The Trojan Horse — exhibition
Vernissage 13th March at 6 pm. Join us!
Ireneusz Walczak paintings' — Constructing identity Various alter ego are functioning beside each other Walczak’s creation brings in mind Heidegger’s ‘Being and Time’ and ‘Being-in-the-World’. In the works...
catalogue ‘Zbigniew Blukacz — beyond the skyline’ “Existential condition of contemporary artists has perfectly been expressed by Krystian Lupa, the director: ‘The world to the man has ceased to be...
This exhibition is an overview of work by four artists, graduates of the Academy of Fine Arts in Katowice, who spent their formative and working years in Silesia: Eugen Bednarek, Zbigniew Blukacz, Piotr Naliwajko and Ireneusz Walczak. Their works created from 1985 to 2015 are exemplifications of distinctive artistic voices that are not associated with the prevailing network of Polish galleries and curators.
‘I take the liberty of presenting the audience with the exhibition “The Trojan Horse” in the BWA Gallery in Katowice. It is an overview of selected paintings by Zbigniew Blukacz, Eugen Bednarek, Piotr Naliwajko and Ireneusz Walczak. They graduated from the Academy of Fine Arts in Katowice in the 1980s; at that time, after graduating in history of art, I was employed as a curator in the BWA Gallery, and later as a deputy for the artistic director. These artists have taken part in a few important group exhibitions presenting Polish and Silesian art in Poland and abroad, which I organised at the end of the 1980s and the beginning of the 1990s, and I have written about their work on numerous occasions in catalogue forewords and critical essays. Their artistic output has accompanied me for decades and it continues to intrigue and inspire, as well as to annoy the audience, which means that their works matter. It is impressive that after so many years of artistic and pedagogical work they have remained independent from the social connections system and have never been entangled in a trap of the safe network of so called top-notch galleries and equally illusory curatorial selections. The name of the exhibition — “The Trojan Horse” — was chosen not for the sake of announcing an artistic cataclysm of some sort, but rather for the sake of using this overview as an illustration for the texts about Silesian painters, which I contribute to the Gazeta Wyborcza newspaper in Katowice.’
