29/04/2022 - 26/02/2023

Museum of Contemporary Art in Krakow MOCAK: Politics in Art

In the past, art served the purpose of bolstering political power –today it is a tool for questioning and holding authority to account.Once, artists used their talent to support the political system of the day. Today, they have become perspicacious and critical observers of the political scene and are active participants in opposition.

Artists: Michał Adamski, Paweł Althamer, Andrey Anro, Alpin Arda Bağcık, Mirosław Bałka, Krzysztof M. Bednarski, Marcin Berdyszak, Jerzy Bereś, Andrij Bojarov, Maciej Cholewa, Hubert Czerepok, Edward Dwurnik, Daniil Galkin, Thomas Galler, Jakob Ganslmeier, Lukáš Houdek, Khaled Jarrar, Hannes Jung, Šejla Kamerić, Allan Kaprow / Dick Higgins, kennardphillipps, Thomas Kilpper, Paweł Kowalewski, Jarosław Kozłowski, Marcin Kruk, Agata Kubis, Michalina Kuczyńska, Tomasz Kulka, Edgar Leciejewski, Alicja Lesiak, Zbigniew Libera, Ella Littwitz, Artem Loskutov, Agnieszka Mastalerz, Rafał Milach, Richard Mosse, Tanja Muravskaja, Joanna Musiał, Deimantas Narkevičius, Csaba Nemes, Laura Pannack, Pyotr Pavlensky, Beata Pofelska, Wojtek Radwański, Tomáš Rafa, Artūras Raila, Oliver Ressler, Adam Rzepecki, Bartek Sadowski, Tomasz Sarnecki, Maxim Sarychau, Santiago Sierra, Slavs and Tatars, Olia Sosnovskaya & a.z.h, Paweł Starzec, Stitchit (Rufina Bazlova & Sofia Tocar) and Collective SUPERFLEX, Paweł Susid, Jason deCaires Taylor, Piotr Uklański, Daniel Warmuziński, Sislej Xhafa, Ada Zielińska, Dawid Zieliński, Artur Żmijewski

Curators: Maria Anna Potocka Agnieszka Sachar Martyna Sobczyk
Co-ordinator: Mirosława Bałazy

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Politics in Art

Group exhibition

Place: Museum of Contemporary Art in Krakow MOCAK, Poland

Venue: Building A, level 0
Idriss Déby
40 x 30 cm
Oil on linen
May 2020

Isaias Afwerki
40 x 30 cm
Oil on linen
March 2020

Muammar Gaddafi
40 x 30 cm
Oil on linen
March 2020
Omar Al-Bashir
40 x 30 cm
Oil on linen
February 2020

Robert Mugabe
40 x 30 cm
Oil on linen
February 2020

Ferdinand Marcos
40 x 30 cm
Oil on linen
February 2020

05/02 - 19/04/2022: Slavs and Tatars' Pickle Bar presents "When Red and White ain't so Black and White"

Andrey Anro, Uladzimir Hramovich, Vasilisa Palianina, Ala Savashevich, Sergey Shabohin, Olia Sosnovskaya, Slavs and Tatars

Pickle bar sees in fermentation an analogy for the social transformation of the stagnate, the spoiled, or rotten political substance into a bracing regime to share the surplus fruits of souring. For the exhibition "When Red and White ain't so Black and White" at Sentiment Slavs and Tatars' Pickle Bar invites six former Belarusian participants of the studio's mentorship program (2018-2020) to articulate an argument around these notions. Each of the invited artists investigates their epoch amidst the cult of personality, the tyranny of individualism and its repression on collective bodies. A white and red stork offers us a more generative take on the white and red flag, asking us to reconsider new symbols far from a reductive nationalist attitude, be they related to exhaustion, hospitality, club, or queer culture.

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When Red and White ain't so Black and White

Group exhibition

Gallery: Sentiment
Place: Zurich, Switzerland

05/02 - 19/04/2022

2021 : Cover for Czech version of Fotograf Magazine # 38 and publication

A third of the population never talks about death with their loved ones. The society of the global North has lost its natural attitude towards death. Through the ideal of infinite growth, consumer life, and the cult of eternal youth, death gradually became taboo. The presence of death has been delayed by society through a healthcare system focused on improving citizens' physical condition, thus effecting the greatest possible delay to dying – not only in practice, but also within the collective consciousness of mainstream society. The importance and depth of the process of departure is reduced. One possible result is the suppression of fears connected to the end of life, which make it impossible to experience life in the present.

For theorists of photography such as Susan Sontag and Roland Barthes, the medium of photography was itself a kind of death or its imprint. As Sontag points out: "Photographs state the innocence, the vulnerability of lives heading toward their own destruction, and this link between photography and death haunts all photographs of people." The fragile line between death and life has been the subject of art since antiquity. What are the forms taken by the topic today? It might be difficult to go through all the layers of emotion that surround our cessation, but we will try to imagine the diverse moments of encountering death and the different perspectives one might adopt, with the aim, ideally, of accepting respect and gratitude for life, allowing us to perceive it in the present. The art of accepting death at that moment can become the art of living.

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#38 death, when you think about it

Happy Death Society

Fotograf Magazine
Size: 29 x 22,5 cm
Pages: 88

2021 :

Вlazar is the official companion of the cosmoscow international contemporary art fair. Unlike many other fairs, the participants in blazar are not only galleries, but also artists at the beginning of their careers, working outside the structures of galleries, as well as creative associations and educational institutions.

Вlazar art fair

Вlazar young art fair

Gallery: Syntax
Place: Museum of Moscow (2 Zubovsky boulevard, Moscow, Russia)

08/09 - 12/09/2021

27/01/2021 :

In the Minsk suburb of Novaya Borovaya, some people in green and red tracksuits are gluing stickers in the form of state flags on the windows.

You can see people under the windows of houses. They have green tracksuits with the Belarus logo on the back and the national emblem on the chest, black caps and masks in the colors of the national flag. Commentators report that such clothing is often issued to students of military departments and faculties. Also, soldiers of the military unit 3214 of the internal troops of the Ministry of Internal Affairs were noticed in similar clothes.

The Hunters in the Snow (Dutch: Jagers in de Sneeuw), also known as The Return of the Hunters, is a 1565 oil-on-wood painting by Pieter Bruegel the Elder. The Northern Renaissance work is one of a series of works, five of which still survive, that depict different times of the year. The painting is in the collection of the Kunsthistorisches Museum in Vienna, Austria. This scene is set in the depths of winter during December/January.

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The Return of the Hunters

The Belarusian Context

Digital collage
The Silence Speaks Volumes

Place: Space Third Place
(Hrodna, Belarus)

14.07 - 09.08.2020

14/07/202 - 09/08/2020: Solo Show in Hrodna, Belarus.

"… I am absolutely convinced that without hope for a miracle, life loses its reality, naturalness. Life is panting, wasting away. Instead of her, her disgusting dummy comes to the fore and is overgrown with posters, calls, monuments ... "
Monologue from the film "The Kerosene Man's Wife" (1988)

Different dictatorships give rise to similar times and spaces. Time in them turns into timelessness, the past grows into the present with a rusty fence, the living is displaced by the formal and ritual. How does it feel to live inside a modern dictatorship? How does it feel if you thicken its space to the point of tangibility?

To the question about the nature of the dictatorship, Andrey Anro offers answers that do not lie on the surface: firstly, this is a metaphysical experience, secondly, existential, and, thirdly, bodily.


2019 :

Publication in book EEP Vol 1.
The eep Magazine is the first photography journal dedicated solely to the little known art and photography scenes of Eastern Europe. Its focus lies in uncovering the hidden nuances, dialogues and contrasts in the works of emerging and established Eastern European visual artists and photographers. We explore the absurdity of the Eastern European experience as endured by generations of artists who continuously have reflected on issues related to abrupt societal changes, war, migration and complex family history juxtaposed against the backdrop of mutually exclusive cultural legacies and political systems.


18 Countries
41 Artists
312 Pages

Art Director: Ekaterina Shuvchinskaia
Editors: Krasimira Butseva, Ryan Morris

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EEP Vol. 1

Happy Death Society

Size: 22,5 x 16,5 x (2) cm
Page: 230-138