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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 

'Power must grow, if it doesn't grow it rots' by Dominika Trapp at Karlin Studios

'Flags' by Troels Wörsel at C.C.C., Copenhagen

☼ by chukwumaa + Zoë Argires at New Works, Chicago

'By working the soil we cultivate the skies' by KINDERSPIELE at Macao, Milan

'Sunshine' by Kanrec Sakul at VUNU Gallery, Košice

'DID YOU KISS THE SPOT TO MAKE IT WELL – A tribute to Jadran Sturm (1957-2019)' a

'Mostra collettiva di pittura da Sasha', a Group Show in Corso Brescia 23, Turin

'Multiplexx' by Hélène Fauquet at Schiefe Zähne, Berlin

'SLAG' by Marco Ceroni at GALLLERIAPIU, Bologna

'GLOBAL CRISES – Kunst & Klimata' by Tilman Hornig & Daniel Schramm at C. Rockefe

'Tonguing the fence' by Rebecca Ackroyd at Lock Up International, London

Bronte Stolz at Discordia, Melbourne

'Feeble Core' by Joppe Venema at CLAPTRAP, Antwerp

'Le pays du soleil', a Group Show at Futura, Prague

'In This Light I Can Count Your Lives' by Philip Hinge, Final Hot Desert, Goblin

'Bar None' by Mathis Collins at 15 Orient, New York

'Però no tinc temps...' by Paco Chanivet, Guillermo Ros at Espai Tactel Toormix,

'La ragazza di città' by Lucia Leuci at TEMPESTA gallery, Milan

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