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.

Untitled (Grating) (2011/2011) by Marzena NowakCentre of Contemporary Art Znaki Czasu

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.

Political Map of Phantom Islands (2011/2011) by Agnieszka KurantCentre of Contemporary Art Znaki Czasu

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.

Frankfurters Reference ImageCentre of Contemporary Art Znaki Czasu

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.

Ezra Pound (2004/2004) by Zbigniew LiberaCentre of Contemporary Art Znaki Czasu

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.

Colapsed passe-par-tout II (1997/1997) by Jan BerdyszakCentre of Contemporary Art Znaki Czasu

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.

Mesures à prendre (1969/1969) by Piotr KowalskiCentre of Contemporary Art Znaki Czasu

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

Credits: Story

Natalia Cieślak & Educational department CoCa

Credits: All media
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