Ignacy Czwartos

Polonia Uncensored

★★☆☆☆

Curated by Piotr Bernatowicz
On until 17 May 2024

Czwartos’ pseudohistorical paintings were to be Poland’s official Biennale entry until a change of government last winter thew them on art history’s scrap heap. That they now hang in a pop-up outside the Giardini walls proves that the deposed populists care as little for art as the liberals who again control Poland’s art scene.

These images claim to tease the nation’s sore historical blind spots. Czwartos’ canvases laud Poland’s 20th-century martyrs in a bleak colour palette. Leaders of the national armed resistance who perished in the Nazi occupation and anti-communist activists killed by their own state peer from the walls like paper props in a school re-enactment.

Litigating old crimes is on point in this Biennale. Why, then, were these well-known stories disqualified from the decolonial orgy? Czwartos stepped too far by shaming the abusers in his historical diorama. Next to a named SS soldier, he painted Putin and Merkel, thus suggesting that this history is also the very present. He may not be wrong. His painting, however, proves little, and his sign-writer’s hand loses art history’s bet just for now.


notes and notices are short and curt exhibition reviews. Read more:

Alexandre Canonico, Still at Ab Anbar ★★★☆☆

Alexandre Canonico

Still

★★★☆☆

Conanico’s slight structures look like they could take flight at any moment.

transfeminisms Chapter IV at Mimosa House ★☆☆☆☆

transfeminisms Chapter IV: Care and Kinship

★☆☆☆☆

Lack of care for the artefact is a strange USP for a gallery.

Donna Huddleston, Company at White Cube ★★★★☆

Donna Huddleston

Company

★★★★☆

A palpably stubborn nature unites Huddleston’s women

Freudian Typo at Delfina Foundation ★★☆☆☆

Freudian Typo

Condensed Word, Displaced Flesh

★★☆☆☆

The problem of artists who confuse graphic design with art is that they also mistake sloganeering for critique.

Tyler Eash, All the World’s Horses at Nicoletti ★★☆☆☆

Tyler Eash

All the World's Horses

★★☆☆☆

The artist must choose which ground is best ceded.

The Imaginary Institution of India at Barbican ★★★★★

The Imaginary Institution of India

★★★★★

How does a curator tell an unfamiliar history yet evade the museum’ didacticism and the audience’s dulled expectations? Jhaveri’s ambitious review of India’s testing decades at the end of the 20th century could easily have been a torturous sermon: the…

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