juliusz grabianski

Forgot to share but my copies of Meta.space arrived a while ago 😍 You can have a read of the essay on my website xo Once again a massive thank you to @markusreindlat @docmue_fa @fc_linz @ok_linz !

Two works from my new project are being shown in New York tomorrow, Friday 23rd of August at JDJ (370 Broadway) 🇺🇸 🍏 Morphic Resonance is a sculptural project inspired by the symbols found in crop circles alongside trance record covers from the 90s and the early 2000s. It consists of five 3D printed sculptures hung in front of glass-mounted prints collating images from crop circle literature and archives. The project explores the visual and thematic overlap between crop circles and trance album artwork - namely esoteric symbols which promise answers to age-old questions and known unknowns, tapping into an intuitive way of understanding the world around us through visual language. Many such symbols made their way from crop circles to the artworks of trance albums, which, despite being designed over two decades ago, feel inherently futuristic. Perhaps the nostalgia we feel for the sounds and symbols of a past era represents a longing for a time where we were able to be more optimistic about our futures; a future nostalgia. Our current inability to imagine alternative futures leads us to glamourise what has come before: a feeling of “being born in the wrong generation”. The present seems unfixable, so instead we fantasise about eras gone by. This manifests itself in a fetish for outdated technology - the analogue nature of vinyl ties these records to a specific geographic area as well as a moment in time. Pressed on small runs, they are artefacts from a time just before globalisation made subcultures obsolete. Similarly, crop circles tend to appear within specific geographic locations, most famously Wiltshire in South West England. Referencing cymatics, sacred geometry, and other alternative knowledge, the ability to recognise these symbols signifies belonging to a certain in-group, not intended to be mainstream. Perhaps what both of these symbolise is a yearning for a connection with the local, a subculture with genuine meaning that cannot be appropriated by the mainstream. In a time when even the most niche aesthetics end up on Shein within weeks of gaining traction, we long for a world where some aspects of our lives were not yet digitised. @sandt500

Personal fav from DOOMWASHING 💥 “Lorebuilding exercises” (2023) Also, in case you missed the show, here’s the exhibition statement: As we watch the world burn and societies collapse, we can’t help but wonder: what makes the apocalypse so sexy? According to the Strauss–Howe generational theory, western history repeats itself in 80 year cycles. The very end of each cycle, known as the Crisis, is what we are living through right now. A single glance at the news would be enough to send a Victorian child into a coma - and yet, at a time of imminent catastrophe, dystopian aesthetics proliferate in all aspects of culture. From fashion and cinema, to art and music, apocalypse is so very in. What is the appeal of the apocalypse? Is our death drive alive and well, or perhaps are we craving a fresh start, a blank slate to start with instead of fixing what’s broken? Or maybe our obsession with the gloomy is a defence mechanism - if the future has been cancelled and we’re all heading towards our demise, we might as well look good doing it. Nuclear anxieties are back, but the Cold War panic seems to have spread beyond the atomic bomb - incomprehensible technologies dictate almost every aspect of our lives. Historically, technology has often been described as Satan’s work, and after all, the apocalypse has religious origins. Perhaps we are living at the end of times - or perhaps everyone else before us thought so too.

The third (and final) addition to my meme book series is finally here 📚 Brainrot Archives is a collection of my favourite memes from the past 18 months. Archiving digital content has been on my mind a lot lately, so it felt appropriate to make one last addition to this project. DM me if you’d like to buy a copy - and if you happen to already own both of the previous editions, I’ll also add a custom collectors box 😙

Thank you to everyone who made it to our public apology during V&A Friday Late last month. Have we been forgiven? 🥹 Curators: Carrie Chan and Kristian Volsing Producers: Adonis Fuyana and Faunsia Tucker Photo: @hydardewachi

Kawaii Agency is getting sued. The charges? Desecration of good taste (but not even in a based way). The evidence? Appalling (but we will show it and you can be the jury). The punishment? A public apology (but will you forgive?) Follow the trial live at V&A Friday Late next week 👀

Snippet from my new video No Hashtags, No Caption 📼

Perfect Pitch 2025 Sapele wood, wax, dye, Perfect Pitch fragrance oil From duo show Knotted Timelines at @seagergallery with @chaney_dms 💾

Install photos of No Hashtags, No Caption - my new video starring @emily_izen_row 🤳 Thank you to everyone who made it to Knotted Timelines at @seagergallery with @chaney_dms ❤️‍🔥

Mnemosyne (2025) Epoxy resin, flies Currently on show in Knotted Timelines duo exhibition with @chaney_dms at @seagergallery 🪰

WIP for my duo show with @chaney_dms opening in 9 days 👀 I will be showing a new video starring @emily_izen_row (and potentially Rihanna??) PV 6-9pm on the 29th May at @seagergallery 🪰