The Cosmicomics exhibition (title taken from a book by Italian writer Italo Calvino) encourages the audience to move into the realm of imagination and spaces that are the figments of fantasy. Entering the exhibition the viewers exceed a certain border and enter the world which is a warehouse of opportunities. Wandering among the works collected here allows us to take a hike in the labyrinth of own imagination and see its enormity.

Marzena Nowak separates the world into the one “before the grating” and “after the grating”.

While securing the entrance from intruders, work simultaneously invites in and enables entrance because of its rotating movement.

The work consists of world maps, where artist gathered territories that do not exist in reality.

Political Map of Phantom Islands presents a „diaspora” of several phantom islands on a fictitious thematic map.

By creating a manipulative image of city dwellers pacing in intersecting directions who, nonetheless, never meet each other in the common space.

Bayrle triggers associations with the regime-economic-related changes in Europe.

The artist generates a dynamic set, creating an illusion of kaleidoscopic motion, conceptually framing the regularities of the expanding social tissue.

Zbigniew Libera’s drawing Ezra Pound is a compiled version of two photographic images

To the face of the old Ezra Pound from Richard Avedon’s photograph from 1958 the raised arms of Charlie Chaplin were added, from another of Avedon’s photograph, taken in New York six years before.

The absorption of reflections from the outside, called by Jan Berdyszak ephemeral photography, turns the work into something changeable, processual, and dependent on the moment of viewing.

The object comprises two electrodes in the form of rectangular, metal tiles placed separately on a Plexiglas plate and connected to an electromagnetic field generator.

The work is complemented by neon pipes that light up when brought close to the electrodes of either negative or positive value. Kowalski’s work constitutes a pioneering example from the discipline of art&science

The inspiration for Agnieszka Polska’s The Calendar was a 1939 calendar found by the artist, which contained pieces of advice and tips on how to run a country farm. In order to illustrate this bucolic vision of life in the country, the artist additionally used photographs published in German newspapers from the 1930s.

Credits: Story

Authors:
Natalia Cieślak & Educational department CoCa

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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