Up-and-coming Polish artist Weronika Gęsicka has attracted attention in recent years with her Traces series of photomontages using American stock photos from the 1950s and 60s. Reconstructing photos with a touch of dark humour, she paints over the memory, making visible the unspoken conﬂicts and desires that lie hidden inside the happy-looking people in the pictures. In works that house a new presence, a transformed “truth” is revealed, and the vintage furniture-ﬁlled exhibition space gives viewers the sensation of having lost their way in a parallel other-dimension world.
Weronika Gęsicka, born in 1984 in Włocławek (Poland). Graduated from the graphics department of the Academy of Fine Arts in Warsaw and the Academy of Photography in the same city. She received a scholarship from the polish Minister of Culture and National Heritage. Weronika is doing projects about memory and its mechanisms. She is interested in the scientific and pseudoscientific theories, mnemonics and various disorders concerning it. Her main field of activity is photography, but she also create objects and artifacts, often in collaboration with craftsmen and sometimes with other artists.An important part of her art is working with archive materials of various sources. These are both image banks or images found on the Internet and police archives or old press photography. She has done several exhibitions including a solo show I remember my birth (The Museum of Modern Art in Warsaw, 2018), and a group show Foam Talent (Foam Photography Museum, Amsterdam, 2017-2018).
Marina Amada (Curator)
Specialized in an organized chaos, she is an independent curator and art project producer, active in France, U.S. and Japan. Most recently, she curated “Seuils de Visibilité by George Brecht, Yona Friedman, Christian Marclay and others” (2016, CNEAI=) and “Paysages de Portraits by Makiko Tanaka” (2018, Marina Amada Art Projects Space Paris) as well as coordinated the production of the “PAN by Taro Izumi” (2017, Palais de Tokyo.) She is on the board of “Artist for a Day,” a project which conducted over 30 art workshops with the emerging artists in Tohoku regions of Japan in the after mass of the Great East Japan Earthquake. She is a contributing writer for the Art Media Agency (AMA.) She also serves as the Chief Operating Officer of the KYOTOGRAPHIE 2019, while she curates for this exhibition.