Artists: Paweł Althamer, Mirosław Bałka, Krzysztof M. Bednarski, Marek Chlanda, Tomasz Ciecierski, Oskar Dawicki, Stanisław Dróżdż, Pola Dwurnik, Stefan Gierowski, Grzegorz Klaman, Jarosław Kozłowski, Ewa Kulasek, Jadwiga Maziarska, Włodzimierz Pawlak, Józef Robakowski, Jacek Sempoliński, Maria Stangret, Jonasz Stern, Andrzej Szewczyk, Janusz Tarabuła, Leon Tarasewicz, Jan Tarasin, Tomasz Tatarczyk, Witold Urbanowicz, Zbigniew Warpechowski, Faig Ahmed, Daniel Arsham, Alpin Arda Bağcık, Feiko Beckers, Anatolij Biełow, Ahmad Canaan, Guido Casaretto, Jan Christensen, Louisa Clement, Josef Dabernig, Maya Gold, Leopold Kessler, Krištof Kintera, Ragnar Kjartansson, Marek Kvetán, Ane Lan, Frodo Mikkelsen, Sofie Muller, Julian Opie, Yigal Ozeri, Erna Rosenstein, Kourosh Salehi, Deborah Sengl, Lee Seung-hee, Daniel Spoerri, Ai Weiwei, Heimo Zobernig.
The new exhibition of the MOCAK Collection consists of two distinct and very different parts. The first one is Polish collection of Josef Kloppenborg. The works that are presented at the exhibition were purchased in 2016. The collection comprises works created by 15 artists in the years 1959–2003. We have decided to show them in a single exhibition, since they are all a part of a distinct collector concept – a broad presentation of abstraction. The drawings and paintings on display show different perspectives on abstraction. There is abstract representation of nature, analysis of colour, a recording of emotions; Jonasz Stern and Tomasz Ciecierski create their own symbolic alphabet.
In the second of these, we present the sculpture and objects that the Museum has acquired in the last three years. We show the works by Faig Ahmed, Alpin Arda Bağcik, Daniel Arsham, Feiko Beckers, Krzysztof M. Bednarski, Guido Casaretto, Jan Christensen, Sofie Muller, Deborah Sengl, Lee Seung-hee, Daniel Spoerri, Zbigniew Warpechowski.
We intend to change the arrangement of the Collection twice a year – in spring and late autumn – linking the new exhibition to different issues. Each facet will introduce at least half new works. The rotation principle is not a typical museum practice. In the vast majority of museums exhibitions remain unchanged for years. In the case of MOCAK, such serial approach results from the desire to enliven the environment of the works, to set in motion their different interpretations, depending on the context that they find themselves in, and to initiate a dialogue between the works.