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'Self-fulfilling Prophecy', a Group Show at Piktogram, Warsaw

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Daniela & Linda Dostálková, We Are Still the Same and You Are Always More, 2018
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Anna Uddenberg, Finger VI, 2018
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Lindsay Lawson, The Weeper, 2018
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Zuza Golińska, installation view
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Zuza Golińska, installation view
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Lindsay Lawson, Pundit, 2018
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Damon Sfetsios, installation view
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Damon Sfetsios, installation view
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Lindsay Lawson, installation view
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Lindsay Lawson, installation view
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Lindsay Lawson, Nope, 2017
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Lindsay Lawson, installation view
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Lindsay Lawson, installation view
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Zuza Golińska, Piercer series, 2018
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Daniela & Linda Dostálková, Quality: Flexibility, 2016
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Daniela & Linda Dostálková, Quality: Flexibility, 2016
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Daniela & Linda Dostálková, Acid Rain and The Labours of Hercules: Capture Slay Obtain Steel, 2017
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Daniela & Linda Dostálková, The Labours of Hercules: Capture Slay Obtain Steel, 2017
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Daniela & Linda Dostálková, Fable Not Fable, 2018

Writing curatorial notes for exhibitions is an essential task for any commercial gallery as they often serve as the first introduction to the show for the public, collectors, and most importantly, press. Exhibition notes can have a major effect on whether people visit, review, and ultimately buy from exhibitions. An exhibition note should be alluring. That is its primary purpose, so it should be written with this in mind. Nonetheless, galleries sometimes approach the exhibition note as an afterthought or secondary element of a show, which results in a missed opportunity to address an audience and shape their opinions, feelings, and expectations for a gallery and its programming. 

The exhibition note shouldn’t be written as an academic essay. This style is alienating in this kind of text and often doesn’t even impress the scholarly set, as it devolves into jargon. One should avoid obscure, “creative” forms of writing like poems, stream-of-consciousness rants, quotes from works of fiction, or terse elliptical statements. The exhibition note should be precise and describe what works will be on view, what they will look like, and how they fit into the artists' previous practice, as well as those of their peers. 

* based on Alex Bacon’s text for Artsy

21.9.18 — 27.10.18

Daniela & Linda Dostálková, Krystian Truth Czaplicki, Zuza Golińska, Lindsay Lawson, Damon Sfetsios, Anna Uddenberg

Photo by Bartosz Gorka

Piktogram 

'The Chase' by Jürgen Baumann at Material, Zurich

'The Host' by Pakui Hardware at eastcontemporary, Milan

'Chlamydomonas Nivalis' by Alberto Tadiello at Umberto Di Marino Gallery, Napoli

'The Centre' by Patrick Cole and Dominic Watson at Kupfer, London

'Ghost Member: Prosthesis/ Symbiosis as a shelter' by Naomi Maury at L'Assaut de

'I show you the signs of life' by Alina Izmaylova at Kerka gallery, Saint-Petersb

'I Don't Want No Trouble' by Lucas Erin at All Stars, Lausanne

'The Grime and the Schmutz' by Béla Feldberg at Jo-Anne, Frankfurt am Main

'Night of Hinnā' by Monia Ben Hamouda at Bungalow, ChertLüdde, Berlin

'Getting Down to Business' by Rebecca Rothenborg at Galerie Roland Puschitz, Vien

'Why Me?' by Pietro Agostoni at Associazione Barriera, Turin

'Holloway - ‘Das Gift’ is a Gift' by Céline Struger at Loggia, Vienna

'Under the Moon' Group Show at Camp Eternal Hell Chamber, New York

'SUPER-NATURAL', Group Show at OLHÃO, São Paulo

'Body Electric' by Zuza Golinska at Galerie Anton Janizewski, Berlin

'Almost Collapsing Balance' by Liao Wen at Capsule Shanghai

Curated by: 'HARDCORE FREEDOM' by Esben Weile Kjær at Zeller van Almsick, Vienna

anonymous, naïve ca. 1970– at Money Gallery, Saint Petersburg

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