Ogłoszenie Shortlisty. Allegro Prize 2021 | Contemporary Lynx - print and online magazine on art & visual culture

Agata Jarosławiec
Agata Jarosławiec
Agata Jarosławiec
Agata Jarosławiec
Agata Jarosławiec

Andrii Dostliev (photo by Lia Dostlieva)
Andrii Dostiliev, “Soviet Ukrainian photography of the 1930s, Polaroid No. 3”, 2020
Andrii Dostivev, “OST: Unbekannt I”, 2021
Andrii Dostivev, “Jemand wichtig VI”, 2020
Andrii Dostliev (photo by Lia Dostlieva)
Andrii Dostiliev, “Soviet Ukrainian photography of the 1930s, Polaroid No. 3”, 2020
Andrii Dostivev, “OST: Unbekannt I”, 2021
Andrii Dostivev, “Jemand wichtig VI”, 2020
Andrii Dostliev (photo by Lia Dostlieva)
Andrii Dostiliev, “Soviet Ukrainian photography of the 1930s, Polaroid No. 3”, 2020
Andrii Dostivev, “OST: Unbekannt I”, 2021
Andrii Dostivev, “Jemand wichtig VI”, 2020
Andrii Dostliev (photo by Lia Dostlieva)
Andrii Dostiliev, “Soviet Ukrainian photography of the 1930s, Polaroid No. 3”, 2020
Andrii Dostivev, “OST: Unbekannt I”, 2021
Andrii Dostivev, “Jemand wichtig VI”, 2020
Andrii Dostliev (photo by Lia Dostlieva)
Andrii Dostiliev, “Soviet Ukrainian photography of the 1930s, Polaroid No. 3”, 2020
Andrii Dostivev, “OST: Unbekannt I”, 2021
Andrii Dostivev, “Jemand wichtig VI”, 2020

Anna Baumgart, photo by Barbara Maroń
Anna Baumgart, photo by Barbara Maroń
Anna Baumgart, photo by Barbara Maroń
Anna Baumgart, photo by Barbara Maroń
Anna Baumgart, photo by Barbara Maroń

Anna Perach, credits Roberta Segata, courtesy Centrale Fies
Anna Perach, Rusalka, performance documentation 2021, tufted yarn 175x78x60cm,
Anna Perach, Luna, 2021, tufted yarn, synthetic hair and wooden stand, 185x140x 90cm
Anna Perach, The Moon Prophecy, 2021 installation view
Anna Perach, credits Roberta Segata, courtesy Centrale Fies
Anna Perach, Rusalka, performance documentation 2021, tufted yarn 175x78x60cm,
Anna Perach, Luna, 2021, tufted yarn, synthetic hair and wooden stand, 185x140x 90cm
Anna Perach, The Moon Prophecy, 2021 installation view
Anna Perach, credits Roberta Segata, courtesy Centrale Fies
Anna Perach, Rusalka, performance documentation 2021, tufted yarn 175x78x60cm,
Anna Perach, Luna, 2021, tufted yarn, synthetic hair and wooden stand, 185x140x 90cm
Anna Perach, The Moon Prophecy, 2021 installation view
Anna Perach, credits Roberta Segata, courtesy Centrale Fies
Anna Perach, Rusalka, performance documentation 2021, tufted yarn 175x78x60cm,
Anna Perach, Luna, 2021, tufted yarn, synthetic hair and wooden stand, 185x140x 90cm
Anna Perach, The Moon Prophecy, 2021 installation view
Anna Perach, credits Roberta Segata, courtesy Centrale Fies
Anna Perach, Rusalka, performance documentation 2021, tufted yarn 175x78x60cm,
Anna Perach, Luna, 2021, tufted yarn, synthetic hair and wooden stand, 185x140x 90cm
Anna Perach, The Moon Prophecy, 2021 installation view

Latifa Zafar Attaii
Latifa Zafar Attaii, Self Portrait
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii
Latifa Zafar Attaii, Self Portrait
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii
Latifa Zafar Attaii, Self Portrait
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii
Latifa Zafar Attaii, Self Portrait
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii
Latifa Zafar Attaii, Self Portrait
Latifa Zafar Attaii, Untitled
Latifa Zafar Attaii, Untitled

Boedi Widjaja, photo by Jim Orca
Installation view of Black–Hut, Black–Hut (2019-20) co-commissioned by the Singapore Art Museum and QAGOMA for the Singapore Biennale 2019 curated by Patrick Flores, and supported by LWC Alliance. Photo by Cher Him and courtesy of the artist.
Stills of A tree rings, a tree sings 树龄°述铃 (2021) commissioned by The Institutum for Open to Interpretation conceived by Boon Hui Tan, co-presented with Gasworks, London, and supported by the National Arts Council. Image courtesy of the artist.
Installation view of Art is only a continuation of war by other means (flags) (2019) presented in Declaration of at Helwaser Gallery, New York. Photo by Phoebe d’Heurle and courtesy of the gallery and the artist.
Boedi Widjaja, photo by Jim Orca
Installation view of Black–Hut, Black–Hut (2019-20) co-commissioned by the Singapore Art Museum and QAGOMA for the Singapore Biennale 2019 curated by Patrick Flores, and supported by LWC Alliance. Photo by Cher Him and courtesy of the artist.
Stills of A tree rings, a tree sings 树龄°述铃 (2021) commissioned by The Institutum for Open to Interpretation conceived by Boon Hui Tan, co-presented with Gasworks, London, and supported by the National Arts Council. Image courtesy of the artist.
Installation view of Art is only a continuation of war by other means (flags) (2019) presented in Declaration of at Helwaser Gallery, New York. Photo by Phoebe d’Heurle and courtesy of the gallery and the artist.
Boedi Widjaja, photo by Jim Orca
Installation view of Black–Hut, Black–Hut (2019-20) co-commissioned by the Singapore Art Museum and QAGOMA for the Singapore Biennale 2019 curated by Patrick Flores, and supported by LWC Alliance. Photo by Cher Him and courtesy of the artist.
Stills of A tree rings, a tree sings 树龄°述铃 (2021) commissioned by The Institutum for Open to Interpretation conceived by Boon Hui Tan, co-presented with Gasworks, London, and supported by the National Arts Council. Image courtesy of the artist.
Installation view of Art is only a continuation of war by other means (flags) (2019) presented in Declaration of at Helwaser Gallery, New York. Photo by Phoebe d’Heurle and courtesy of the gallery and the artist.
Boedi Widjaja, photo by Jim Orca
Installation view of Black–Hut, Black–Hut (2019-20) co-commissioned by the Singapore Art Museum and QAGOMA for the Singapore Biennale 2019 curated by Patrick Flores, and supported by LWC Alliance. Photo by Cher Him and courtesy of the artist.
Stills of A tree rings, a tree sings 树龄°述铃 (2021) commissioned by The Institutum for Open to Interpretation conceived by Boon Hui Tan, co-presented with Gasworks, London, and supported by the National Arts Council. Image courtesy of the artist.
Installation view of Art is only a continuation of war by other means (flags) (2019) presented in Declaration of at Helwaser Gallery, New York. Photo by Phoebe d’Heurle and courtesy of the gallery and the artist.
Boedi Widjaja, photo by Jim Orca
Installation view of Black–Hut, Black–Hut (2019-20) co-commissioned by the Singapore Art Museum and QAGOMA for the Singapore Biennale 2019 curated by Patrick Flores, and supported by LWC Alliance. Photo by Cher Him and courtesy of the artist.
Stills of A tree rings, a tree sings 树龄°述铃 (2021) commissioned by The Institutum for Open to Interpretation conceived by Boon Hui Tan, co-presented with Gasworks, London, and supported by the National Arts Council. Image courtesy of the artist.
Installation view of Art is only a continuation of war by other means (flags) (2019) presented in Declaration of at Helwaser Gallery, New York. Photo by Phoebe d’Heurle and courtesy of the gallery and the artist.

Kent Chan
Kent Chan, Dew Point, 2021
Kent Chan, Hot House, 2020
Kent Chan, Seni, 2019
Kent Chan
Kent Chan, Dew Point, 2021
Kent Chan, Hot House, 2020
Kent Chan, Seni, 2019
Kent Chan
Kent Chan, Dew Point, 2021
Kent Chan, Hot House, 2020
Kent Chan, Seni, 2019
Kent Chan
Kent Chan, Dew Point, 2021
Kent Chan, Hot House, 2020
Kent Chan, Seni, 2019
Kent Chan
Kent Chan, Dew Point, 2021
Kent Chan, Hot House, 2020
Kent Chan, Seni, 2019

Ephemeral Intersects, 1, as 1 in 2, 2016- 2017 , 80 * 80 cms, Edition of 3, Print on wood Installation of old found windows, wood, glas, rests of paintings, variable dimensions
Ephemeral Intersects, Assonances, 2016 – 70,5 * 57,1 cm , Analogue Hand made Print on FUJI DP II matt Paper
Durchkonstruierte Situation, exhibition‘s view, NCCA, Kaliningrad Installation, 2 photographs, 61.6 * 58.6 cm, 57.1 * 70.5 cm, Analogue hand Print on FUJI DP II matt paper, 3 photographs, 80 * 80 cm, Print on wood, Drawing, 84.1 x 118.9 cm, Canson Art 180 g / m2, 6 found laths, 2 – 2.60 m, found window parts, 1.20 m long
Ephemeral Intersects, 1, as 1 in 2, 2016- 2017 , 80 * 80 cms, Edition of 3, Print on wood Installation of old found windows, wood, glas, rests of paintings, variable dimensions
Ephemeral Intersects, Assonances, 2016 – 70,5 * 57,1 cm , Analogue Hand made Print on FUJI DP II matt Paper
Durchkonstruierte Situation, exhibition‘s view, NCCA, Kaliningrad Installation, 2 photographs, 61.6 * 58.6 cm, 57.1 * 70.5 cm, Analogue hand Print on FUJI DP II matt paper, 3 photographs, 80 * 80 cm, Print on wood, Drawing, 84.1 x 118.9 cm, Canson Art 180 g / m2, 6 found laths, 2 – 2.60 m, found window parts, 1.20 m long
Ephemeral Intersects, 1, as 1 in 2, 2016- 2017 , 80 * 80 cms, Edition of 3, Print on wood Installation of old found windows, wood, glas, rests of paintings, variable dimensions
Ephemeral Intersects, Assonances, 2016 – 70,5 * 57,1 cm , Analogue Hand made Print on FUJI DP II matt Paper
Durchkonstruierte Situation, exhibition‘s view, NCCA, Kaliningrad Installation, 2 photographs, 61.6 * 58.6 cm, 57.1 * 70.5 cm, Analogue hand Print on FUJI DP II matt paper, 3 photographs, 80 * 80 cm, Print on wood, Drawing, 84.1 x 118.9 cm, Canson Art 180 g / m2, 6 found laths, 2 – 2.60 m, found window parts, 1.20 m long
Ephemeral Intersects, 1, as 1 in 2, 2016- 2017 , 80 * 80 cms, Edition of 3, Print on wood Installation of old found windows, wood, glas, rests of paintings, variable dimensions
Ephemeral Intersects, Assonances, 2016 – 70,5 * 57,1 cm , Analogue Hand made Print on FUJI DP II matt Paper
Durchkonstruierte Situation, exhibition‘s view, NCCA, Kaliningrad Installation, 2 photographs, 61.6 * 58.6 cm, 57.1 * 70.5 cm, Analogue hand Print on FUJI DP II matt paper, 3 photographs, 80 * 80 cm, Print on wood, Drawing, 84.1 x 118.9 cm, Canson Art 180 g / m2, 6 found laths, 2 – 2.60 m, found window parts, 1.20 m long
Ephemeral Intersects, 1, as 1 in 2, 2016- 2017 , 80 * 80 cms, Edition of 3, Print on wood Installation of old found windows, wood, glas, rests of paintings, variable dimensions
Ephemeral Intersects, Assonances, 2016 – 70,5 * 57,1 cm , Analogue Hand made Print on FUJI DP II matt Paper
Durchkonstruierte Situation, exhibition‘s view, NCCA, Kaliningrad Installation, 2 photographs, 61.6 * 58.6 cm, 57.1 * 70.5 cm, Analogue hand Print on FUJI DP II matt paper, 3 photographs, 80 * 80 cm, Print on wood, Drawing, 84.1 x 118.9 cm, Canson Art 180 g / m2, 6 found laths, 2 – 2.60 m, found window parts, 1.20 m long

Ewa Ciepielewska, photo by Linda Jajuży
Ewa Ciepielewska, photo by Linda Jajuży
Ewa Ciepielewska, photo by Linda Jajuży
Ewa Ciepielewska, photo by Linda Jajuży
Ewa Ciepielewska, photo by Linda Jajuży

Federico Estol, Credit Lucía Piñeyrua
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Credit Lucía Piñeyrua
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Credit Lucía Piñeyrua
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Credit Lucía Piñeyrua
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Credit Lucía Piñeyrua
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo
Federico Estol, Heroes del Brillo

Gabor Koos, photo by Benkó Zsuzsanna
Gabor Koos, 20-year-old forest, woodcut, frottage installation, 2015, Meetfactory, Prague
Gabor Koos, untitled, chimera project, site specific installation, printmaking
Gabor Koos, USA DIary (Redwood), woodcut installation, 2020
Gabor Koos, photo by Benkó Zsuzsanna
Gabor Koos, 20-year-old forest, woodcut, frottage installation, 2015, Meetfactory, Prague
Gabor Koos, untitled, chimera project, site specific installation, printmaking
Gabor Koos, USA DIary (Redwood), woodcut installation, 2020
Gabor Koos, photo by Benkó Zsuzsanna
Gabor Koos, 20-year-old forest, woodcut, frottage installation, 2015, Meetfactory, Prague
Gabor Koos, untitled, chimera project, site specific installation, printmaking
Gabor Koos, USA DIary (Redwood), woodcut installation, 2020
Gabor Koos, photo by Benkó Zsuzsanna
Gabor Koos, 20-year-old forest, woodcut, frottage installation, 2015, Meetfactory, Prague
Gabor Koos, untitled, chimera project, site specific installation, printmaking
Gabor Koos, USA DIary (Redwood), woodcut installation, 2020
Gabor Koos, photo by Benkó Zsuzsanna
Gabor Koos, 20-year-old forest, woodcut, frottage installation, 2015, Meetfactory, Prague
Gabor Koos, untitled, chimera project, site specific installation, printmaking
Gabor Koos, USA DIary (Redwood), woodcut installation, 2020

Gaia Bellini, Sindoni vegetali. Ironia della sorte_detail of the sign of the acqua alta of venice_botanical print on canvas_350x150 cm_year 2019
Gaia Bellini, Alizarina. Variazioni di luce_artist_s book_19 x 13 x 2 cm_research dyeing_year 2020
Gaian Bellini, Sindoni vegetali. Dittico all_infinito_botanical print on canvas_40x30 cm_year 2020
Gaia Bellini, Sindoni vegetali. Ironia della sorte_detail of the sign of the acqua alta of venice_botanical print on canvas_350x150 cm_year 2019
Gaia Bellini, Alizarina. Variazioni di luce_artist_s book_19 x 13 x 2 cm_research dyeing_year 2020
Gaian Bellini, Sindoni vegetali. Dittico all_infinito_botanical print on canvas_40x30 cm_year 2020
Gaia Bellini, Sindoni vegetali. Ironia della sorte_detail of the sign of the acqua alta of venice_botanical print on canvas_350x150 cm_year 2019
Gaia Bellini, Alizarina. Variazioni di luce_artist_s book_19 x 13 x 2 cm_research dyeing_year 2020
Gaian Bellini, Sindoni vegetali. Dittico all_infinito_botanical print on canvas_40x30 cm_year 2020
Gaia Bellini, Sindoni vegetali. Ironia della sorte_detail of the sign of the acqua alta of venice_botanical print on canvas_350x150 cm_year 2019
Gaia Bellini, Alizarina. Variazioni di luce_artist_s book_19 x 13 x 2 cm_research dyeing_year 2020
Gaian Bellini, Sindoni vegetali. Dittico all_infinito_botanical print on canvas_40x30 cm_year 2020
Gaia Bellini, Sindoni vegetali. Ironia della sorte_detail of the sign of the acqua alta of venice_botanical print on canvas_350x150 cm_year 2019
Gaia Bellini, Alizarina. Variazioni di luce_artist_s book_19 x 13 x 2 cm_research dyeing_year 2020
Gaian Bellini, Sindoni vegetali. Dittico all_infinito_botanical print on canvas_40x30 cm_year 2020

Gosia Lehmann, photo credits Emma Backlund
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Falling Upwards, Photo credits Andy King
Gosia Lehmann, photo credits Emma Backlund
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Falling Upwards, Photo credits Andy King
Gosia Lehmann, photo credits Emma Backlund
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Falling Upwards, Photo credits Andy King
Gosia Lehmann, photo credits Emma Backlund
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Falling Upwards, Photo credits Andy King
Gosia Lehmann, photo credits Emma Backlund
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Divine Interventions
Gosia Lehmann, Falling Upwards, Photo credits Andy King

Harold García, La Mode Pratique, What Dresses Me Undresses Me, 2020, Watercolor On Paper, Digital Photo On Dibond, Painted Mural, Dimensions Variable
Harold García, La Mode Pratique, Watercolor, Pencil On Paper, La bel alligator back scratcher, Dimensions Variable
Harold García, La Mode Pratique, MadameEverglades, 2021, Watercolor On Paper, 22×30
Harold García, La Mode Pratique, What Dresses Me Undresses Me, 2020, Watercolor On Paper, Digital Photo On Dibond, Painted Mural, Dimensions Variable
Harold García, La Mode Pratique, Watercolor, Pencil On Paper, La bel alligator back scratcher, Dimensions Variable
Harold García, La Mode Pratique, MadameEverglades, 2021, Watercolor On Paper, 22×30
Harold García, La Mode Pratique, What Dresses Me Undresses Me, 2020, Watercolor On Paper, Digital Photo On Dibond, Painted Mural, Dimensions Variable
Harold García, La Mode Pratique, Watercolor, Pencil On Paper, La bel alligator back scratcher, Dimensions Variable
Harold García, La Mode Pratique, MadameEverglades, 2021, Watercolor On Paper, 22×30
Harold García, La Mode Pratique, What Dresses Me Undresses Me, 2020, Watercolor On Paper, Digital Photo On Dibond, Painted Mural, Dimensions Variable
Harold García, La Mode Pratique, Watercolor, Pencil On Paper, La bel alligator back scratcher, Dimensions Variable
Harold García, La Mode Pratique, MadameEverglades, 2021, Watercolor On Paper, 22×30
Harold García, La Mode Pratique, What Dresses Me Undresses Me, 2020, Watercolor On Paper, Digital Photo On Dibond, Painted Mural, Dimensions Variable
Harold García, La Mode Pratique, Watercolor, Pencil On Paper, La bel alligator back scratcher, Dimensions Variable
Harold García, La Mode Pratique, MadameEverglades, 2021, Watercolor On Paper, 22×30