BLOK MAGAZINE

Critique Austria Belarus Berlin Bulgaria Czech Republic Germany Hungary Poland Ukraine 20.01.2020

The Best and Worst of Art in Central Europe in 2019

Karina Kottová and Piotr Sikora (Czech Republic), Anna Karpenko (Belarus), Marina Oprea (Romania), Adomas Narkevičius (Lithuania),Santa Hirsch (Latvia),Miroslava Urbanova (Slovakia),Gergely Nagy (Hungary), Indrek Grigor (Latvia), Oleksiy Radynski (Ukraine), Anna Remešová (Czech Republic), Anna Łazar (Poland), Vanessa Gravenor (Germany), Karolina Plinta, Piotr Policht, Adam Mazur (Poland)

The Photobloc: Central Europe in Photobooks

‘Ecology of Desire’. The Oskár Čepan Award 2019

‘What Whispers Are These?’ by Iza Tarasewicz at Galeria Krynki

In search of impact (yet again). Postartistic practices in the twenty-first century Poland

‘Web of Wet’ at Trafó Gallery

‘Dancing makes you as happy as a 2073,25 euro pay rise’ by Ines Karčáková at The House of the Lords of Kunštát

Of Mummies and Monuments

“Falling Out of Rhythm 2.0” by Márton Nemes & Małgorzata Szymankiewicz at BWA Warszawa

Pomniki mają coś wspólnego z mumiami.

The Best and Worst of Art in Central Europe in 2019

‘Galvanic Couple’ by Irina Lotarevich at Centre for Contemporary Art FUTURA

‘Photobloc. Central Europe in Photobooks’ at The International Cultural Centre in Cracow

Archive

‘Three Ways To Draw And One Way To Call For Attention’ by Ignacio Uriarte at Gaep Gallery