the consequence of a strategy. It stems from the belief that, since the strongest impulse that goads her into work is intuition, the ability to trust it is a matter of preserving inner coherence and simple honesty. The honesty that not only the artist herself, but above all the viewer deserves. / Małgorzata Garapich

Izabela Chamczyk (b. 1980) graduated in Painting from the Academy of Fine Arts in Wrocław, Poland. A painter – performance artist – rebel, she creates processual art. Working in many media she constantly redefines their boundaries; emotions are essential element of her idea of art. One of such projects was the Twelve-month War, realized in 2013. The action explored the issues connected with the place of the artist on the art market and in the circles of cultural institutions, as well as those that searching for space, recognition for her own art, and uncompromising confrontation with the viewer entails.
Chamczyk was twice awarded scholarships of the Minister of Culture and National Heritage. She is also a finalist of some of the most prestigious competitions in Poland, including the 10th Geppert Competition in Wroclaw, 6th Triennial of Young Artists in Orońsko, and a Vordemberge – Gildewart competition in MOCAK. She has had numerous solo exhibitions and participated in dozens of group shows, including in the SCC Gallery in Isfahan, Iran, the Entropia Gallery in Wrocław, Poland, the GSW in Opole, the BWA in Zielona Góra, the Centre for Contemporary Art in Toruń, the Festival in Sokołowsko, the ERARTA in Sankt Petersburg. Her works are in many private and public collections in Poland and abroad.

www.izabelachamczyk.com


The Hybridity of the Subject

We cordially invite you to the andel’s Hotel Lodz for the opening of the show The Hybridity of the Subject. The exhibition is the effect of a collaboration between four artists: Jacek Kołodziejski, Jan Mioduszewski, Agata Uchman, and Ola Winiarska.

+ concert: Smutne kobiety (Electronic /action /folk noise) at 8 pm

 

The Hybridity of the Subject is a multi-faceted event, situated at the meeting point of various disciplines: fashion, photography, fashion design, painting, and installation.

The exhibition was organized by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG in collaboration with the Lokal 30 Gallery, as a part of the series ANDEL’S PRESENTS.

Celebrate the opening of the exhibition with us on Friday, February 6th at 7:00 pm

At the interface

The boundary between commercial and art photography was blurred many years ago. At the moment such a boundary doesn’t exist at all. There’s nothing that could still determine employing such simple labels. The least justified excuse is the purpose for which the images were created. Fashion photography, as well as the whole fashion industry, is one of the most creative fields of visual expression. The creators who use it in their work transcend in various ways the normal boundaries of displaying clothing. They penetrate the world of art, theater, and performance.
The fact that the series of photographs Hybridity of the Subject was created for the Label magazine, testifies to the publisher’s openness to unusual fashion and design projects. This project is a compilation of exceptional artistic personalities. Photographer Jacek Kołodziejski creates original fashion sessions, while his own projects surprise the viewer with unfettered creativity and openness to the unexpected external stimuli. Under the cover of such madness lies workshop virtuosity which allows the artist to achieve precisely the effect he desired. Kołodziejski knows how to infect others with his ideas, so he often arranges projects that require the involvement of a large group of people – stylists and designers in particular.

Jan Mioduszewski ‘patented’ the Furniture Factory many years ago. He specializes in seducing the viewer with the subject of his works. Mioduszewski creates paintings, drawings, and objects which become a graceful deception to the eye. The artist is interested in a piece of furniture as such, which means that more often than not it is an ordinary thing. He likes to employ the classics from the 60s, sometimes the icons of design. He resembles Kołodziejski in many ways, especially in his strive for perfection. In the crazy 3D world he translates everything to flat forms, however it is not visible at first glance. His compositions make us smile when we finally approach the object, seeing how much we’ve been fooled. This game hides a serious message, however. Unbridled consumption and constant desire to possess new things, which clutter up our environment, is often just a dummy to fill up the void where the intimacy with another person should be. Excessive clinging to stuff becomes a millstone around our necks. On the other hand, the current, mobility-forcing job market encourages us to construct our living space out of nomadic objects, to put them anywhere. Hardly ever does this ‘anywhere’ mean home.
Poland is the largest furniture manufacturer in Europe, especially the furniture made of wood. Tree resources are under ongoing predatory exploitation – to be turned into shelves and sofas. Although wood comes directly from the tree, ideologically it stands in opposition to it. It is the interface between nature and culture; what is original and what has been processed by man for his benefit, prosperity and comfort. The Furniture Factory by Jan Mioduszewski is an excuse for discussion on this topic as well.

The same issue attracted two fashion designers – Ola Winiarska and Agata Uchman. Their concept is expressed not in form – because the work is dominated by simple jackets and dresses – but in patterns. Wood and forest pattern cross each other in subsequent scenes of the same collection. We are given a choice between what is black & white – already devoid of life, and what’s scenic and flourishing, natural and fresh. A trendy and fashionable topic, for ecology hasn’t gone out of fashion for a few years now. In this case, the effect is interesting, and the best option from the aesthetic point of view is not clear. This makes a good representation of our modern entanglement between what we want and what we know we should want.

Many interpretations could be written about The Hybridity of the Subject. But what’s really important are the photographs themselves: beautifully arranged, not so obvious in their composition, intriguing the viewer with the faces of models and the full interaction between them. The crazy game of textures, tree rings, wooden patterns displayed on them provokes thoughts about the obvious thing – that the simplest ideas are the most interesting ones. Sometimes all it takes is skillful illumination.

Agnieszka Gniotek

The show The Hybridity of the Subject consists of a photographic series supplemented with the examples of Jan Mioduszewski’s pieces and clothes from Agata Uchman & Ola Winiarska’s collection.
The exhibition of the ANDEL’S PRESENTS series will be held on February 6 – March 7, 2015. Previously it was displayed at the Museum of Modern Art in Warsaw, in the EMESEN café’s space.

 

Jan Mioduszewski – painter, performer, installation artist. Since 2002 he’s worked under the pseudonym Furniture Factory. From 1994-1996 he studied at the Academy of Fine Arts in Łódź (PWSSP), then, from 1996-1999 at the Academy of Fine Arts in Warsaw. There, he earned a degree in Painting at Professor Z. Gostomski’s studio. Mioduszewski explores, among other things, the problem of illusion, mimesis, and self-reflexive contemplation of the medium of painting; he creates “furniture paintings.” He works at the Faculty of Fine Arts in Warsaw, in the Department of Visual Actions and Structures, under Professor Jacek Dyrzyński. Associated with the lokal_30 gallery in Warsaw (lokal30.pl).

Jacek Kołodziejski – photographer, filmmaker, installation artist. He graduated from the Academy of Fine Arts in Poznań, the Department of Multimedia Communication. Apart from this, he also studied Film and Photography at the Higher School of Art and Design (WSSiP) in Łódź. He’s represented by the SHOOTME Agency.
Kołodziejski’s work has been shown at international exhibitions, such as the International Festival of Photography in Arles, Tec-Tece Exhibition in Arles, and the Month of Photography in Bratislava.

 

Agata Uchman/Ola Winiarska – fashion, costume, and stage designers, they work both for theatre and film as well. They create on the point of collision of art and design. The idea of their fashion project NUMER, with its numbered designs, is rooted in conceptual art. The NUMBER eagerly interacts with other artists. In 2014, the NUMBER was officially invited to show their debut collection at Berlin Fashion Week. In October 2014 the LABEL magazine rated the NUMBER among the top 50 most promising young designers in Poland. 

 

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Natalia Bazowska – Comfort zone

We cordially invite you to join us and the artist, Natalia Bazowska, to celebrate the opening of her solo show. The exhibition is hosted by the andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.
The exhibition has been organized in partnership with the m² Gallery in Warsaw.

Opening reception on Thursday, November 20 th, 2014 from 7pm
SVANTETIC –concert from 8 pm

Comfort zone
Comfort zone is a space that makes us feel comfortable and safe. Staying inside it frees us from anxiety and risk. Going outside allows change, a beginning, a new chapter. It is essential for establishing an intimate relationship.
“The works shown at the Comfort Zone exhibition focus on a very close contact and crossing borders at the time when it’s being established,” Natalia Bażowska explains. “We need to overcome our resistance, to be able to give something of ourselves or to accept what’s given to us. In my work, apart from closeness between people, I explore intimacy between man and Nature. In each of these relationships all our senses (hearing, touch, taste, sight, smell) are utilized. The desire for such closeness is sometimes stronger than common sense and the instinct for self-preservation. We stop thinking and start to act driven by our internal needs. Sometimes we end up doing foolish things, but it can also have a purifying effect on us.”

Natalia BAŻOWSKA
Born in 1980. In 2005 she graduated from the Medical University of Silesia (SUM) and in 2012 the Academy of Fine Arts in Katowice, with distinction. In 2010 she obtained a PhD in Psychiatry at SUM for the dissertation Assessment of the visual transmission of emotions evoked in people suffering from depression.
Her work has been shown at several solo exhibitions, including at the Rondo Sztuki Gallery in Katowice (Pokój do rozmowy ze zwierzętami/A Room for Having a Conversation with Animals, 2011), the Kronika Gallery in Bytom (Rodzisko/The Birth Place, 2012), the Bunkier Sztuki Gallery of Contemporary Art in Cracow (Całe życie w stresie/The Whole Life under Stress, 2013), and the m2 Gallery in Warsaw (ID, 2014).
The artist has also participated in a number of group shows, including the Biennial of Young Art Rybie Oko 7/The Fish Eye 7 in 2013, the 41th Painting Biennial Bielska Jesień 2013, the 12th Art Review SURVIVAL 2014, and the 7th Triennial of Young Artists 2014 in Orońsko, Poland.

In 2011, while still a student at the Academy of Fine Arts in Katowice, she won The Hestia Art Journey and the Young Art Review Świeża Krew/Fresh Blood art contests. In 2013 she was entered for one of the most prestigious culture awards in Poland, the Polityka’s Passport.

Bażowska’s object of fascination is man, his psyche and physiology. At the same time observations of animal behavior in their natural environment combined with medical knowledge allow her the discovery of similarities between the human and animal world.

www.bazowska.com
www.m2.art.pl


Leszek Górski – Subversive landscapes

We cordially invite you to join us and the artist, Leszek Górski, to celebrate the opening of his solo show photo-sensitivity. The exhibition is hosted by the andel’s Hotel Kraków and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO.

Opening reception on Thursday, October 23th, 2014 from 7pm „Subversive landscapes”

„Leszek Gorski is fascinated by the world of technical and utilitarian human activities. He notices and appreciates its beauty: the colour, rhythm, repetitivness of forms, configuration of light and shadow. What he photographs and the way he does it is like a song glorifying the achievements of human genius and organisational artistry of the area that surrounds us” – that is how Wojciech Plewinski, senior of Polish photography, trained architect, sensitive to such aesthetics, writes about Gorski’s photography.

In the photographs it is possible to find traces of Bresson’s lightness, the bravery and pugnacity of Russian constructivists, and Rodchenko. Maybe even affinity with the Duesseldorf School’s struggle for the cleannes of frame and reductionism of means of expression. But there is one totally individual feature, hard to miss: these photographs put us in a good mood. They talk to us directly: look what wonderful things we have created, let’s enjoy them. It is a quite subversive message in our pessimistic and nervous times.

Formally speaking, it is typical documentary photography, always presenting some part of reality. However, Gorski shows us this image hoping it will make the viewers feel, remember, and will never leave them cold. He hopes his work will be recognised, even unconsciously, and enriched with a quality resulting from the author’s creative input. At least such hope guides him in his work.

Leszek Górski, born 1960 in Krosno, based in Cracow, graduated from the Cracow University of Technology. Has been taking pictures for 30 years. Mainly interested in architecture and people in urban enviroment. He looks at the world from a distance but with liking and interest. He wants everything he does to be a source of positive emotions. His pictures affirm the world of progres and civilisation. Gorski is a member of the Association of Polish Art Photographers.


ANDEL’S ART BOOK launch and the closing reception of Paweł Dunal’s exhibition Rust

We cordially invite you to the launch of ANDEL’S ART BOOK and the closing reception of Paweł Dunal’s exhibition Rust.
The exhibition is hosted by the andel’s Hotel Łódź, the m² Gallery, and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.

Sunday October 5th, 2014
5 PM closing reception of Paweł Dunal’s exhibition Rust
6 PM ANDEL’S ART BOOK launch
7 PM DJ live set by Jacek Sienkiewicz 

ANDEL’S ART BOOK is a guide to the extraordinary collection of contemporary art in a modern hotel located in the nineteenth-century factory buildings in Łódź. ANDEL’S ART BOOK includes profiles of twenty artists, the authors of almost two hundred works showcased in the andel’s Hotel interiors: from Dominik Lejman, through Maurycy Gomulicki, up to Zuzanna Lazarova; as well as Michał Przeździk’s photographs of the realizations taken in the interiors they’ve been on display, an interview with the founder, initiator and patron of the collection Alexander Jurkowitsch, an essay by art critic Martin Krasny which explores possible ways to interpret the meanings of the realizations presented in the book, the story of the hotel’s architectural design written by the mastermind behind it, architect Wojciech Popławski, and a foreword by the curator of the collection Lucyna Sosnowska.
The book itself, carefully designed by graphic designer Ania Nałęcka, is an original and elaborate masterpiece addressed to other collectors, contemporary art lovers, art historians, as well as anyone else interested in exploring visual culture in its most fascinating aspects.

The works currently on permanent exhibition were created by Filip Berendt, Małgorzata Borek, Buczkowska&Dzienis, Mikołaj Długosz, Grzegorz Drozd, Maurycy Gomulicki, Gregor Eldarb, Magda Hueckel, Maciej Kurak, Robert Kuśmirowski, Dominik Lejman, Joanna Małecka, Rafał Milach, Tomasz Partyka, Klaus Richter, Iwo Rutkiewicz, Ula Tarasiewicz, and Mariusz Waras (m-city).


Igor Przybylski Maximum speed / Höchstgeschwindigkeit

We cordially invite you to join us and the artist, Igor Przybylski, to celebrate the opening of his solo show.

The exhibition is hosted by the andel’s Hotel Berlin and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.

Opening reception on Tuesday, September 23th, 2014 from 6.30 pm Maximum speed / Höchstgeschwindigkeit

On September 2nd, 2006, the Taurus locomotive of the EuroSprinter family set a new world record for conventional electric locomotives. No. 1216-050 locomotive with a capacity of 6000 kW owned by Austrian Federal Railways ÖBB reached a top speed of 357 km/h near Ingolstadt.
10 locomotives of the series are currently used in Poland by PKP Intercity.
The Maximum speed / Höchstgeschwindigkeit exhibition is the result of an analysis of the record-breaking Taurus series’ design, as well as their predecessors, the DB 103 series, which in 1985 broke the world record on German rails, reaching the speed of 283 km/h.

Igor Przybylski
Born in 1974 in Warsaw. From 1997-2002 he studied Painting at the Academy of Fine Arts in Warsaw (graduation work at Professor Jarosław Modzelewski’s studio). Since 2004 the artist has worked at his alma mater as Professor Modzelewski’s assistant lecturer. In 2012 he received his Ph.D.
Przybylski’s work has been shown in over thirty solo exhibitions, including at Kordegarda Gallery (a division of the Zachęta National Gallery of Art) in Warsaw, the Railway Museum in Warsaw, BWA Galleries of Contemporary Art in Zielona Góra and in Tarnów, the Arsenal Gallery in Białystok, the Österreichische Kulturforum (Austrian Cultural Forum) in Warsaw, the Polish Institute and the Space Gallery in Bratislava. He’s also participated in several group exhibitions (including the Centre for Contemporary Art Ujazdowski Castle in Warsaw, the Królikarnia palace in Warsaw, the Museum of Upper-Silesia in Bytom, and the Crazycurators Biennial in Bratislava).
The publications where Przybylski is mentioned include The new phenomena in Polish art after 2000, 77 works of art with a history, Textiles – the encore. The dictionary of young Polish culture, A collection of contemporary Polish art at the Museum of Upper Silesia in Bytom, and A guide to art galleries. The art of investing in Art, Vol. 3. The author Maciej Malicki mentioned Przybylski’s work in his Book Takie Tam.
The artist has been represented by the m2 [m kwadrat] Gallery in Warsaw since January 2007.

www.m2.art.pl
www.facebook.com/przybylskiigor


PAWEŁ DUNAL – RUST

We cordially invite you to join us and the artist, Paweł Dunal -Rust, to celebrate the opening of his solo show. The exhibition is hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.

The paintings shown at this exhibition develop the motifs that are ever-present in my art. Some of the pieces, like Zakupowicze/The shoppers strive to restrict the means of expression – contrary to organicity and accumulation of detail in my earlier works. But the detail and organic quality do not vanish completely; they only re-appear in other paintings, including in the Rdza/Rust series and the latest ones – with their burned, cut, or torn out holes, the damage that tiny skeletons armed with miniature brushes are trying to prevent. These pieces are the Obrazy specjalnej troski/The paintings with special needs, as they’ve already been destructed, the process of decay has already begun – the only thing you must do now is stop the process, prolong their existence, up to the inevitable end that always happens. This series was created through destroying old paintings, peeling paint off them, burning holes, and inserting tiny human figures. These paintings are old, destroyed by time, the elements, accidents, and various other factors; a bit like old buildings under restoration, a bit like the city of Łódź herself, a bit like the andel’s Hotel, a bit like everything. . . .
Paweł Dunal

Paweł Dunal born in 1978. He graduated with honors from the Academy of Fine Arts in Warsaw (Professor Jarosław Modzelewski’s studio) in 2008, then took a diploma supplement at the Studio of Painting Technologies and Techniques.
In 2009 Dunal was a finalist in the 9th Eugeniusz Geppert Competition in Wrocław, Poland, and then in 2013 in the 41st Painting Biennale „Bielska Jesień 2013.”
The publications where Dunal is mentioned include books by Piotr Bazylko and Krzysztof Masiewicz: The Collector’s Notebook, A Guide to Collecting Contemporary Art and 77 Works of Art with a History, as well as A Guide to Art Galleries. The Art of Investing in Art, Vol. 3 by Kama Zboralska.
The artist is represented by the m2 [m kwadrat] Gallery in Warsaw.

www.m2.art.pl


Photo – Sensitivity Dobrawa Borkała

We cordially invite you to join us and the artist, Dobrawa Borkała, to celebrate the opening of her solo show photo-sensitivity. The exhibition is hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.

Opening reception on Friday, August 22th, 2014 from 7pm

Sensitivity to light is a source of visual perception. When it comes to human perception, the process ends with an image constructed by the nervous system. Dobrawa asks how the human cognitive apparatus shapes our reality. She trains her mindfulness.

The photo-sensitivity series is an attempt to explore the multi-dimensionality and the continuum of brightness and darkness. The desire to both extract multiple meanings and question them at the same time. Hence the collage work which uses the elements that are already there – arranging them in a simultaneous, non-linear way through lighting.

Dobrawa Borkała born in 1990 in New York, she spent her childhood in Poland. In 2013 the artist graduated in Clinical Psychology from the University of Social Sciences and Humanities (SWPS) in Warsaw. Simultaneously, she studied in École nationale supérieure des Beaux-Arts in Paris, where she is currently working on her dissertation on plant perception.

Borkała creates primarily drawings that serve as notes used to systematize, confront, and accept certain phenomena, short videos which the artist calls ‘moving drawings,’ as well as assemblages where natural forms are combined with trash.

She also realizes artistic actions and runs workshops in a women’s prison in Olszynka Grochowska, Poland, where she works with the detainees on many art projects, including comic book Luna and prisoners’ magazine Grid.

Borkała’s debut exhibition I would like you all to love me was shown in November 2013 in the gallery m2 [m kwadrat] in Warsaw. At the beginning of 2014 the artist showed a solo exhibition in the L’inlassable Galerie Paris which she has collaborated with for the last few years. She has also participated in several group exhibitions, including Drawing Biennial in the Cité internationale des Arts in Paris.

http://dobrawab.blogspot.com/

http://www.m2.art.pl/


Buczkowska&Dzienis – Hybrid Figures

Opening reception on 07.06.2014 from 4.30 pm

We cordially invite you to join us and the artists, Dorota Buczkowska and Przemek Dzienis, to celebrate the opening of his solo show hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO.

Exhibition is a part of the 13th International Festival of Photography In Lodz

The exhibition will be running through June 07.06.2014 -29.06.2014, at the andel’s Hotel Łódź.

Hybrid Figures is a series of works by artist duo Buczkowska & Dzienis. Realized since 2010, the project combines Dorota Buczkowska’s sculptural pieces with portrait photography typical of Przemek Dzienis.

The fabric which “dresses” photographed models is made of abstract works by Dorota Buczkowska. Created from unconventional and of ten non-sculpture materials (clothes, plastic pipes), the shaped forms become extension of human bodies, turning them into hybrid figures.

BUCZKOWSKA & DZIENIS
Dorota Buczkowska (b. 1971) and Przemek Dzienis (b. 1984) have collaborated since 2010. The artists have realized four photography projects until now: Hybrid Figures, Apnea and Personas (2011), and If The Person Breathes Too Little, There Is a Danger (2012).

Dorota Buczkowska graduated from the Faculty of Sculpture at the Academy of Fine Arts in Warsaw and Villa Arson in Nice. She expresses herself in a wide range of media, including sculpture, drawing, painting, photography, installations, graphic arts and videos. She’s fascinated by the perception of corporeality, physiology, and biology of the body, visualizing it with metaphorical media. 

Przemek Dzienis graduated from the Faculty of Photography at the Leon Schiller National Higher School of Film, Television and Theatre in Łódź. His primary means is portrait and relations between the person, objects and space that surround her. The artist has also experimented with the phenomenon of multiplied composition. 

Their joint projects are the effect of placing Dorota Buczkowska’s sculptures, which the artist created from unusual materials, in contexts typical of Przemek Dzienis’ photography. The process leads to discovering new meanings for both. Buczkowska & Dzienis’ pieces have been exhibited around the world, including at Paris Photo (2010), Fotogalerie Vienna (2012), and Lookout Gallery Warsaw (2013). 


Gregor Eldarb & Klaus Richter – Unknown Guests

We cordially invite you to join us and the artists: Gregor Eldarb and Klaus Richter, to celebrate the wernisage hosted by the andel’s Hotel Łódź, as a part of the project ANDEL’S PRESENTS.
+ Smutne kobiety (Electronic/action/folk noise) concert 20.15

Unknown Guests
The spatial installation designed for the andel’s Hotel Lodz acts as a display and a painting at the same time. Selected, then collaged images (found over the Internet, among other sources) appear on both sides, while the juxtaposition of fragments of free space on the display matrix results in accumulation of images, colors, and the word “duchy” (‘ghosts’). A reference to a “haunted house” is a rational and at the same time playful reflection on the presence of history in the former fabric factory. Among images used to create the installation are photographs by Harvey Metcalfe, an eyewitness to a series of séances which took place in 1928 at the house of Helena Duncan. A famous fortune-teller and a medium, her sittings were frequented by such personas as King George VI and Winston Churchill himself. A series of videos recorded at the factory with Klaus Richter refers to those incredible photographs of ghosts, or ‘ectoplasms,’ which were already in 1930s proved a fraud. In addition to the video performances, the collage is also composed of paintings.

I use various forms of expression, including painting, art books, and spatial installation. Interdisciplinary methods are important in my creative process. That is, I employ the means and approach associated with other fields (e. g. architecture, literature, theory of space), which are expressed in the form of models, charts, and also in blueprint aesthetics, typical of my work.(Gregor Eldarb)

Gregor Eldarb

Born in 1971 in Bielsko Biała (PL), grew up in Stockholm (SWE, now based in Vienna AU. From 1992-1997 studied at the Academy of Fine Arts in Vienna under Professor Wolfgang Hollegha. His graduation thesis won the Appreciation Award of the Federal Chancellery of Austria. Winner of numerous scholarships, including the National Fine Arts Scholarship(2004), Fellowship of The International Studio &Curatorial Program in New York (2007), Scholarship Höherweg 271 Studio in Düsseldorf (2009). His works are in the collection of the Federal Ministry for Education, Arts and Culture (BMUKK) in Vienna,in the Art Collection ofthe City of Viennaand Graphic Collection of the Academy of Fine Arts Vienna.
In 2011, the artist founded the LWZprojekte design space in Vienna.

Residencies:
2009 Artist in Residence program at Hotel Pupik, Sankt Lorenzen bei Scheifling, AT
2008 Miners on Horses, Albertovec, CZ
2003 Artist in Residence – Sculpture program, Koppenleiten, DE
2001 ORTung, Wagrein Salzburg

Solo exhibitions:

2012 Eyeless Swans, Ortner 2 Gallery, Vienna
2010 Eight or Nine, Sokolska 26 Gallery, Ostrava, CZ
2009 Abitacolo, Höherweg 271 Studio, Düsseldorf
2009 Shifting Ground, Duflon/Racz Gallery, Bern, CH
2008 hot air – cold air, Lenikus Collection Studio, Vienna
2008 completely incomplete, Künstlerverein Malkasten (Malkasten Artist’s Association Gallery), Düsseldorf
2007 Map Making Exercises, Bern House of Arts / G 99 Gallery, Brno, CZ
2006 Dark Fond, Eboran Gallery, Salzburg
2006 Double, Transporter Club, Vienna

Group exhibitions:

2013 The Unity of Contradictions / Painting for Example, 311 Artworks, Istanbul
2013 Dis Play Praterstern / How We Want to Live, public space installation, Fluc Club, Vienna
2012 Collection #2, 21er Haus Museum, Vienna
2012 Space Affairs, MUSA Museum auf Abruf, Vienna
2011 Monday is the Day after Tomorrow, Academy of Fine Arts, Vienna
2011 Satellites of Painting, Suterana Studio, Vienna
2010 Record, together with Johannes Lurf ,LWZprojekte Alternative Space, Vienna
2010 from erewhon to here knows when, Schattendorf Art Society, AU
2010 100 years house of arts brno, House of Arts Brno, CZ
2010 Miscellaena, In-passing 12, together with Luisa Kasalicky, Künstlerhauspassage Gallery, Vienna
2009 Mandragora, Kunstraum am Schauplatz, Vienna
2009 How to Be a Player, together with Martina Steckholzer, Stadtpark Krems Gallery, AT
2007 As bring collective/scorpio, in passing 1, Künstlerhauspassage Gallery, Vienna
2007 Singular, Luxe Gallery, New York
2007 ny ny ny, Fluxe Factory Gallery, New York
2007 Open Studios, I.S.C.P. Gallery, New York
2006 tension sex; despair, Kunsthalle Exnergasse Gallery, Vienna
2006 THE AUSTRIAN ABSTRACTS, Arti et Amicitiae Art Society, Amsterdam
2005 Architecture Week, Sputnik, Vienna
2005 genuine happiness, Kunstbüro Gallery, Vienna
2005 post modelismus, Krinzinger Projecte, Vienna/Kunsthall Bergen
2005 Re: MODERN, Künstlerhaus Vienna
2004 Collectionwise, 5020 Gallery, Salzburg
2003 Untimely Patterns, Medienturm Art Society, Graz, AT
2002 New Perspectives, Danube University Krems, AT
2002 artLab Collection Siemens, Modern Art Documentation Center, St. Pölten, AT
2002 ORTung 2001, 5020 Gallery, Salzburg

Assistant at the International Summer Academy of Fine Arts in Salzburg:

2008/2006/2004 Irina Nakhova (RU), Painting/Illustration
2007 RivkaRinn (IT), Photography/Painting
2005 Isabella Gustowska (PL), Graphic Design
2003 Watt Ouattara (US), Painting
2001 Ernst Caramelle (DE), Drawing
1998 Günter Damisch (AT), Painting

www.gregoreldarb.com/

Klaus Richter

Born in 1955 in Hof/Saale in the German state of Bavaria. From 1975 – 1983 studied at the Art Academy in Düsseldorf under Professor Alfonso Hüppi. Since 2010 the artist has been a curator at the Kulturforum Alte Post / Städtische Galerie in Neuss, Germany.

Selected solo exhibitions:

1984 Museum KunstPalast, Düsseldorf (K)
1988 Hans Mayer Gallery, Düsseldorf
1989 Kunstraum Hengesbach Gallery, Wuppertal
1989/1991 Ricky Renier Gallery, Chicago
1990 Kulturforum Alte Post / Städtische Galerie, Neuss (K)
1991 College of DuPagein Glen Ellyn, Illinois (K)
2004 Kulturforum Alte Post / Städtische Galerie, Neuss
2005 Künstlerverein Malkasten (Malkasten Artist’s Association Gallery), Düsseldorf
2008 Contemporary Art Gallery “K-Māksla?”,Karosta, LV (K)
2009 GUM Galerie Gabriele Undine Meyer, Bielefeld

Selected group exhibitions:

1981 Bildwechsel – Neue Malerei in Deutschland (‘Bildwechsel – New painting in Germany’), Berlin (K)
1981 Treibhaus (‘Greenhouse’), Museum Kunstpalast, Düsseldorf (K)
1985 Zeichner in Düsseldorf (‘Painters in Düsseldorf‘) (K)
1985 Bauhütte (‚Construction Site Hut‘), Kunsthalle Gallery, Düsseldorf (K)
1985 Groteske (‚Grotesque‘), Städtische Galerie, Regensburg (K)
1995-2006 Große Düsseldorfer (‚Great Citizens of Düsseldorf‘)
2000 2356 km, New Manege State Exhibition Hall, Moscow (K)
2009 oqbo Gallery, Berlin
2011 das SEEWERK Gallery, Moers (K)
2012 The dimension of theatrality, Emil Filla Gallery in Ústínad Labem, CZ (K)
2014 Pferdohne Reiter (,Horse Without a Rider‘)Baden Museum, Solingen (K)

from 1986 Selected sculpture projects & public art interventions:

WestLB, Tokio • Schwedenkronenplatz, Frankfurt • Schwarz PHARMA, Monheim • Berner, Künzelsau • Commerzbank Bank, Königsstein und Frankfurt • ista, Essen • SMH Bank, Düsseldorf • Deutsche Treuhand, Düsseldorf • BTI, Ingelfingen • Deutsche Bank, Wuppertal • seepex, Bottrop • Boston Consulting, Düsseldorf • DG-Immobilien, Frankfurt • Neuland, Wolfsburg • Klinikum Kassel • HTP, Düsseldorf • StadtHaan • Selvaag Oslo (2nd stage of the competition) • Meerbusch • Kaarst

from 1984 Selected stage & costume design projects:

1986 The Life and Death of Doctor Faustus by W. Mountford, directed by Daniela Dörpinghaus
1990 S wie Sondheim (‚S for Sondheim‘) based on the musical by Steven Sondheim, idea and direction: Torsten Enge, Juta Düsseldorf
1990 Sonny-Boys by Neil Simon, directed by Peter Klaus Fischer, Theaterhaus Düsseldorf
1998 Die Missratenen (‚Losers‘), musical by Corman/Labs, directed by UliMokrusch, Globe-Theater Neuss
1999-2004 et cetera variety shows in Bochum, including Dracula, Titanic, Winter Night’s Dream, and Dr Frankenstein
2003 The Threepenny Opera by Bertold Brecht and Kurt Weill, directed by Susanna Maninger, Globe-Theater Neuss
2002 The Man Who Never Yet Saw a Woman’s Nakedness by Moritz Rinke, directed by Claudia Brasse, Theater am Schlachthof, Neuss
2002 Die Kopfrechnerin (‚The Mental-Calculator Girl‘), musical by Seidel/Corman/Maier-Bode, directed by Martin Maier-Bode, Globe Theater Neuss
2003-2006 Stunk (‚Trouble‘), Theater am Schlachthof, Neuss/Düsseldorf
2005 Hair by Galt MacDermot, directed by Sven Post Globe Tjeater Nuss
2005 The Cousin from Nowhere by Eduard Künneke, directed by Hans Ennen, Globe Theater Neuss
2012 Die drei Rätsel (‚The Three Riddles‘) by Detlev Glanert, directed by Hans Ennen, Globe Theater Neuss

from 2000 Selected performance art:

in Düsseldorf (Malkasten, Kunstpalast Museum), Bielefeld (GUM Gallery, Theaterlabor), Berlin (oqbo Gallery), Prague (Biennial), Ostrava (Malamut Festival), Warsaw, Liepāja, Riga (Culture and Arts Project NOASS), The Long Night of Museums in The Weserburg Modern Art Museum in Bremen;

with Reiner Scharlowsky:
Rheingold (‚The Gold of Rheine‘,2004), Das lebende Bild (‚The Living Picture‘, 2006), Experimente vor laufendem Publikum (‚The Experiments with the Recording Audience, 2007), Zeit Klaun (‚Time Clown‘, 2008), Die Schattenmänner–Sie wollen nurspielen! (‚The Secret Agents – They Only Want to Play!‘,2009), Wie ein falscher Hase die Kunst erklärt (‚How the Fake Hare Explains Art‘, 2010), Kein Papper lapapp (‚No Nonsense‘, 2011), Der mit dem Wolstanzt (‚Dancing with Wols‘, 2012), Schönheitsideale (‚The Ideals of Beauty‘, 2014)

Klaus Richter Bürgerstr. 26 40219 Düsseldorf
M 0172-6659795 richter-kunst@gmx.de


MMC Studio Design – Aldona Kaczmarczyk & Tomasz Malka

On the upcoming Saturday we have the pleasure to invite you for the opening of photo-collage by Aldona Kaczmarczyk & Tomasz Malka (MMC Studio Design) exhibition. The vernissage is promoted by andel’s Hotel Lodz and Warimpex company as a pa of the project ANDEL’S PHOTO.
Vernissage 10.05.2014 from 3.30 pm
Hotel andel’s Łódź ul Ogrodowa 17

MMC Studio Design is a Polish fashion brand founded by Ilona Majer and Rafał Michalak, graduates of the Academy of Fine Arts in Łódź. The designers have received many prestigious awards, including The Excellence in Fashion (Doskonałość MMC_130311-385b BIGMody) and The Designer of the Year by the Twój Styl magazine.
Founded seventeen years ago, the label releases two collections each year, presented both in Poland and abroad (Warsaw, Cracow, Łódź, New York City, Moscow, Madrid, Lisbon).
Praised for the finest fabrics, unique combinations, and original form, the label has established itself as the symbol of nonchalant, exclusive minimalism. MMC clothing is used in editorials for the best fashion magazines. Fashionistas, music, and movie stars alike love MMC. Their pieces have been seen on Anja Rubik, Zuzanna Bijoch,Joanna Horodyńska, Margaret, Aneta Kręglicka, Reni Jusis, Kinga Rusin, Marina Łuczenko, Anna Puślecka, Magdalena Cielecka, Magda Mołek, Małgosia Bela. The designers have also collaborated with Polish theaters and operas.

Aldona Kaczmarczyk
A Warsaw’s native. In the last twelve years, she’s established herself as one of the top beauty and fashion photographers in Poland. Her editorials are presented in numerous fashion magazines, including Twój Styl, Elle, Cosmopolitan, Gala, and Glamour. Among her clients are such brands as Gino Rossi, Ochnik, Reebok, Atlantic, Avon, Pantene, Kobo, Blend-A-Med, Astor, Max Factor, La Mania, Kate&Kate.

Tomasz Malka
Collage artist. Born in 1984, currently based in Warsaw.

www.vi-hotels.com/en/andels-lodz/


ZUZANA TOMKOVA (LAZAROVA) OUT FROM THE SHADOW – CRACOW

exhibition and poetry reading

Opening reception on Thursday, April 24th, 2014 from 7pm
Music Way concert from 8:00pm

We cordially invite you to join us and the artist, Zuzana Lazarova, to celebrate the opening of her solo show hosted by the andel’s Hotel Cracow and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO. In the course of the opening night, Radek Krzyżowski will read the poems written by the artist. The reading is followed by theMusic Way.

The exhibition will be running through 24.04.2014 to 15.05.2014, at the andel’s Hotel Cracow.

Photography, in common perception, is the art that creates a reflection of reality, the shadows of objects. But now it itself has90cmx90cm, DIBOND (7) become an object, an artifact created not only by the technological process, but also a truly magical act, capable of extracting a new reality from the shared one; a reality that is sometimes more and sometimes less analogic to the primal one. Photography freezes the flux of the surface of reality and, in rare cases, also the tissue hidden underneath: the hypersensitive structure full of forms and meanings that evade classical logic, but nevertheless are ready to be felt and intuited. Through her metamorphoses of fear, acute corporeality, and frenetic displays of the absent objects of desire, where erotic associations intertwine with botanical and zoological motives, the artist unveils what is usually hidden from us – the unsettling beauty of the universe, more often than not accessible only through art.

Zuzana Lazarova – young Czech photographer and poet. Born in 1986, the artist received degrees in Photography at the Institute of Visual Communication and Art, Prague, and History and Theory of Fine Arts at the Masaryk University in Brno. The artist is fascinated by the Czech avant-garde art movement of the middle-war period, a hectic time that witnessed founding of many literary and literary-artistic groups, the majority of which didn’t survive the Second World War. She is also a member of the Czech Surrealist Group. Zuzana Lazarova’s works have been exhibited at many art shows, including the International Surrealistic Art Exhibition JINÝ VZDUCH or FOTO EXPO 2013 in Prague. The poems of Zuzana Lazarova has been published in the anthology The best Czech Poems 2013. A myriad of the artist’s interests and fascinations, amplified by her skills, has resulted in creating art projects of considerable variety. Among others, Lazarova designed the animations and scenes for the last film by the director Jan Švankmajer Surviving Life (Czech: Přežít svůj život) and the layout and illustrations for HYBRIS, the magazine that provides in-depth critical coverage of Czech theatre scene. Zuzana Lazarova and Vaclav Švankmajer run a surrealist gallery Gambra, which focuses on contemporary surrealism and art brut. For the last four years, the artist has also collaborated with the magazines Analogon and A2.

http://www.zuzanalazarova.com/
www.facebook.com/ztlazar


THE IDEA AND THE MATERIAL

The exhibition presents the selected works of lecturers from the Faculty of Glass and Ceramics at the Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland.

Opening reception on 04.04.2014 from 6.30pm

We cordially invite you to join us celebrate the opening exhibition hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PRESENTS.

The exhibition will be running through February 04.04.2014 -22.04.2014, at the andel’s Hotel Łódź.

The exhibition presents the selected works of lecturers from the Faculty of Glass and Ceramics at the Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland.

The title refers to both the sculptural pieces themselves, where the determining factor are the characteristic features of the materials used – ceramics and glass, and the utilitarian, functional aspect associated with the design process. In both areas the essence of the obtained formal effect is the idea – the very source of all creative activities.

The show reveals the uniqueness of the Academy of Art and Design in Wrocław the source of which, among other things, is the fact that it’s the only college in Poland to run degree courses on Ceramics and Glass.

Curators: Maciej Kasperski, Stanisław Sobota
Artist:
Ceramics: Adam Abel / Jan Drzewiecki / Łukasz Karkoszka / Maciej Kasperski / Mirosław Kociński / Katarzyna Koczyńska-Kielan / Piotr Kołomański / Lidia Kupczyńska-Jankowiak / Przemysław Lasak / Karina Marusińska / Joanna Opalska-Brzecka / Gabriel Palowski / Grażyna Płocica / Michał Puszczyński / Krzysztof Rozpondek / Bożena Sacharczuk / Joanna Teper / Dawid Żynda
Glass: Agnieszka Bar / Dagmara Bielecka / Jerzy Chodurski / Małgorzata Dajewska / Antonina Joszczuk / Marzena Krzemińska-Baluch / Agnieszka Leśniak-Banasiak / Mariusz Łabiński Beata Mak-Sobota / Kazimierz Pawlak / Wojciech Peszko / Stanisław Sobota / Barbara Zworska-Raziuk

The exhibition will be running through 04.04.2014–22.04.2014, at the andel’s Hotel Łódź.


The Master and the Disciple. Waldemar Świerzy and Andrzej Pągowski

Opening reception on 21.03.2014 from 6pm

We kindly invite you to the hotel andel’s Łódź for exhibition of the posters by Waldemar Świerzy and Andrzej Pągowski. The exhibition is a part of XX Festival of Pleasant and Unpleasant Arts.
With the exhibition we are starting also a new series of art events: ANDELS PRESENT’S

The exhibition will be running through February 21.03.2014–02.04.2014, at the andel’s Hotel Łódź.

The graphic complement to the twelve past editions of the International Festival of Plays Pleasant and Unpleasant have beenPągowski 1994 art posters created by the best Polish designers. Among the artists are Waldemar Świerzy and Andrzej Pągowski, whose relationship, both on the personal and professional level, lasted for a few decades.
In the 1950s Świerzy (born 1931), who passed away last year, was one of the leading artists in the artistic phenomenon called the Polish School of Posters. For many years, he was also a professor at the Academies of Fine Arts in Poznań and in Warsaw. Pągowski (born 1953), his most widely acclaimed student, graduated in 1978.
Since the early 1950s, like nowhere else in the world, poster art appeared in massive quantities on city streets all over Poland. The thematic spectrum was remarkably wide, ranging from cultural (theatre, opera, film) to the socio-political issues. Since an early age, Andrzej Pągowski grew up among the masterpieces of this huge street art gallery. The artistic sensibility of the young man was shaped by the works of such acclaimed designers as jak Jan Lenica, Jan Młodożeniec, Henryk Tomaszewski, Roman Cieślewicz, Franciszek Starowieyski, Wiktor Górka, Waldemar Świerzy. Faced with the choice of his major, Pągowski could have decided to become a painter or a sculptor. But the chance of being a student of Waldemar Świerzy, then in his best artistic shape, determined the choice. He decided to pursue a career in applied art instead, graphic design.
The studies made it possible for the artist’s talent to reveal itself: the ability to design a poster regardless of the subject he was given, the enthusiasm and a peculiar instinct of the street – the place where his prints were exhibited. Like his professor, Pągowski worked a lot and with commitment, quickly becoming extremely popular. The artist has always followed his own, ever evolving path, but there’s no doubt that the expressiveness of his posters, a passion for color, variable typography and seeking the ideas for the graphic depiction of a given subject are those features of his art which are intertwined with the message of his teacher.
Świerzy 1985_2During all these years, the artists stayed good friends. Pągowski, who felt at home in the advertising market of the early 90s, repeatedly collaborated with his professor. As art director of the Polish edition of Playboy, he introduced to this magazine the illustrations of Polish graphic designers, including Świerzy’s. During the last years of his life, Świerzy worked on the new pictorial guide to the kings and queens of Poland. The project arose from the idea that Pągowski introduced. It’s without doubt that the guide, after its public premiere at the Royal Castle in the autumn of 2014, will become an important element of Polish national heritage. I think that the inspiration which came from Pągowski stemmed from the conviction about the outstanding talent of his Master.
Both artists may be deemed world record holders in terms of the number of posters they’ve created. Świerzy’s oeuvre consists of one thousand of works, while Pągowski has already gone past this number. In addition to posters they have created a large number of illustrations, album and books covers, postage stamps, and other forms of graphic design. The exhibition at the andel’s Hotel presents a small, symbolic selection of works by both artists, but even so intimate a presentation will allow viewers to appreciate the work of the Master and the Disciple. The show is accompanied by the exhibition of all the festival posters designed since 2003.

Piotr Dąbrowski


ZUZANA TOMKOVA (LAZAROVA) OUT FROM THE SHADOW

exhibition and poetry reading

Opening reception on Friday, February 28th, 2014 from 7pm
Little White Lies concert from 8:30pm

We cordially invite you to join us and the artist, Zuzana Lazarova, to celebrate the opening of her solo show hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO.
In the course of the opening night, Przemysław Bluszcz will read the poems written by the artist. The reading is followed by the Little White Lies concert.

The exhibition will be running through February 28th to March 12th, at the andel’s Hotel Łódź.

Photography, in common perception, is the art that creates a reflection of reality, the shadows of objects. But now it itself has90cmx90cm, DIBOND (7) become an object, an artifact created not only by the technological process, but also a truly magical act, capable of extracting a new reality from the shared one; a reality that is sometimes more and sometimes less analogic to the primal one. Photography freezes the flux of the surface of reality and, in rare cases, also the tissue hidden underneath: the hypersensitive structure full of forms and meanings that evade classical logic, but nevertheless are ready to be felt and intuited. Through her metamorphoses of fear, acute corporeality, and frenetic displays of the absent objects of desire, where erotic associations intertwine with botanical and zoological motives, the artist unveils what is usually hidden from us – the unsettling beauty of the universe, more often than not accessible only through art.

Zuzana Tomkova (Lazarova) – young Czech photographer and poet. Born in 1986, the artist received degrees in Photography at the Institute of Visual Communication and Art, Prague, and History and Theory of Fine Arts at the Masaryk University in Brno. She’s currently studying Sociology of History at the Charles University in Prague.
The artist is fascinated by the Czech avant-garde art movement of the middle-war period, a hectic time that witnessed founding of many literary and literary-artistic groups, the majority of which didn’t survive the Second World War.
Zuzana Lazarova’s works have been exhibited at many art shows, including the International Surrealistic Art Exhibition JINÝ VZDUCH or the exhibition at the Kávovarna Gallery in Prague. A myriad of the artist’s interests and fascinations, amplified by her skills, has resulted in creating art projects of considerable variety. Among others, Lazarova designed the animations and scenes for the last film by the director Jan Švankmajer Surviving Life (Czech: Přežít svůj život) and the layout and illustrations for HYBRIS, the magazine that provides in-depth critical coverage of Czech theatre scene. For the last four years, the artist has also collaborated with the magazines Analogon and A2.
http://www.zuzanalazarova.com

Little White Lies is one of the most interesting bands on the Polish alternative music scene. Even before releasing their first album, they had performed at the Heineken Open’er Festival. Their debut album, Devils in Disguise, was released in 2012 by fyh!records. It has won the hearts of both fans and critics all over the country. The great acclaim won Little White Lies the first big award – the Best Album of the Year from the Co Jest Grane Łódź magazine. Encouraged by all the enthusiasm it created, the band released In Word and Deed EP, in mp3 and also a collectors’ edition on a white audio cassette. Around that time, the band played live for Piotr Stelmach’s show OFFensywa on Polish Radio 3 and was featured in the OtwARTa Scena project hosted by Radio Łódź. In the beginning of 2014, the artists received the Band of the Year 2013 award in the Plastry Kultury poll.
Little White Lies was founded by Katee Bartczak and Zbyszek Krenc. Just recently, percussionist Piotr Gwadera joined the band. Together, the artists form a high-explosive bomb full of music eroticism and tension. This blockbuster goes off during their full of unique atmosphere live concerts.


Filip Berendt EVERY SINGLE CRASH

Filip Berendt EVERY SINGLE CRASH
Opening reception on 17.01.2014 from 7pm

We cordially invite you to join us and the artist, Filip Berendt, to celebrate the opening of his solo show hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO.

The exhibition will be running through February 17.01.2014 -14.02.2014, at the andel’s Hotel Łódź.

Filip Berendt studied at the Department of Graphic Art in the Academy of Fine Arts in Łódź, at the Department of Photography Berendt8in the Academy of Fine Arts in Gdańsk, and the Royal Academy of Arts in London, where he received a postgraduate diploma in Sculpture Berendt is one of the most intriguing photographers of his generation. Exploring the purely formal and sensual qualities of this medium, striving to convey the physicality of photographed objects through interaction, performance and sculptural installations he aims to reach beyond its documentary character. In his actions the artist uses both sculpture and photography, often combining these techniques. The unique process of creation itself is also a very important aspect of his work.

The current exhibition is the result of the artist’s residency in Taipei Artist’s Village at the turn of 2012 and 2013. His three-month stay was, according to the artist, the time of intensive work in only apparently comfortable conditions. It turned out that his residency coincided with the rainy season, which meant that he had to work indoors in isolation. The artist, however, did not go to Asia to bring a series of exotic landscapes back, so basically everything worked out the way he wanted… Inspired by the tradition of the seventeenth-century Dutch still lifes, Berendt carefully arranged and illuminated the objects he’d created mainly of paper and foil, then took pictures of them. The images served him as the basis for the subsequent layers of visual journey. Accumulation and intensification of forms and structures, visual and materialistic richness intrigues the observer by ambiguous sensuality. Berendt points out the diversity of objects,combines them together and braves the risk of unexpected
crashes: EVERY SINGLE CRASH.


Rafał Milach “In the car with R”

Rafał Milach “In the car with R”

Opening reception on 30.08.2013 from 7pm

We cordially invite you to join us and the artist, Rafał Milach, to celebrate the opening of his solo show hosted by the andel’s Hotel Łódź and Warimpex Finanz- und Beteiligungs AG, as a part of the project ANDEL’S PHOTO.

The exhibition will be running through February 30.08.2013 -22.09.2013, at the andel’s Hotel Łódź.

Photographer and bookmaker based in Warsaw, Poland. He graduated from Academy of Fine Arts in Katowice, Poland and on the road_35_011cInstitute for Creative Photography in Opava, Czech Republic where he lectures. For more than 10 years he has been working on transition issues in Russian speaking countries and CEE region. This work resulted with the monographs “7 Rooms” (Kehrer 2011) and “Black Sea of Concrete” (self-published 2013). In 2012 Czytelnia Sztuki Gallery published the book “In the Car with R” the record of Rafal’s travel with writer Huldar Breidfjord around Iceland. Rafal’s work has been exhibited in C/O Berlin, Zacheta National Gallery of Art and MoCA Shanghai. In 2007 Rafal took part in World Press Photo Joop Swart Masterclass. Within next few years he received grants from Magnum Foundation, Polish Ministry of Culture and European Cultural Foundation. His pictures and books have been awarded with World Press Photo, Pictures of the Year International, Magnum Expression Awards, Photography Book Now and New York Photo Festival awards. Works in collections of Kiyosato Museum of Photographic Arts in Japan, Gliwice Museum and C/O Berlin.

In the car with R
“To do the Ring” is an Icelandic expression that generally refers to travels on Route 1, the highway that encircles the country. To travel this road is something that most Icelanders do at some point in their lives and some even prefer to do it every summer. The reasons for going are of course different but many people probably set out with the idea that on the way they’ll learn more about their fellow Icelanders and native beliefs; that they’ll see more of their country. However, traveling on the Ring Road is a risky business. On the way you might learn something about yourself or your family, regardless of whether they live close to the highway or share the car with you. A lot of journeys on the Ring Road have ended in divorce but as a result of others, babies have been born. And there is no guarantee that you’ll learn more about Iceland on the way. When it comes to traveling (and photography?),what you see matters less than the way you look at it. We did the Ring. In May of 2010, driving a green Opel Astra Station, 1994 model. And we were back on square one ten days and 1450 kilometres later.
text c Huldar Breidfjord