Filip Rybkowski

Marching 2025 Instalation 210 x 180 x 170 cm „Witkacy probably created his famous Multiple Portrait in 1917. The artist’s photographic self-portrait was taken in one of the photographic studios in St Petersburg (then Petrograd) during the First World War. It shows the artist in a Russian army officer’s uniform. Witkacy, volunteered to the front lines of the Great War, enlisting in the Tsarist army in December 1914; he remained in the military until early 1918. The photograph depicting a multiplied Witkacy – often interpreted as an image of the modern disintegration of the ‘self’ and the post-war, traumatic decomposition of the male subject’s identity – is not an isolated work in the context of the era. Taking trick photographs, with specially positioned mirrors, of soldiers leaving for the front was a popular cultural practice in Russia at the time. However, the popularity of this type of photography is older. It dates back to the late 19 th century, when the technique was invented and patented in the United States. ‘American fun’, as this method of photography was then called in Poland, was a common practice until the 1940s. It attracted the interest not only of Witkacy, but also of other artists. Among others, Umberto Boccioni (circa 1907), Wacław Szpakowski (1912) and, at the same time as Witkacy, Marcel Duchamp (1917) commissioned multiple portraits of themselves. (…)” from curatorial text by: Wojciech Szymański 📷 1. @maetwu 2, 3, 4. @meta_strong_fiction

Posture Study (sculpture)2023 acrylic, marble dust, fiberglass, metal, vice 33 × 50 × 44 cm Until 01.07 at exhibition 🦴 with Displacement in wanda gallery Warsaw @wandagallery_warsaw #contemporaryart #sculpture #contemporarysculpture #exhibition #artgallery #bones #spine #posture

Target 2026 plaster, paper, lead, aluminium, acrylic and gouache on plywood 125 x 160 cm

The work is an in situ spatial arrangement. It consists of Władysław Strzemiński’s Seascape, painted in 1934 in tempera on cardboard, and a wall designed by Rybkowski and built for the exhibition, on which the painting of the author of Theory of Seeing has been placed. Rybkowski’s work is a space designed by the artist to present the work of another artist. Rybkowski thus evokes another paradigmatic space of this kind: the Neoplastic Room in Łódź (1948), intended by Strzemiński for the works of other avant-garde artists. The seascape for which the wall was designed is one of several works by Strzemiński from the 1930s in which the artist dealt with this theme. Andrzej Turowski called these works biomorphic landscapes, commenting on them as follows: ‘In Seascapes, the infinite space of the blue sky and water, supported by the horizontal arrangement of the painting emphasising the undefined horizon line, was the background for transparent, white and navy-blue patches and soft lines. They resembled clouds flowing in different layers and con figurations.’1 The clouds that Turowski saw in Strzemiński’s landscape were placed by Rybkowski on a wall painted with a colour resembling the blue hue of the horizon, the eponymous horizon blue. In this way, the clouds painted by Strzemiński found themselves in the sky painted by Rybkowski. ‘Bleu horizon’ as the name of a specific colour did indeed function in the French-speaking fashion world at the end of the 19th century, but it gained popularity during World War I, when the blue of the horizon became the basic colour of French army uniforms. The reason for switching colours was pragmatic: the infantry in their pre-war blue and red uniforms were too easy a target for German artillery and snipers. Fragment of text by Wojciech Szymański A Theory of Clouds The loan of Władysław Strzemiński’s work was made possible thanks to @muzeumsztuki A Theory of Clouds @mocak_krakow

◖ Open call KAF Young Art Prize 2026 trwa! ◖ Na Wasze zgłoszenia czekamy do 31 marca. A dziś poznajcie 6-osobowe jury, które będzie miało trudne zadanie wytypowania osób uczestniczących w finale konkursu (🇬🇧 English version below) ◖ Christelle Havranek @christellehavranek - główna kuratorka Kunsthalle Praha @kunsthallepraha ◖ Lucía García @luciewalls - Dyrektorka Generalna iMAL – Centrum Sztuki i Kultury Cyfrowej w Brukseli @imal_brussels ◖ Filip Rybkowski @filiprybkowski - artysta wizualny i laureat pierwszej edycji konkursu, ◖ Livia Klein @liviaklein_ - niezależna kuratorka z Wiednia, ◖ Katarzyna Młyńczak-Sachs @mlynczaksachs - prezeska Krupa Art Foundation ◖ Przewodniczącą komisji jest Sylwia Krupa @sylwiakrupa1 , fundatorka i członkini Rady Fundacji KAF-u. To właśnie ta szóstka ostatecznie zadecyduje o składzie wystawy finałowej i wynikach KAF Young Art Prize 2026. Mamy nadzieję, że dzięki Waszym zgłoszeniom nie będą mieć łatwego zadania! Szczegóły konkursu: youngartprize.krupaartfoundation.pl (link jest w bio) ◖ The KAF Young Art Prize 2026 open call is on! ◖ There’s still time to apply - submissions are open until March 31. Today we would like to introduce the six-member jury who will select the artists invited to the final stage of this year’s competition. Meet our jury: ◖ Christelle Havranek @christellehavranek - Chief Curator at @kunsthallepraha ◖ Lucía García @luciewalls - Director of @imal_brussels ◖ Filip Rybkowski @filiprybkowski - visual artist and winner of the first edition of the competition ◖ Livia Klein @liviaklein_ - independent curator based in Vienna ◖ Katarzyna Młyńczak-Sachs - President of Krupa Art Foundation ◖The jury is chaired by Sylwia Krupa - founder and member of the KAF Foundation Council Together they’ll decide which artists make it to the final exhibition and who will become the winner of KAF Young Art Prize 2026. We hope your submissions will make their task a real challenge! Find out more: youngartprize.krupaartfoundation.pl Photos: Vojtech Veškrna (1), Davide Grillo (2), Wojtek Chrubasik (3), Kunstdokumentation (4), Bartek Sadowski (5), Alicja Kielan (6)

„Course of Bordelines” 2025 Plaster, paper, glass, lead, aluminium, acryl and gouache on dibond (PCV, aluminium) 100 x 100 cm

Floor Plan 2025 290 x 140 cm On display @mocak_krakow „A Theory of Clouds” till 15 February. Curated by: Wojciech Szymański

Votive Posses 2025 80 x 139 x 42 cm On display @mocak_krakow „A Theory of Clouds” till 15 February. Curated by: Wojciech Szymański

Equalizers 2025 95 x 100 cm each On display @mocak_krakow „A Theory of Clouds” till 15 Feburary. Curated by: Wojciech Szymański

Course of Borderlines 2025 On display at the exhibition „There Used to Be a Ballroom” at @trafo_szczecin Curated by: @weedczak

Exhibition view „It Used to Be a Ballroom” @trafo_szczecin Site-specific instalation from series reconstruction

„There Used to Be a Ballroom” 2025 310 x 200 cm aluminium, concrete, wood, plywood, PCV, acrylic and vinyl mass, epoxy resin, oil and acrylic paint. On display at the exhibition „There Used to Be a Ballroom” at @trafo_szczecin Curated by: @weedczak