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Bogumil Ksiazek is a Polish painter and an intellectual. He was born in Cracow in 1974. After the graduation at the Cracow’s Academy of Fine Arts, the artist has lived and worked in Florence for many years. The Italian Culture and History of Art has deeply influenced and inspired his research. For Ksiazek, the practice of painting is a subject itself. His work explores intercultural themes with an exhistentialist approachand a strong focus on human condition.The eclectic fusion of abstract with a surrealistic figuration, create his very unique painting signature. The construction of the image, is frequently juxtaposed to swirling pictorial textures, almost informal tangles that deconstruct it, crush it and then return it with new and more complete essence in a mix of northern european pictorial memories and a mediterranean touch which gives a “warm” note to it. Currently he lives and works in Cracow, collaborating with galleries, museums and  Institutions as well as teaching at the Academy of Fine Art . His works have been exhibited widely across Europe. They can be found in Museums and Institutions (a vast collection of the artist has been purchased by Frissiras Museum of Athens).

Selected one man show:

  • 2015   Kilka papierów, Academy of Fine Art, Cracow
  • 2014   Sandhofer Gallery, Salzburg
  • 2014   Aprodi, Castello Acaya, Italia
  • 2014   Bocheńska Gallery, Warsaw
  • 2013   Myth, Water and Vapour, Lisa Norris Gallery, London
  • 2013   Enea and Diogene, Otwarta Pracownia, Cracow 
  • 2012   Una Bella Settimana, Academy of Fine Art, Cracow
  • 2010   Transgresja & Nostalgia, Rostworowski Galery, Cracow
  • 2009   Wizja Lokalna, Bogumił Książek, Galeria Grodzka, Cracow
  • 2005   Bogumił Książek Pittura, Noto, Sicily
  • 2001   Galeria Młodych, Cracow
  • 1995   Cafe Dym, Cracow

Group exhibition:

  • 2014  Desiderata, A 100 Gallery, Galatina, Italia
  • 2013  Thanassis Frissiras Gallery, Athens
  • 2013  The Deceit of the Flesh, Frissiras Museum, Athens
  • 2012  Face to Face, Frissiras Museum, Athens
  • 2011  Black&White, Frissiras Museum, Athens
  • 2010  Dom I Bezdomność, BWA Częstochowa
  • 2010  Naked Truth, Frissiras Museum, Athens
  • 2008  The New Power of Painting, Frissiras Museum, Athens
  • 2007  38 Biennale malarstwa „Bielska Jesień”, BWA Bielsko Biała
  • 2007  Profilo d’Arte, Museo della Permanente, Milan
  • 2007  Eclectic Affinities Among European Artists, Frissiras Museum
  • 2005  37 Biennale malarstwa „Bielska Jesień” , BWA Bielsko Biała
  • 2005  No da definire Noto, Sicily
  • 2002  Trzy po trzy, Galeria Młynek, Cracow
  • 2002  Female Life, Warsaw
  • 2002  Młodzi malarze z Krakowa, Napiórkowska Gallery, Warsaw
  • 2001 Grądman, Książek, Studzińska, Stankiewicz,Galeria Młodych, Cracow
  • 2001  Art East Debrecen, Hungary
  • 2000 1540km- 957miles, St.Martin’s College, London
  • 1999  13 obrazów, Klub pod Ręką, Cracow
  • 1999  Grafika Malarzy, Klub pod Ręką, Cracow

“That exact same “no man’s land” seems the place-not place where the Diogenes lives and acts, reinvented by Bogumil Ksiazek. Comfortably lying on a crib, it is painted on a large canvas in which a blow of gestual nature corresponds to the confirmation of a formidable dialogical relationship between the research of the Cracow artist and a pictorial syntax that he himself declares as strictly connected to the History of Italian Art. "Silenzioso mi ritiro a dipingere un quadro": the famous painting by Mimmo Paladino represents an extraordinary example to understand the value of the pictorial gesture, the importance of the solitary action - in the four walls of a studio - of the painter. Of course Bogumil does not take specific iconographic or attitudes from the works of the Transavanguardia artists. But, like the magnificent five led by A.B.O., he goes through the history of art with a method, again, of a nomadic root, both in the themes and in the styles adopted. And its landing coincides with a cycle of works that narrate the anonymous stories of today's travellers, especially those who consider the sea as a territory of hope, a chance to live better or simply to live. His Diogenes carries with him the spiritual rectitude of the philosopher who lived in ancient Greece, but Bogumił updates it and offers him the appearance of a sort of contemporary guru, almost a veteran of a utopian era we all desire. The apparent serenity of certain scenes contrasts with a dormant drama that once again is the result of a remixing of visions and looks. And so “his” Aeneas appears, who along with other figures of Greek and Roman mythology personifies the ideal of the traveller, the man who lives a thousand adventures and then landed in a safe harbour.”

(Extracted from the critical text by Lorenzo Madaro, "Approdi")

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