FOAF Warsaw, hosted by BWA Warszawa
Marina Faust, Matthieu Haberard, Amy O'Neill, Karol Radziszewski
BWA Warszawa hosting Gianni Manhattan (Vienna) + Kristina Kite (LA)

6-7.04.2019, 12-7 p.m.

BWA Warszawa: Karol Radziszewski
Gianni Manhattan: Matthieu Haberard, Marina Faust
Kristina Kite: Amy O'Neill

“Friend of a Friend” is a gallery–share initiative launched in 2018 with editions in Warsaw and Berlin. This year’s Warsaw edition will involve nine most-active galleries based in Poland’s capital, who will share their exhibition spaces with sixteen international gallery guests. One of the aims of the project is to create a different model for the presentation of contemporary art, to establish new networks within the Polish art scene and to enable local audiences to interact with the works of international artists, whose works were often not exhibited in Poland so far.

Marina Faust, born 1950 in Vienna; lives and works in Vienna and Paris.
Marina Faust’s practice originated in documentary photography before collaborating with Martin Margiela for almost 20 years. She also worked in interior photography and is an active contributor for the French art Magazine FROG.
Wybrane wystawy / Selected recent exhibitions: Klassentreffen, Werke aus der Sammlung Gaby und Wilhelm Schürmann, MUMOK, Vienna; Margiela, les années Hermès, Musée des Arts Décoratifs, Paris (2018); It’s Only You, Le Consortium, Dijon, France; The Archive Box, Corso Como, Milan / Laila, Tokyo / Artcurial, Vienna (2017); Franz West ARTISTCLUB, 21er Haus, Vienna; Le Mérite 2014-2016, Treize, Paris; The People’s Cinema, Salzburger Kunstverein, Austria (2016); New Ways of Doing Nothing, Kunsthalle Wien (2014); Reflecting Fashion, MUMOK, Vienna; Talk without Words (Christopher Wool), Marina Faust - Franz West, Franz West, Man with a Ball, Gagosian Gallery London (2012).
Matthieu Haberard’s practice is interested in the liminal zone between adulthood and childhood. Despite the extraordinary craftsmanship of his sculptures – each work is done in meticulously by hand, consciously ignoring easier technological production techniques such as 3D printing – the aspect of “un-learning” is dominant in his practice: Haberard is interested in the wild imagination of children that is often lost once adulthood is entered. His sculptures and textile works are an evocation of intuition found in children, a willed abandoning of reason, consequentiality and the constraints of language.
Haberard’s work, in all their playfulness, always harbour a darkness in them. “They unveil the resistance potential of fragmented, “real” and virtual identities because the artist has recognised the fact that we live in permanent state of war (physical, economic, political etc.). He wonders how much it contaminates our affects, how far we must go to resist it, or, conversely, in some cases, how we must remove ourselves from it in order to fight it. Matthieu Haberard makes new weapons for the youth: humble and popular shields, loaded with the power of innocence.”
Matthieu Haberard, born 1991 in Toulouse; lives and works in Paris. Recent exhibitions include 100%, Halle de la Villette, Paris (2019); Outside Our, Fondation Emerige, Paris; The Dance of Atoms, curated by Daiga Grantina, DOC, Paris; Beaux Amis, Wendy Gallery, Paris (2018); Sur La Route Après l'Insomnie, Gianni Manhattan, Vienna; Nos Ombres Devant Nous, Fondation Ricard, Paris (2017).

In Amy O’Neill’s artworks and installations, the past and present collude to reframe American haunts and histories through a lens that is both personal and political. A series of recent drawings borrows imagery from the artist’s collection of her childhood ‘Wish Books,’ large catalogues that department stores once produced in anticipation of the holidays. Transposed through O’Neill’s hand and eye, the festive advertisements take on a slightly warped sensibility, suggesting a darker undercurrent in childhood games and family fun. For Wish-book (2017), the wooden frame opens to allow a series of sketches to unfold; a veritable wish list of gifts and toys. O’Neill’s new series of gouaches, inspired by Hieronymus Bosch’s The Seven Deadly Sins, depicts scenes of the artist and her sisters painted from childhood photographs. The images portray the three girls dressed up for various holidays among other creatures and characters, creating colorful tableaus that feel deeply psychological. In O’Neill’s words, “I’m not nostalgic for a past that I only remember tangentially. These works aim at questioning how childhood souvenirs bring us to our current Trumpian juggernaut of telling tales. Or, as the cognitive psychologist Ulric Neisser once said about memory: ‘Out of a few stored bone chips we remember a dinosaur.” 
Amy O'Neill, born in 1971, lives and works in New York and has had numerous solo exhibitions including Swiss Institute, NY; MAMCO, Geneva; Wexner Center for the Arts, Columbus, OH; Sculpture Center, Long Island City, NY; Le Consortium, Dijon; and PS1/MOMA, Long Island City, NY. O’Neill also has several monographs and artist’s books, including Red Headed Stranger (Karma, 2014), Forests, Gardens & Joe’s (J & L Books/Centre Culturel Suisse, Paris, 2011), The Old Woman’s Shoe (One Star Press, 2009) and Amy O’Neill: Suburban Imagination (JRP Ringier, 2008).

Karol Radziszewski (b. 1980) lives and works in Warsaw (Poland) where he received his MFA from the Academy of Fine Arts in 2004. He works with film, photography, installations and creates interdisciplinary projects. His archive-based methodology, crosses multiple cultural, historical, religious, social and gender references. Since 2005 he is publisher and editor-in-chief of DIK Fagazine. Founder of the Queer Archives Institute. His work has been presented in institutions such as the National Museum, Museum of Modern Art, Zacheta National Gallery of Art, Warsaw; Whitechapel Gallery, London; MoMA Warsaw, Kunsthalle Wien, Vienna; New Museum, New York; VideoBrasil, Sao Paulo; Cobra Museum, Amsterdam; Wroclaw Contemporary Museum, Museum of Contemporary Art in Krakow and Muzeum Sztuki in Lodz. He has participated in several international biennales including PERFORMA 13, New York; 7th Göteborg Biennial; 4th Prague Biennial and 15th WRO Media Art Biennale.
The project spans a series of paintings drawn from Radziszewski’s childhood illustrations, serving as a commentary on the political events taking place in Poland at the turn of 1989/1990 – as only a nine-year-old could. The scaled up drawings has been transferred straight from his sketchbooks onto the canvas: the iconic SOLIDARITY symbol, the heroes of those times set within a scene peopled by the typical juvenile imaginarium: mermaids, animals and princesses.