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Ewa Juszkiewicz

Ewa Juszkiewicz, Sisters (after Anton Graff), 2014 Oil on canvas, 56 × 45 ¾ inches (142 × 116 cm)© Ewa Juszkiewicz

Ewa Juszkiewicz, Sisters (after Anton Graff), 2014

Oil on canvas, 56 × 45 ¾ inches (142 × 116 cm)
© Ewa Juszkiewicz

Ewa Juszkiewicz, Untitled (after Alexander Roslin), 2018 Oil on canvas, 31 ½ × 23 ⅝ inches (80 × 60 cm)© Ewa Juszkiewicz. Photo: Bartosz Gorka

Ewa Juszkiewicz, Untitled (after Alexander Roslin), 2018

Oil on canvas, 31 ½ × 23 ⅝ inches (80 × 60 cm)
© Ewa Juszkiewicz. Photo: Bartosz Gorka

Ewa Juszkiewicz, Untitled (after Louis Leopold Boilly), 2019 Oil on canvas, 78 ¾ × 63 inches (200 × 160 cm)© Ewa Juszkiewicz. Photo: Bartosz Gorka

Ewa Juszkiewicz, Untitled (after Louis Leopold Boilly), 2019

Oil on canvas, 78 ¾ × 63 inches (200 × 160 cm)
© Ewa Juszkiewicz. Photo: Bartosz Gorka

Ewa Juszkiewicz, Untitled (after Élisabeth Louise Vigée Le Brun), 2020 Oil on canvas, 63 × 47 ¼ inches (160 × 120 cm)© Ewa Juszkiewicz

Ewa Juszkiewicz, Untitled (after Élisabeth Louise Vigée Le Brun), 2020

Oil on canvas, 63 × 47 ¼ inches (160 × 120 cm)
© Ewa Juszkiewicz

Ewa Juszkiewicz, Untitled (after Joseph Wright), 2020 Oil on canvas, 63 × 49 ¼ inches (160 × 125 cm)© Ewa Juszkiewicz

Ewa Juszkiewicz, Untitled (after Joseph Wright), 2020

Oil on canvas, 63 × 49 ¼ inches (160 × 125 cm)
© Ewa Juszkiewicz

Ewa Juszkiewicz, Untitled (Élisabeth Louise Vigée Le Brun), 2020 Oil on canvas, 51 ¼ × 39 ⅜ inches (130 × 100 cm)© Ewa Juszkiewicz

Ewa Juszkiewicz, Untitled (Élisabeth Louise Vigée Le Brun), 2020

Oil on canvas, 51 ¼ × 39 ⅜ inches (130 × 100 cm)
© Ewa Juszkiewicz

About

I wish to tell a new tale and create my own language: ambiguous, dense, natural, and organic.
—Ewa Juszkiewicz

Ewa Juszkiewicz’s oil portraits of women turn genre conventions inside out. Beginning by producing a likeness of a historical European painting—her sources date from the Renaissance through the nineteenth century—she expertly imitates the original’s technique and style but replaces the subject’s face with a surreal or grotesque distortion. In some compositions, the Polish artist swathes her sitter’s head in folds of fabric or lush floral arrangements; in others, she redirects an elaborately plaited hairstyle to shield the woman’s face from view. The results of this process narrate a history of effacement and erasure that runs throughout the Western canon of female portraiture.

Born in Gdańsk, Poland, Juszkiewicz lives and works in Warsaw. She earned an MA in painting from the Akademia Sztuk Pięknych, Gdańsk, in 2009, and a PhD from the Akademia Sztuk Pięknych im. Jana Matejki, Krakow, in 2016. Juszkiewicz began her female portrait series in 2011 and continues to explore the unsettling possibilities it holds out, evoking the uncanny without compromising the aesthetic harmony of the images from which she works. Classical in method but subversive, eerie, even rebellious in content, her paintings deconstruct ideals of feminine beauty and the contexts in which they have arisen and persist.

In 2015, Juszkiewicz produced a series of paintings of artworks considered missing, or lost to theft, fire, or conflict. Using archival photographs, she re-created these originals, replacing missing colors and details with her own interpretations. Selecting subjects based on their nostalgic evocation of her own losses, she entwines the shared and the secret, underscoring the commonality of memory. In paintings from 2020, she treats the female body and head in a quasi-sculptural manner, assembling precise depictions of hair, leaves, and fabric into hybrid creatures in which the worlds of nature and the senses are interlaced with storied images and symbols. Interested in contrasts, contradictions, and seemingly incompatible juxtapositions, Juszkiewicz analyzes and transforms the past—in dialogue with the modern-day—broadening our interpretation of history through change and deconstruction.

Ewa Juszkiewicz

Photo: courtesy the artist

Fairs, Events & Announcements

Gagosian’s booth at Art Basel Hong Kong 2022. Artwork, left to right: © Georg Baselitz; © Louise Bonnet; © Zeng Fanzhi; © 2019 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved; © Rudolf Stingel. Photo: Martin Wong

Art Fair

Art Basel Hong Kong 2022

May 27–29, 2022, booth 1C15
Hong Kong Convention and Exhibition Centre
www.artbasel.com

Gagosian is pleased to participate in Art Basel Hong Kong 2022 with an ensemble of contemporary works by international artists. The gallery’s presentation will feature works by artists including Georg BaselitzLouise BonnetEdmund de WaalUrs FischerKatharina GrosseMark GrotjahnJennifer GuidiSimon HantaïHao LiangDamien HirstThomas HouseagoTetsuya IshidaAlex IsraelEwa JuszkiewiczRick LoweTakashi MurakamiAlbert OehlenNam June PaikGiuseppe PenoneRudolf PolanszkySterling RubyEd RuschaJenny SavilleJim ShawRudolf StingelSpencer SweeneyRachel Whiteread, and Zeng Fanzhi.

Gagosian’s booth at Art Basel Hong Kong 2022. Artwork, left to right: © Georg Baselitz; © Louise Bonnet; © Zeng Fanzhi; © 2019 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved; © Rudolf Stingel. Photo: Martin Wong

Jonas Wood, Clipping Plate, 2021 © Jonas Wood

Fundraiser

Artist Plate Project 2021
Coalition for the Homeless

Launching November 16, 2021, 10am est

Limited-edition bone china plates produced by Prospect and featuring artwork by more than forty artists—including Virgil Abloh, Urs Fischer, Helen Frankenthaler, Alex Israel, Ewa Juszkiewicz, Ed Ruscha, Sarah Sze, Tom Wesselmann, Jonas Wood, and Christopher Wool—will be sold through Artware Editions to raise funds for the Coalition’s lifesaving programs. The funds raised by the sale of the plates will provide food, crisis services, housing, and other critical aid to thousands of people experiencing homelessness and instability. The purchase of one plate can feed one hundred homeless and hungry New Yorkers.

Jonas Wood, Clipping Plate, 2021 © Jonas Wood

Gagosian’s booth at Frieze New York 2021. Artwork, front to back: © Rachel Feinstein, © Ewa Juszkiewicz. Photo: Dawn Blackman

Art Fair

Frieze New York 2021
Rachel Feinstein and Ewa Juszkiewicz

May 5–9, 2021, booth B7
The Shed, New York
frieze.com

Gagosian is pleased to announce its participation in Frieze New York at the Shed, the first in-person art fair of 2021 in the United States, with sculptures by Rachel Feinstein and paintings by Ewa Juszkiewicz.

Inspired by Baroque and Rococo sculpture, religious iconography, Romantic landscapes, and popular culture, Feinstein explores taste and desire, synthesizing elegance and kitsch. Juszkiewicz’s meticulously precise oil portraits also draw on traditions of classical European painting—her sources date from the Renaissance through the nineteenth century—but with added touches of the surreal, the fantastical, and the grotesque.

Gagosian’s booth at Frieze New York 2021. Artwork, front to back: © Rachel Feinstein, © Ewa Juszkiewicz. Photo: Dawn Blackman

Museum Exhibitions

Ewa Juszkiewicz, Ginger Locks, 2021 © Ewa Juszkiewicz

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Fire Figure Fantasy
Selections from ICA Miami’s Collection

May 12–October 16, 2022
Institute of Contemporary Art, Miami
icamiami.org

Fire Figure Fantasy is the first exhibition to showcase the permanent collection of the Institute of Contemporary Art, Miami, with a focus on recent acquisitions. The presentation revolves around important focal points of the collection: social justice, newly emerging technologies, and recent global crises that challenge and reconfigure museum institutions themselves. Work by Louise Bonnet and Ewa Juszkiewicz is included.  

Ewa Juszkiewicz, Ginger Locks, 2021 © Ewa Juszkiewicz

Installation view, Des corps, des écritures: Regards sur l’art d’aujourd’hui, Musée d’Art Moderne de Paris, April 20–August 28, 2022. Artwork, left to right: © Guillaume Maraud, © Jim Shaw. Photo: © Pierre Antoine

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Des corps, des écritures
Regards sur l’art d’aujourd’hui

April 20–August 28, 2022
Musée d’Art Moderne de Paris
www.mam.paris.fr

This exhibition, whose title translates to Bodies, Writings: A Look at Today’s Art, highlights a selection of artworks created between 1973 and 2022 that were recently acquired by the museum. The works on view explore two distinct but organically linked themes: writing as a form or expression, resistance, or testimony; and the body and its representation, particularly in the context of societal changes. Work by Ewa Juszkiewicz and Jim Shaw is included.

Installation view, Des corps, des écritures: Regards sur l’art d’aujourd’hui, Musée d’Art Moderne de Paris, April 20–August 28, 2022. Artwork, left to right: © Guillaume Maraud, © Jim Shaw. Photo: © Pierre Antoine

Ewa Juszkiewicz, Untitled (After Elisabeth Vigée Le Brun), 2020 © Ewa Juszkiewicz

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Face à Arcimboldo

May 29–November 22, 2021
Centre Pompidou-Metz, France
www.centrepompidou-metz.fr

This exhibition, whose title translates to Arcimboldo Face to Face, invites visitors to explore the timeless vocabulary of the sixteenth-century painter Giuseppe Arcimboldo (c. 1527–1593). The show demonstrates how his work has influenced art history for more than four centuries through the work of 130 artists, including work by Francis Bacon, Glenn Brown, Alex Israel, Ewa Juszkiewicz, Roy Lichtenstein, Man Ray, Pablo Picasso, Auguste Rodin, and Ed Ruscha.

Ewa Juszkiewicz, Untitled (After Elisabeth Vigée Le Brun), 2020 © Ewa Juszkiewicz