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Ewa Axelrad, Breakblood Breaksoil Breakwater II, 2018, Soft silicone filled with air, 70 x 50 x 50 cm overall

Ewa Axelrad, Let’s go. Yes, let’s go (They do not move), 2017, Black aluminum foil, mixed media site-specific installation at Bold Tendencies

Ewa Axelrad, Shtamah #1, 2017, Still frame from video, 4K resolution video, 4’ 35’’

Ewa Axelrad, Anomalia. From the series Minimum, Necessary, Objectively Reasonable, 2015 Resin, 100 x 100 x 75cm

Ewa Axelrad, Warm Leatherette, 2012, vinyl, steal, foam, 120cm x 60cm x 60cm

Ewa Axelrad, Fetor. Greetings, 2014, Photograph, 9.5 × 26.9 cm

MARCH 2022 - A PERSONAL STATEMENT FROM THE ARTIST:

"I didn't see it coming. How can you be so deeply consumed by things that matter to you most one day and feel nothing, absolutely nothing, towards it the next? That's what happened to me and my work a couple of years ago and the silence that followed is a result of this bizarre state of mind. So if I ignored your emails, messages, if I was a pain to communicate with, it's not because I don't care, it's because I couldn't get my head around it and didn't know what to say. After all, art was the only thing I ever did. 

I never went into art to experience the lightness of being. The murkiness of the area of research I was drawn to was eventually more than I could take and I could never develop a healthy distance that would keep me diving deep into the work and be happy outside of art at the same time. So here I am, happy at last and stepping away from my practice. This doesn’t take away from the work I have already made and doesn’t mean I will never make art again. But for now, I've moved towards the things in life that make me happy. 

All this is insignificant enough in the context of what's happening in the world right now, but it's good to come clean at least out of respect for those who supported my practice over the years and who brought meaning to the conversation. I couldn't list everyone I'd like to thank here, so I thank you all instead."






Ewa Axelrad’s practice comprises predominantly of installation, photography and moving image. Among the recurring subjects in her practice violence is explored in interpersonal and collective relations, and its manifestations in everyday objects and architectural settings. It is the very potential for a shift in power that lies at the heart of these interests, the possibility that the current dynamics of power may change from one moment to the next. Axelrad’s research is informed mainly by specific events from the past, from personal recollection to collective memory. She is also interested in the role of aesthetics and design in the interplay of certain social dynamics. Several of her projects concentrate on the ambiguous relationships in which an attractive surface misleads the attention to the point of revealing its underlying opposite. Her works are often confrontational, full of tension and simultaneously evoke both allure and repulsion.

Ewa Axelrad has been exhibited internationally, including the solo exhibitions Shtamah, Copperfield, London (2017); Shtamah, Wrocław Contemporary Museum, Wrocław (2017); Satis, The Ryder, London (2017); Minimum, Necessary, Objectively Reasonable, BWA Warszawa, Warsaw (2015); Warm Leatherette, BWA Warszawa, Warsaw (2013); Plague: Description, BWA Warszawa at Winter Salon, Warsaw (2012); Vk, Czytelnia Sztuki, Museum in Gliwice (2012); ORANƵ, Ende Neu in Biala Gallery, Lublin (2011); SUCHE, Arsenal Gallery, Poznan (2011).

Select group shows include Danser sur un volcan
Frac, Franche-comté, Besançon, France (2021); Hazard Profile, Copperfield London (2020); Olaph the Oxman, Copperfield London (2019); ‘Three Plagues’, Galeria La birynt, Lublin (2019) Waiting for Another Coming, Centre of Contemporary Art Ujazdowski, Warsaw (2018); Artistry, Art Collection of Orońsko, Centre of Polish Sculpture in Orońsko, Orońsko (2018); Waiting for Another Coming, Contemporary Art Centre (CAC), Vilnius (2018); Stand-off, BWA Contemporary Art Gallery, Katowice (2018); British Summer Time (BST), Copperfield Gallery, London (2018); Beyond the River, Albertinum Dresden at Neues Schloss und Park, Bad Muskau (2018); The State is Not a Work of Art, Tallinn Art Hall, Tallinn (2018); Ideal –Types, HE.RO Gallery, Amsterdam (2018); Artistry – 100 Years of Polish Sculpture, Art Museum Bourse, National Museum, Riga (2018); White Memory – 1989/2018 in Malta and Poland, St James Cavalier, Valletta (2017 - 2018); VIEWS 2017, Deutsche Bank Foundation Award, exhibition of nominated artists, Zachęta National Gallery, Warsaw (2017); Let's go. Yes, let's go. (They do not move), site-specific commission for Bold Tendencies, London (2017); We have the weights, we have the measures, Copperfield London, London (2017); The Dynamics of Decline, BWA Warszawa, Warsaw (2017); After the Rally, Studio Gallery, Warsaw (2016); Money to Burn, Zacheta National Gallery  of Art, Warsaw (2016); The Touch,  Centre of Polish Sculpture in Oronsko at BWA Kielce (2016); Members' Show, selected by Lynda Morris and Chris Rawcliff, Outpost, Norwich (2016); Rozproszone Widownie, Galeria Art Stations, Stary Browar, Poznań (2016); Labour Relations, Wrocław Contemporary Museum, Wrocław (2016); Memory At Last. Art in Poland: 1989-2016, Galleria civica di Modena, Palazzina dei Giardini, Modena (2016); The Silence of Sounds, Wrocław Contemporary Museum, Wrocław (2016); Contemporary Art from Poland, European Central Bank, Frankfurt am Mein (2016); Art at first sight, FWD: gallery, Poznań (2016); Myth, Europe House Georgia and Center for Contemporary Art Tbilisi, Georgia (2015); Love Me Tender, BWA, Gorzów Wielkopolski (2015); Crisis is Just a Beginning, SIC! BWA Wroclaw, Wroclaw (2015); State of Life. Polish Contemporary Art within a Global Circumstance, National Art Museum of China, Beijing (2015); Prohibited Acts, SURVIVAL 13. Art Review, Wrocław (2015); Procedures for the head. Polish Art Today, Kunsthalle Bratislava, Slovakia (2015); Diabły, Ende Neu, Galeria Biała, Centre for Culture, Lublin (2014); People Are Strange, BWA, Olsztyn (2014); Mediations Biennale, CK Zamek, Poznań (2014); Wracając do Źródeł, Galeria Arsenał, Poznań (2014); Czech Pope, Małopolski Ogród Sztuki, Kraków (2014); As You Can See. Polish Art Today, Museum of Modern Art, Warsaw (2014); On Generation and Corruption, BWA Contemporary Art Gallery in Katowice (2014); Czech Pope, Meet Factory, Prague (2014); What Can Be Described Can Also Take Place, Botkyrka Konsthall, Stockholm (2013); Epidemic, Centre of Contemporary Art in Torun (2013); The Handy Ones, Arsenal Gallery, Poznań (2013); Withered, Kisterem Gallery, Budapest (2013); Warsaw: The Day After…, Galerija Vartai, Vilnius (2013); Alphaville, Griffin Art Space and BWA Warszawa, Warsaw (2012); The Impossible Heap, Galerie8, London (2012); Aaakupunktura, Kordegarda, Warsaw (2012); Arbeitsdisziplin, Arsenal Gallery, Poznań (2012); Anti-Library, [ S P A C E ], London (2011); The Institute of Mental Health is Burning, Newport Museum and Art Gallery, Newport (2011); Guerrillas, Arsenal Gallery, Poznań (2011); MIR, Arsenal Gallery, Bialystok (2011); SHOW One, Royal College of Art, London (2010); EASTinternational, Norwich (2009); The Voies Off Festival, Arles, France (2009); I Like All These Pictures, Starter Gallery, Poznań (2009). She has been recently nominated for 2017 edition of the biannual Deutsche Bank Foundation Award Views 2017 for Polish artists under 36. Ewa Axelrad has also been selected to participate in the 8th edition of Views 2017 - Deutsche Bank Award, Zachęta  National Gallery of Art.



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For her most recent solo exhibition with the gallery please click here.

To view the most recent group show with the gallery including work by Eve Axelrad click here.