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AGNIESZKA MASTALERZ

Born in 1991, Poland.
Lives and works in Warsaw, PL.

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BIOGRAPHY

Agnieszka’s work revolves around mechanisms of control and the processes that influence and exploit the individual. Through a poetic visual language, she analyzes restrictive rules imposed within intimate relationships, communities, states, corporations, and towards the natural environment. Rooted in research, her practice is primarily video-based, often integrating scientific imaging techniques and performative elements.


She is a graduate of the Studio of Spatial Activities by Mirosław Bałka at the Academy of Fine Arts in Warsaw and a former student of Candice Breitz and Eli Cortiñas at the Hochschule für Bildende Künste in Braunschweig. Her works were recently presented at Krupa Art Foundation (Wroclaw), Museum of Contemporary Art (Krakow), Manifesta 14 (Prishtina), MAXXI – National Museum of 21st Century Art (Rome), Center for Contemporary Art Luigi Pecci (Prato), Palazzo Strozzi (Florence), Wschód Gallery (Warsaw), Catinca Tabacaru Gallery (Bucharest), Starak Family Foundation in and Museum of Modern Art (Warsaw). The artist was a resident of Muzeum Susch in Switzerland and the Artist Development Program at the European Investment Bank Institute in Luxembourg. Her upcoming residencies include Akademie Schloss Solitude in Stuttgart (2025), Vila 31 x Art Explora in Tirana (2026), and MuseumsQuartier in Vienna (2027). Her works are part of Fondazione in Between Art Film by Beatrice Bulgari, Ergo Hestia Group, European Investment Bank, and Warsaw Ghetto Museum, as well as private collections.

SELECTED PRESS AND TEXTS

SELECTED EXHIBITIONS

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"Agnieszka Mastalerz's work manages in subtle and very elegant way to reveal the anxieties and frictions inherent to our collectivity and the way in which the individual inserts itself into the social dynamics aimed at his or her control and directing. Indeed, there is always a sort of internal dichotomy to each work, in which a vital and organic element meets with and bumps into something artificial and inorganic, sometimes wanting to direct and control the chaotic part of the organic. And even the atmosphere, that classical and Apollonian construction of the image, always carries within itself a tiny hint of a possible decomposition."

SELECTED WORKS

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