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Zbigniew Warpechowski. It

The exhibition in Zachęta is the first such extensive presentation of the work of Zbigniew Warpechowski – a precursor of performance art in Poland and one of the first in the world to work in this genre – presenting documentation of several dozen of the actions realized by the artist over the course of the last 50 years.

20.09 - 11.11


“Corpus” is a group exhibition comprised of works relating to the body and corporality, inspired by the booksCorpus and Corpus II. Writings on Sexuality by Jean-Luc Nancy — one of the most important contemporary French philosophers.

01.09 - 19.10

Flo Kasearu. We Are on the Way

Flo Kasearu, one of the most talented Estonian artists of the young generation, decided to send a selection of her recent works on the road. On September 21 this year, a small truck departed from the artist’s House Museum in Tallinn. Its destination was the Zachęta Project Room (MPZ) where the selection was turned into an exhibition. Thus the Warsaw gallery became a twin institution of the Tallinn venue, with the ‘mother museum’ expanding the area and scope of its activity for two months.

27.09 - 23.11

Warpechowski. The Way of the Performer

Warpechowski. The Way of the Performer, concept and realisation Jan Lubicz Przyłuski, graphic design Poważne Studio, Zachęta – National Gallery of Art, Warsaw 2014.

Warpechowski. The Way of the Performer is an audio-visual publication accompanying the exhibition “Zbigniew Warpechowski. It”. The publication contains video and photographic documentation of over 20 of the most important actions carried out by this precursor of performance art in Poland, one of the first in the world to work in this vein. In addition, the film includes Zbigniew Warpechowski’s own comments on his work, as well as other artists and art critics: Adina Bar-On, Oskar Dawicki, Zuzanna Janin, Elisabeth Jappe, Grzegorz Królikiewicz, Alastair MacLennan, Boris Nieslony, Józef Robakowski, Tomasz Stańko and Ewa Zarzycka.

Suzan Shutan

Becoming is an installation consisting of hundreds of pompons — a set of inconspicuous coloured dots installed in space in a spontaneous, but well thought through configuration. The flexibility, mobility and modularity of the wired ‘fluffy atoms’ — which viewers can touch and set in motion — constitutes a spectacular performative aspect, liberating the composition from abstraction’s pomposity or conventionality. And this leads directly to a process in which a known and proven order undergoes a transformation of becoming something completely new.

29.08 - 31.01