Aneta Grzeszykowska’s photographs and video use dark, probing humor to explore sexuality,
feminism, and the construction (and violent erasure) of the self. Over the past two decades,
Grzeszykowska has used performance, photography, sculpture, and video to investigate the multiplicities of the self, the history of feminism and the phenomenology of her respective mediums. Grzeszykowska’s art draws her into the arena of Donna Harraway’s womancyborg.
In breaking with the old, outdated schema, faded frames and post-romantic, patriarchal phantasms, she retains an unpredictability and hybridity that lies beyond the confines of the dual-channel possibilities of identity, connecting that which is human with what is technical, the organic with the synthetic, male and female, alluring and repugnant,
and, particularly in the case of her latest works, the artistic and the non-artistic.
Aneta Grzeszykowska’s (b. 1974, Warsaw, Poland) work has been exhibited at Haus der Kunst,
Munich, DE; Kunstforum tu Darmstad, Darmstad, DE; The Francisco Carolinum Museum for
Modern and Contemporary Art, Linz, AT; Raster, Warsaw, PL; MOCAK Museum of
Contemporary Art, Krakow, PL; Contemporary Art Museum, St. Louis, US; Heidelberger
Kunstverein, Heidelberg, DE; Fotografiska Stockholm, Stockholm, SE; Fotomuseum
Winterthur, Winterthur, CH; Zachęta National Gallery of Art, Warsaw, PL; Ludwig Museum of
Contemporary Art, Budapest, HU; Museo de Arte Moderno, Mexico City, MX; and Walker Art
Center, Minneapolis, US; among many others. Her work is included in several museum
collections, including the Solomon R. Guggenheim Museum, New York; Centre Pompidou,
Paris; San Francisco Museum of Modern Art, San Francisco; Fotomuseum Winterthur,
Winterthur; Hammer Museum, Los Angeles; Museum of Modern Art, Warsaw; Sammlung
Verbund, Vienna; and many others. Grzeszykowska is represented by Raster Gallery and Lyles & King. She lives and works in Warsaw.
Barbara London is a New York–based curator, writer, and educator best known for founding the video and media art exhibition and collection programs at The Museum of Modern Art, where she worked from 1973 to 2013. Her recent projects include the acclaimed book Video/ Art: The First Fifty Years (Phaidon, 2020), the podcast series Barbara London Calling, and the traveling exhibition Seeing Sound (Independent Curators International, 2020–24). London’s writing has appeared in leading publications such as Artforum, Yishu, Leonardo, Art Asia Pacific, Art in America, and Modern Painter. She currently teaches in the Sound Art Department at Columbia University and previously taught in Yale University’s Graduate Art
Program (2014–2019).
