Veränderungen auf dem Ozean. Über die Kunst von Agata Madejska.

Agata Madejska, Mistakes Were Made, 2018, fabric, steel, nylon fishing line, vinyl, speakers, cables, media player. English, duration: 15:00 min, 600 × 200 × 330 cm.
Agata Madejska, Mistakes Were Made, 2018, fabric, steel, nylon fishing line, vinyl, speakers, cables, media player. English, duration: 15:00 min, 600 × 200 × 330 cm.

Zur Utopie und zu ihren falschen Hoffnungen kehrt die Künstlerin auch in der Arbeit „Voyage, Voyage“ (2018) zurück, für die sie die Form eines Teppichs mit geometrischem Muster wählte. bezieht sich auf ein Stück Land im nordamerikanischen Texas, das der radikale Sozialist Etienne Cabet 1848 für seine Gemeinschaft der Ikarier erwarb. Die spezifischen Formen der Parzellen wurden durch den Vertrag zwischen der Verwaltung des Bundesstaats und der Firma, die den Grund und Boden verkaufte, vorgegeben. Die Aufteilung des Grundstücks lähmte das Gedeihen der jungen Kolonie und ließ sie fast untergehen. Diese Arbeit wurde mit dem Zyklus „Technocomplex“ zusammengestellt, einem Beispiel für die Brutalität der Entropie, die in einem entworfenen Raum herrscht.     

Madejska schuf für diese Ausstellung auch eine Arbeit, mit der sie, wie es scheint, ihre solaristischen Beobachtungen prolongiert, wobei sie sich diesmal mathematischer Formeln bedient. „Simon says“ (2018) ist ein Zyklus, der sich auf das Josephus-Problem[10] im Bereich der Kombinatorik bezieht. Diese theoretische Aufgabe, die in der Informatik häufig gestellt wird, gibt der Künstlerin die Gelegenheit, über die Zufälligkeit der Ausbuchtungen und Spannungen im politischen Raum nachzusinnen oder sogar den Versuch zu unternehmen, diese vorherzusehen – vor allem  i rassistisch und religiös motivierten Konflikten oder in solchen, die aus Mangel an Empathie entstehen.[11] Dabei bleibt der Ozean, wie bei den Solaristen und bei Madejska üblich, auch hier unberührt und in diesem besonderen Fall – grau.

Ein weiterer Zyklus mit dem Titel „RISE“ (2018) entstand in derselben Farbgebung für die Ausstellung „Modified Limited Hangout“. Diese besonderen Arbeiten in der Ausstellung erwecken den Anschein, als kämen sie direkt aus dem Labor von Stanisław Lem, da sie Aufzeichnungen eines photochemischen Smogs sind, der entsteht, wenn ultraviolette Sonnenstrahlen mit hohen Konzentrationen von Abgasen und Industriegasen in der Luft reagieren. Der „RISE“-Zyklus stellt eine extreme Aufzeichnung der Entropie dar, die sich im heutigen öffentlichen Raum materialisiert. Das Phänomen betrifft vor allem große Städte. In Madejskas Version sind das Proben von Veränderungen, von Faktoren, auf die Leviathan noch keine Antwort gegeben hat, wobei möglich ist, dass er sie noch gar nicht sah.     

Mit dem Zyklus „RISE“ überschreitet Madejska eine Grenze, hinter der sich die unsichtbare Ausfüllung des politischen Raums, also das, was uns alle betrifft, in ein sichtbares Hyperobjekt verwandelt. Seit dem Zyklus „Factum“, in dem die Künstlerin erstmalig versuchte, ein neues Bild zu erschaffen, gelang Madejska dank ihrer alchemischen Werkstatt eine absolut einzigartige Leistung: Die von ihr ausgesandten Sonden brachten eine neue Entität zum Vorschein.

 

Jakub Śwircz

 

[10] Das Problem wurde nach dem römisch-jüdischen Geschichtsschreiber Flavius Josephus benannt, der im ersten Jahrhundert nach Christus lebte. Er wurde bei der Eroberung der Stadt Jotapata gemeinsam mit anderen Aufständischen in einer Höhle umzingelt. Als ihnen die Festsetzung drohte, beschlossen sie, sich selbst zu töten. Da der Suizid jedoch nach jüdischem Recht streng verboten ist, entschieden sie zu losen, wer wen töten sollte, und zwar bis zum letzten, der sich schließlich selbst töten sollte. Flavius und einer seiner Begleiter überlebten diesen Akt zufällig und beschlossen, sich den Römern zu stellen.
[11] Eine Version des Josephus-Problems befasst sich mit der Frage, wie auf einem sinkenden Schiff nur die türkischen Matrosen (Moslems) abgezählt werden können, um sie über Bord zu werfen, um die anderen [die Christen; Anm. d. Übers.] zu retten.

Mediathek
  • Agata Madejska, DeBeers I, 2017, giclée print, 150 x 260 cm. Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart.

    Agata Madejska, DeBeers I, 2017

    Agata Madejska, DeBeers I, 2017, giclée print, 150 x 260 cm. Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart.
  • Agata Madejska, DeBeers I, 2017, giclée print, 150 × 260 cm.

    Agata Madejska, DeBeers I, 2017

    Agata Madejska, DeBeers I, 2017, giclée print, 150 × 260 cm.
  • Agata Madejska, DeBeers I (detail), 2017, giclée print, 150 × 260 cm.

    Agata Madejska, DeBeers I (detail), 2017

    Agata Madejska, DeBeers I (detail), 2017, giclée print, 150 × 260 cm.
  • Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.

    Installation view, 2017

    Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.
  • Agata Madejska, The Economist I, 2014, giclée print, 150 × 210 cm. Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.

    Agata Madejska, The Economist I, 2014

    Agata Madejska, The Economist I, 2014, giclée print, 150 × 210 cm. Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.
  • Agata Madejska, The Economist I (detail), 2014, giclée print, 150 × 210 cm.

    Agata Madejska, The Economist I (detail), 2014

    Agata Madejska, The Economist I (detail), 2014, giclée print, 150 × 210 cm.
  • Agata Madejska, The Economist I, 2014, giclée print, 150 × 210 cm.

    Agata Madejska, The Economist I, 2014

    Agata Madejska, The Economist I, 2014, giclée print, 150 × 210 cm.
  • Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017
  • Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017
  • Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017
  • Agata Madejska, Front: Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Front: Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Front: Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017
  • Agata Madejska, Every City Has Its Echo, 2017, giclée print on aluminium, 100 × 130 cm.

    Agata Madejska, Every City Has Its Echo, 2017

    Agata Madejska, Every City Has Its Echo, 2017, giclée print on aluminium, 100 Å~ 130 cm.
  • Agata Madejska, Front: Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Front: Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017

    Agata Madejska, Front: Near Here, Not Here, Come Here, Over Here, Right Here, Here We Are, 2017
  • Agata Madejska, 18 Minutes, 2017, aluminium, 200 x 125 x 0,5 cm.

    Agata Madejska, 18 Minutes, 2017

    Agata Madejska, 18 Minutes, 2017, aluminium, 200 x 125 x 0,5 cm.
  • Agata Madejska, Entrance, 2011, part of the photo essay Temporary or Permanent, published in: Museum Folkwang. Die Architektur, Edition Folkwang, Steidl, Göttingen, 2012.

    Agata Madejska, Entrance, 2011

    Agata Madejska, Entrance, 2011, part of the photo essay Temporary or Permanent, published in: Museum Folkwang. Die Architektur, Edition Folkwang, Steidl, Göttingen, 2012.
  • Agata Madejska, Space II, 2011, part of the photo essay Temporary or Permanent, published in: Museum Folkwang. Die Architektur, Edition Folkwang, Steidl, Göttingen, 2012.

    Agata Madejska, Space II, 2011

    Agata Madejska, Space II, 2011, part of the photo essay Temporary or Permanent, published in: Museum Folkwang. Die Architektur, Edition Folkwang, Steidl, Göttingen, 2012.
  • Agata Madejska, Corridor, 2011, part of the photo essay Temporary or Permanent, published in: Museum Folkwang. Die Architektur, Edition Folkwang, Steidl, Göttingen, 2012.

    Agata Madejska, Corridor, 2011

    Agata Madejska, Corridor, 2011, part of the photo essay Temporary or Permanent, published in: Museum Folkwang. Die Architektur, Edition Folkwang, Steidl, Göttingen, 2012.
  • Agata Madejska, Space I, 2011, part of the photo essay Temporary or Permanent, published in: Museum Folkwang. Die Architektur, Edition Folkwang, Steidl, Göttingen, 2012.

    Agata Madejska, Space I, 2011

    Agata Madejska, Space I, 2011, part of the photo essay Temporary or Permanent, published in: Museum Folkwang. Die Architektur, Edition Folkwang, Steidl, Göttingen, 2012.
  • Agata Madejska, unexposed: From Now On (Folly), 2014, photosensitive emulsion, jesmonite, 160 x 250 cm. Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.

    Agata Madejska, unexposed: From Now On (Folly), 2014

    Agata Madejska, unexposed: From Now On (Folly), 2014, photosensitive emulsion, jesmonite, 160 x 250 cm. Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.
  • Agata Madejska, first day of exposure: From Now On (Folly), 2014, photosensitive emulsion, jesmonite, 160 x 250 cm. Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.

    Agata Madejska, first day of exposure: From Now On (Folly), 2014

    Agata Madejska, first day of exposure: From Now On (Folly), 2014, photosensitive emulsion, jesmonite, 160 x 250 cm. Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.
  • Agata Madejska, 5th day of exposure: From Now On (Folly), 2014, photosensitive emulsion, jesmonite, 160 x 250 cm. Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.

    Agata Madejska, 5th day of exposure: From Now On (Folly), 2014

    Agata Madejska, 5th day of exposure: From Now On (Folly), 2014, photosensitive emulsion, jesmonite, 160 x 250 cm. Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.
  • Agata Madejska, Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.

    Agata Madejska, Installation view, Form Norm Folly, Krefelder Kunstverein, 2014

    Agata Madejska, Installation view, Form Norm Folly, Krefelder Kunstverein, 2014.
  • Agata Madejska, For Now (Folly), 2015, concrete, photochromic paint, 100 x 6 x 6 cm.

    vAgata Madejska, For Now (Folly), 2015

    Agata Madejska, For Now (Folly), 2015, concrete, photochromic paint, 100 x 6 x 6 cm.
  • Agata Madejska, Installation view, Kingly Things, Coco Crampton & Agata Madejska at Chandelier Projects, London, 2015.

    Agata Madejska, Installation view, Kingly Things, Coco Crampton & Agata Madejska at Chandelier Projects, London, 2015

    Agata Madejska, Installation view, Kingly Things, Coco Crampton & Agata Madejska at Chandelier Projects, London, 2015.
  • Agata Madejska, Installation view, Kingly Things, Coco Crampton & Agata Madejska at Chandelier Projects, London, 2015.

    Agata Madejska, Installation view, Kingly Things, Coco Crampton & Agata Madejska at Chandelier Projects, London, 2015

    Agata Madejska, Installation view, Kingly Things, Coco Crampton & Agata Madejska at Chandelier Projects, London, 2015.
  • Agata Madejska, FACTUM, 2014, UV-print on perspex, paper, powder-coated steel frame, 50 x 100 x 60 cm (one of sixteen).

    Agata Madejska, FACTUM, 2014

    Agata Madejska, FACTUM, 2014, UV-print on perspex, paper, powder-coated steel frame, 50 x 100 x 60 cm (one of sixteen).
  • Agata Madejska, FACTUM (detail), 2014, UV-print on perspex, paper, powder-coated steel frame, 50 x 100 x 60 cm (one of sixteen).

    Agata Madejska, FACTUM (detail), 2014

    Agata Madejska, FACTUM (detail), 2014, UV-print on perspex, paper, powder-coated steel frame, 50 x 100 x 60 cm (one of sixteen).
  • Agata Madejska, Tender Offer (Holborn II), 2017, giclée print, 99 x 130 cm.

    Agata Madejska, Tender Offer (Holborn II), 2017

    Agata Madejska, Tender Offer (Holborn II), 2017, giclée print, 99 x 130 cm.
  • Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.

    Agata Madejska, Installation view, 2017

    Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.
  • Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.

    Agata Madejska, Installation view, 2017

    Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.
  • Agata Madejska, Tender Offer (Goswell Road), 2017, giclée print, 107 x 130 cm.

    Agata Madejska, Tender Offer (Goswell Road), 2017

    Agata Madejska, Tender Offer (Goswell Road), 2017, giclée print, 107 x 130 cm.
  • Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.

    Agata Madejska, Installation view, 2017

    Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.
  • Agata Madejska, Tender Offer (Farringdon), 2017, giclée print, 111,5 x 130 cm.

    Agata Madejska, Tender Offer (Farringdon), 2017

    Agata Madejska, Tender Offer (Farringdon), 2017, giclée print, 111,5 x 130 cm.
  • Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.

    Agata Madejska, Installation view, 2017

    Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.
  • Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.

    Agata Madejska, Installation view, 2017

    Agata Madejska, Installation view, Technocomplex, Parrotta Contemporary Art, Stuttgart, 2017.
  • Agata Madejska, Technocomplex, 2017, light sensitive coating, pewter, installation view at Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Technocomplex, 2017

    Agata Madejska, Technocomplex, 2017, light sensitive coating, pewter, installation view at Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, Technocomplex 004, 2017, light sensitive coating, pewter, 50 x 66 x 1 cm.

    Agata Madejska, Technocomplex 004, 2017

    Agata Madejska, Technocomplex 004, 2017, light sensitive coating, pewter, 50 x 66 x 1 cm.
  • Agata Madejska, Technocomplex 004, 2017, light sensitive coating, pewter, 57 x 65 x 1 cm.

    Agata Madejska, Technocomplex 004, 2017

    Agata Madejska, Technocomplex 004, 2017, light sensitive coating, pewter, 57 x 65 x 1 cm.
  • Agata Madejska, 25-36, 2010, lightjet c-type print on Forex and varnished MDF, 160 x 220 x 5 cm.

    Agata Madejska, 25-36, 2010

    Agata Madejska, 25-36, 2010, lightjet c-type print on Forex and varnished MDF, 160 x 220 x 5 cm.
  • Agata Madejska, 25-36, 2010, lightjet c-type print on Forex and varnished MDF, 160 x 220 x 5 cm. Installation view, Conflict, Time, Photography, Tate Modern, London, 2014.

    Agata Madejska, 25-36, 2010

    Agata Madejska, 25-36, 2010, lightjet c-type print on Forex and varnished MDF, 160 x 220 x 5 cm. Installation view, Conflict, Time, Photography, Tate Modern, London, 2014.
  • Agata Madejska, 46-48, 2010, lightjet c-type print on Forex and waxed MDF, 119 x 130 x 5 cm.

    Agata Madejska, 46-48, 2010

    Agata Madejska, 46-48, 2010, lightjet c-type print on Forex and waxed MDF, 119 x 130 x 5 cm.
  • Agata Madejska, 46-48, 2010, lightjet c-type print on Forex and waxed MDF, 119 x 130 x 5 cm. Installation view, Parrotta Contemporary Art, Stuttgart, 2013.

    Agata Madejska, 46-48, 2010

    Agata Madejska, 46-48, 2010, lightjet c-type print on Forex and waxed MDF, 119 x 130 x 5 cm. Installation view, Parrotta Contemporary Art, Stuttgart, 2013.
  • Agata Madejska, 1906, 2012, lightjet c-type print on Forex and waxed MDF, 119 x 130 x 5 cm.

    Agata Madejska, 1906, 2012

    Agata Madejska, 1906, 2012, lightjet c-type print on Forex and waxed MDF, 119 x 130 x 5 cm.
  • Agata Madejska, 1906, 2012, lightjet c-type print on Forex and waxed MDF, 119 x 130 x 5 cm. Installation view, Parrotta Contemporary Art, Stuttgart, 2013.

    Agata Madejska, 1906, 2012

    Agata Madejska, 1906, 2012, lightjet c-type print on Forex and waxed MDF, 119 x 130 x 5 cm. Installation view, Parrotta Contemporary Art, Stuttgart, 2013.
  • Agata Madejska, 81-86, 2010, lightjet c-type print on Forex and waxed MDF, 119 x 167 x 5 cm.

    Agata Madejska, 81-86, 2010

    Agata Madejska, 81-86, 2010, lightjet c-type print on Forex and waxed MDF, 119 x 167 x 5 cm.
  • Agata Madejska, 81-86, 2010, lightjet c-type print on Forex and waxed MDF, 119 x 167 x 5 cm. Installation view, einszehn, zweizehn, dreizehn: Sunah Choi & Agata Madejska, Kunstverein Friedrichshafen, 2013.

    Agata Madejska, 81-86, 2010

    Agata Madejska, 81-86, 2010, lightjet c-type print on Forex and waxed MDF, 119 x 167 x 5 cm. Installation view, einszehn, zweizehn, dreizehn: Sunah Choi & Agata Madejska, Kunstverein Friedrichshafen, ...
  • Agata Madejska, Mistakes Were Made, 2018, fabric, steel, nylon fishing line, vinyl, speakers, cables, media player. English, duration: 15:00 min, 600 x 200 x 330 cm.

    Agata Madejska, Mistakes Were Made, 2018

    Agata Madejska, Mistakes Were Made, 2018, fabric, steel, nylon fishing line, vinyl, speakers, cables, media player. English, duration: 15:00 min, 600 x 200 x 330 cm.
  • Agata Madejska, Installation view, ∼ =, Impuls Bauhaus, Zeche Zollverein, Essen, 2019. Mistakes Were Made, 2018/19, fabric, steel, nylon fishing line, vinyl, speakers, cables, media player, 600 x 200 x 330 cm, audio (de) duration: 15:45 min.

    Agata Madejska, Installation view, ∼ =, Impuls Bauhaus, Zeche Zollverein, Essen, 2019

    Agata Madejska, Installation view, ∼ =, Impuls Bauhaus, Zeche Zollverein, Essen, 2019. Mistakes Were Made, 2018/19, fabric, steel, nylon fishing line, vinyl, speakers, cables, media player, 600 x 200 ...
  • Agata Madejska, Mistakes Were Made, 2018/19, fabric, steel, vinyl, speakers, cables, media player, 380 x 215 x 240 cm, audio (en) duration: 15:00 min. Installation view, Mother Mercury, Art Night London, 2019.

    Agata Madejska, Mistakes Were Made, 2018/19

    Agata Madejska, Mistakes Were Made, 2018/19, fabric, steel, vinyl, speakers, cables, media player, 380 x 215 x 240 cm, audio (en) duration: 15:00 min. Installation view, Mother Mercury, Art Night Lond...
  • Agata Madejska, Mistakes Were Made, 2018/19, fabric, steel, vinyl, speakers, cables, media player, 380 x 215 x 240 cm, audio (en) duration: 15:00 min. Installation view, Mother Mercury, Art Night London, 2019.

    Agata Madejska, Mistakes Were Made, 2018/19

    Agata Madejska, Mistakes Were Made, 2018/19, fabric, steel, vinyl, speakers, cables, media player, 380 x 215 x 240 cm, audio (en) duration: 15:00 min. Installation view, Mother Mercury, Art Night Lond...
  • Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Installation view, 2018

    Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Installation view, 2018

    Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Installation view, 2018

    Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, Simon says, 2018, coated aluminium, dimensions variable. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Simon says, 2018

    Agata Madejska, Simon says, 2018, coated aluminium, dimensions variable. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Installation view, 2018

    Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Copyright: Agata Madejska & VG Bild-Kunst http://www.bildkunst.de'>
    Agata Madejska, Loser's Loss, Winner's Gain, 2018, coated aluminium, 200 x 25 x 200 cm. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Loser's Loss, Winner's Gain, 2018

    Agata Madejska, Loser's Loss, Winner's Gain, 2018, coated aluminium, 200 x 25 x 200 cm. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Installation view, 2018

    Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, Where should we turn to in order to arrive where exactly?, 2018, poster, aluminium, 49 x 67 cm. Texts: Nina Franz, Rebekka Ladewig, Eva Wilson, Design: Studio Mathias Clottu. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Where should we turn to in order to arrive where exactly?, 2018

    Agata Madejska, Where should we turn to in order to arrive where exactly?, 2018, poster, aluminium, 49 x 67 cm. Texts: Nina Franz, Rebekka Ladewig, Eva Wilson, Design: Studio Mathias Clottu. Installat...
  • Agata Madejska, Voyage, Voyage, 2018, carpet, dimensions variable; Technocomplex, 2017, light sensitive coating on pewter. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Voyage, Voyage, 2018

    Agata Madejska, Voyage, Voyage, 2018, carpet, dimensions variable; Technocomplex, 2017, light sensitive coating on pewter. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, Mistakes Were Made, 2018, light sensitive emulsion on paper, perspex, steel, 20 x 31 cm & 20 x 34 cm. Installation view, Modified Limited Hangout, cabinet at Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Mistakes Were Made, 2018

    Agata Madejska, Mistakes Were Made, 2018, light sensitive emulsion on paper, perspex, steel, 20 x 31 cm & 20 x 34 cm. Installation view, Modified Limited Hangout, cabinet at Kunsthalle Wilhelmshaven, ...
  • Agata Madejska, Mistakes Were Made, 2018, light sensitive emulsion on paper, perspex, steel, 20 x 31 cm & 20 x 34 cm. Installation view, Modified Limited Hangout, cabinet at Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Mistakes Were Made, 2018

    Agata Madejska, Mistakes Were Made, 2018, light sensitive emulsion on paper, perspex, steel, 20 x 31 cm & 20 x 34 cm. Installation view, Modified Limited Hangout, cabinet at Kunsthalle Wilhelmshaven, ...
  • Agata Madejska, Mistakes Were Made, 2018, light sensitive emulsion on paper, perspex, steel, 20 x 31 cm.

    Agata Madejska, Mistakes Were Made, 2018

    Agata Madejska, Mistakes Were Made, 2018, light sensitive emulsion on paper, perspex, steel, 20 x 31 cm.
  • Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, Installation view, 2018

    Agata Madejska, Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, RISE 003 & RISE 002, 2018, digital c-type print, diasec matt, 160 x 121 cm & 160 x 116 cm. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.

    Agata Madejska, RISE 003 & RISE 002, 2018

    Agata Madejska, RISE 003 & RISE 002, 2018, digital c-type print, diasec matt, 160 x 121 cm & 160 x 116 cm. Installation view, Modified Limited Hangout, Kunsthalle Wilhelmshaven, 2018.
  • Agata Madejska, RISE, 2018. Installation view, ∼ =, Impuls Bauhaus, Zeche Zollverein, Essen, 2019.

    Agata Madejska, RISE, 2018

    Agata Madejska, RISE, 2018. Installation view, ∼ =, Impuls Bauhaus, Zeche Zollverein, Essen, 2019.