Opening:
Friday 25th November 2011, 18.00, Wyspa Institute of Art

Exhibition on view:
Tuesday - Sunday, 12.00-18.00


Perito Moreno is one of the largest glaciers in the world which melts into the Patagonian Lake Argentina and is still growing, despite the global warming. As a result of its continual enlargement the huge pressure of water makes the glacier break up and release frozen blocks. This on-going, spectacular process of the glacier calving takes place amidst the applause and cheers of spectators.

"Perito Moreno" speaks about our daily "breaking" because of seemingly petite reasons in unspectacular situations. Hanna Nowicka shows this little effective, unattractive and quite breaks of our own "glaciers" in seductive visual and sound layers.

Opening:
15th October 2011, 18.00, Wyspa Institute of Art

Exhibition on view:
Tuesday - Sunday, 12.00-18.00


Anna Reinert’s painting is first and foremost focused on the reconstruction of visible reality, not its imitation. Its main concern is not any approximation, intuitive method and, even, observation but the rational, scientific certainty. The reduction of a three-dimensional space to the plane of a painting, following a scientific approach, brings to mind the 15th-century intention to create new rules for painting in Renaissance time and the concept of a painting as the window open to the world.


The world seen in Reinert’s pictures has its own point of view which is difficult to grasp. It is the reality selected by the artist and reduced to those elements only which can be encapsulated in shapes precisely outlined and described in terms borrowed from geometry. It is also strictly linked to the contemporary debate on the modern presence of architecture being free, however, from the relativism, the binding standards and ideals of that debate.

The translucent character of architecture in Reinert’s works causes the continual infiltration between it and its environment. Mirror reflections of facades multiply images, multiply the orders of reality, showing disdain to principles. One cannot tell what is inside and what is outside; which is close, which is far, which element is real and which – a reflection in the surface of glass. The relation between an observed object and the observing subject is being disturbed. The abstract character of architecture makes its realness credible. This is manifested in the tension between the real, stable, structural, visible and material versus the translucent, invisible, distorting the perception of space, unreal, simulated. The reflexes of deformed buildings, emerging from the huge surfaces of glass spaces, betray the presence of the city, withdrawn from concrete, material space. The post-modern epoch, removing the functions of the production of goods, thought exchange, and services from the list of urban function, has pushed them into the virtual space, transmuting the city into its own simulacrum. Ewa Rewers describes it in the following way: "Post-modern city – the stream of self-representative images, flowing through the elevations of reflexive glass, forming the fragments of a city, inseparable from their originals, with the viewer as passer-by, entrapped in the lower area of those images".