lokal_30 at Frieze New York 2019 with Maria Anto, Ewa Juszkiewicz and Magda Moskwa
lokal_30 at Frieze New York 2019
1-5 May 2019
MARIA ANTO, MAGDA MOSKWA AND EWA JUSZKIEWICZ
The presentation by Maria Anto (1936-2007), Magda Moskwa (1967) and Ewa Juszkiewicz (1984) highlights Surrealist motifs in the work of these artists. We aim to refute the claim about the absence of Surrealism in Polish art.
Post-war Polish Surrealism was created by personalities who shaped their world vision without affiliation with groups or movements. As it was the case internationally after WWI, Surrealism after 1945 also functioned as a buffer zone to act out the horrors and escape everyday life under Socialism.
Maria Anto’s work represents the tradition of Surrealism, metaphorical painting and naive art – she was often compared to Henri Rousseau, Marc Chagall, Max Ernst and René Magritte. Anto despised being typecast as a Surrealist or fantastical painter – she emphasized her individualism. At Frieze NY 2019 we show works originating from her most successful period – the mid-1960s, when her work began to feature proud women conscious about their sexuality as well as animals that represented her loved ones and their character traits.
Magda Moskwa is called the rebel of painting. Her work, very intimate, personal and original, draws inspiration from the art of writing icons. The art of Moskwa is often associated with turpism: she is known for portraits of women marked by the stigmas of experiences of the passage rituals. They are extremely strong and transgressive female characters, determined, bold, shameless in the presentation of their appearance, which goes beyond the so-called norm. At Frieze NY 2019 we show her paintings made in the technique of icon (painted on board and the mortar chalk) as well as the sculpture made from the mortar chalk.
Ewa Juszkiewicz is one of the most unique and appreciated young Polish painters of today. In her work, she enters into discussion with traditional, visual conventions and confronts with the stereotypical perception of a woman’s beauty in classical, European painting. Through the deconstruction of historical portraits, she undermines their constant, indisputable character and tries to influence the way we perceive them. Juszkiewicz experiments with the form of the female figure and face, balancing on the border between what is human and inhuman. Her paintings are classical in technique but subversive and rebellious in terms of content.
Supported by the Polish Cultural Institute New York and Culture.pl