Głęboka Woda / DEEP WATER – Wroclaw – DEUTSCH-POLNISCHER KÜNSTLER:INNENAUSTAUSCH 2023/2024

Ausstellung in Wroçlaw, POLEN
Deutsch/Polnische Künstlerinnenaustausch – Künstlergruppe LOJP

Geppart Gallery ASP Wrocław
PIEKRANIA Living Culture
68/2 Ksiecia Witolda St., Wrocław

curator: Patrycja Sikora

Exhibition 01.12.2023 – 5.01.2024

Press release:
The Polish-German exhibition ‚Deep Water / Deep Water‘ is a continuation of a joint project initiated by artists from Germany. Its first instalment under the title ‚TIGHT‘ could be seen in 2021 at Galerie Kunstgehause in Dresden. For the Wrocław edition, the authors have created partly new works, which will be premiered at the Geppart Gallery of the Academy of Fine Arts Wrocław.
The works presented at the exhibition, although they belong to different areas of art, concern a common ground, which is the responsibility of man for his surroundings and the reality shaped by him. Empathy and sensitivity to the migration crisis growing on the border with Belarus materialise in Karolina Freino’s latest work (‚Lament‘). In Anna Bujak’s sculptures (‚Serbia, to Tokyo‘), the leitmotif is the power of war to wreak havoc, regardless of the circumstances in which it takes place. Karolina Szymanowska’s installation („Eye it, Try it, Buy it“), referring to American Chevrolet advertising slogans from 1940, concerns entanglement in a culture of consumption based on the logic of constant growth and technological progress, rapid turnover of goods, the temporariness of ventures and the drain on natural resources. Ecological aspects resound in drawings and objects on the borderline of art disciplines by Monika Grobel, which encapsulate man’s destructive activities towards himself and the natural world. In Constanze Böckmann’s photographs and photographic collages, the main protagonist is deep water – a mysterious and inaccessible boundlessness, an ocean-element in which the basic life-giving forces lie dormant, but which also falls victim to man’s predatory economy, in line with the imperative of continuous civilisational growth. Böckmann’s visual poetry coexists with the photographic works, viralizing the gallery space. Nina May and Majna Barthel appeal to intuition, a perception of the world that escapes logical rigours. Nina May creates surreal collages in which figuration merges with abstraction to create spaces of imagination. In one series, a recurring motif is a female figure that brings together the clichés of femininity – a female doll, subjected to the dictates of the senses. Manja Barthel invites the viewer to immerse themselves in an image conceived as an autonomous space created through experimentation. At the core of her work is the creative process, the issue of visual perception, the accessibility of the represented world and the world of ideas in the field of art, and reaching the final shape of the work.