Born 1984, Warsaw
Lives and works in Warsaw
In her work, Katarzyna Przezwańska makes reference to modernism in a way that has never been seen in Polish art until now. In contrast to the Polish artists who debuted in around the year 2000, Przezwanska no longer sees modernism as aesthetic fetishism, the picturesque ruins of a fallen utopia, or a sentimental journey to the concrete-gray lands of her childhood years. Just the contrary: Przezwańska's work refers to modernism in its heroic period, still filled with optimism, hope and... sunny colors. In this regard, it extends to include architecture directed towards the individual, adapted to their personal needs, and laying claim to totality.
Przezwańska's interventions and spatial projects are not just another critique of modernism, but an attempt to regain some of its ideas for contemporary times. Constructing multicolored, strongly individualized spaces, details and objects, Przezwańska, with tongue in cheek, convinces us that what was truly revolutionary in modernism was quickly replaced. Modernism is our antiquity because we warped its original character. Colorful facades, multicolored walls and ceilings of private homes, rainbow colored adornments on public buildings and their surroundings, furniture tailored to the owner's needs... For those who were brought up in the raw, concrete modernist surroundings of communist Poland, doesn't this sound like... utopia?
Przezwańska's work allows us to view from a distance the hold in which Polish public space finds itself. Her most lively characters are the shells of socialist-modernism, which do not allow themselves to be forgotten: demolished and decaying, burdened with the memories of Communism, but most of all, consistently ignored by historical conservators, they function as a myth, one which can not be filled with content. On the other hand, Poland's architectural landscape also includes the universal architectural glass and steel, style-less style of the global village. Against the backdrop of the outlined architectural map and now the proposals of Katarzyna Przezwańska, there is a potential which can not be ignored.
Untitled, Frieze Art Fair / FRAME section, London, 2011
Polish Alphabet 2, BWA Tarnów Gallery, 2010
Wrzeciono 5 m. 145, the artist's flat, 2009
Marrakech Biennale 4, Marrakech, 2012
A Material World, PSM-Gallery, Berlin, 2012
Tarnów: 1000 Years of Modernity, Mościcki Ośrodek Kultury, Tarnów, 2011
Laboratory of the Future: Landscape of the Future, Centre for Contemporary Art Ujazdowski Castle, Warsaw, 2011
MIR, Arsenał Gallery, Białystok, 2011
Hi, Galeria Stereo, Poznań, 2011
Selected Projects, BWA Zielona Góra Gallery, 2011
Bródno Sculpture Park. Chapter II, Warsaw, 2010
No Sleep!, BWA Zielona Góra Gallery, 2010
Fitting in Space, 98 Weeks Project, Beirut, 2010 [LB]
Warsaw Under Construction, Museum of Modern Art, Warsaw, 2009
The Beginning of an Exotic Trip, Institute of the Avant Garde, Warsaw, 2009
Pawszak feat. Przezwańska, Galeria A, Warsaw, 2009