Curatorial Notes
Over the centuries, Poland has always been a country in struggle, squeezed between the Germanic nation and the Russian one, which, albeit under different political entities, have made Polish land a terrain of conflict and conquest. In XX Century, the modernity of the real socialistic society has actually brought new problems. The “new” individual had been uprooted from his culture, he had lost his reference values, he had lost his freedom of thought. But, paradoxically, after 1989 there was a risk of becoming addicted to consumerism, another kind of moral decay, no less dangerous than the one people risked under communism.
But consumerism also means exploitation of resources and human
beings. Art must push for a return to nature, both for practical reasons of combating climate change and for ethical reasons of inclusion and respect towards every living being. Not a return to the “state of nature”, but an adoption of the practices and thinking of nature to build a new model of society. Paweł Ruszkowski thinks that a strategy for further modernization of Poland is urgently needed, in the construction of educational programs in support of the pro-modernization attitudes present in individual classes.
With this in mind, it is important not to forget one’s roots; to build the future it is also necessary to look behind to the past. Entry into modernity can take place by recovering the relationship with nature, not only from a biophysical point of view, but above all mental, imagining nature as a series of practices of harmony, inclusion, respect and coexistence.
Podgórski’s paintings will recreate the thousand shades of the natural environment,
immerse the observer in a universe of silence, leaves, monumental trunks, shaded areas; Podgórski’s paintings also celebrate the grandeur of nature, its shapes who recall architecture, echoing Mickiewicz, who was the first to use the term “natural monument” in his Pan Tadeusz. Podgórski pays homage to great landscape painter Stanisław Witkiewicz, but instead of a naturalistic and realistic approach, he chooses magical realism, made of suspended, misty, fairy-tale and introspective atmospheres, which invite to silence and introspection, to consider a new ecology of relationships based on solidarity and inclusiveness.
At the other end of Podgórski’s pictorial investigation, you can find the city which, at least until yesterday, was the antithesis of nature, the celebration of technical and industrial progress, as well as of power and wealth. The city means oppression, combined with hedonism and greed. Podgórski conceives it like a Phoenix who emerges from its own ashes in the middle of the wood; his urban landscapes, which recall modernist painting and the tradition of the still life, create a strong atmosphere that suggests the necessity of a new balance with surrounding nature.
A new ecology of the individual is needed, to find a balance with the modernity and market economy, an ecology where the individual is a living being and not as a “consuming” being. Jan Gwalbert Pawlikowski wrote it in 1913: we can reach the pinnacle of cultural development only by carefully respecting and protecting the natural heritage.
Niccolò Lucarelli
Rafał Podgórski BIOGRAPHY Rafał Podgórski, born in Koszalin in 1984, is a Polish painter renowned for his experimental and versatile approach to art. A graduate of the Academy of Fine Arts in Gdańsk, he obtained his PhD in arts in 2015 with a thesis exploring the mythology of painting structures in the context of Polish modernist architecture. This intellectual depth informs his creative work, which is defined by a blend of traditional techniques and cutting-edge experimentation. Podgórski’s artistry is marked by its thematic depth and adaptability. His works explore contrasts between human-made order and the wild unpredictability of nature, often reflecting his fascination with geometry, architecture, and organic chaos. His thought-provoking series and projects, such as Human.Nature, delve into existential and environmental dialogues. Over his two-decade career, Podgórski has produced more than 200 works and participated in solo and group exhibitions across Europe, including in Germany, Austria, and Switzerland. Highlights include his exhibition Mythen und Zahlen in Karlsruhe, the touring Junge Kunst aus Polen project, and the recent Human.Nature series in Szczecin, which juxtaposes human attempts at imposing order with nature’s inherent unpredictability. His innovative techniques include lithography, screen-printing fused with glass, and large-scale light-sensitive painting experiments. These works often explore themes of structure, chaos, and coexistence, engaging deeply with architecture, geometry, and organic forms. An accomplished educator and innovator, Podgórski has developed pioneering teaching methods, sharing his artistic insights while continuing to redefine the boundaries of contemporary painting.
Niccolò Lucarelli BIOGRAPHY Niccolò Lucarelli holds a degree in International Studies and is an art critic for Artribune and Contemporary Lynx. He also works as an independent curator and has signed exhibition projects in Italy, Europe and Africa; his curatorial research is dedicated in particular to the impact of socio-political topics on the artistic practice, and the engagement of the artists toward these topics. As a military historian, he collaborates with Italian Army General Staff and writes for «Rivista Militare; he has published some volumes on the World War II and Italian colonialism, including Le Camicie Nere in Africa 1923-1943 (Mursia, 2023).
Rafał Podgórski, You were the peacock of nations by Julisz Słowacki (after Jan Weenix), 2024
Rafał Podgórski, Swan in the city (after Jan Asselijn), 2024
[Top of the page] Rafał Podgórski, Holy Cow, 2024