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Wtorek 12:00 - 19:00 Środa 12:00 - 19:00 Czwartek 12:00 - 19:00 Piątek 12:00 - 19:00 Sobota 12:00 - 18:00

piktogram, Ulica Górskiego 4, Warsaw (2026)

19/05/2026

At the upcoming edition of Art Warsaw Villa Róż, we will present works by Alexandra Bachzestis, Paul Czerlitzki, Zuza Golińska, and Jan Eustachy Wolski.

Alexandra Bachzetsis, Chasing a Ghost, 2019
Full HD video, sound

Alexandra Bachzetsis draws from histories of art, music, cinema, popular culture and fashion, and projects them onto the body. Through this method of citation, Bachzetsis considers how our bodies are used and can be activated in today’s increasingly polarizing discussions around identity and body politics.

In her commissioned work Chasing a Ghost, which premiered at the Art Institute of Chicago, Bachzetsis continuously creates a double: a double body, a double sound, a double space, a double image. Challenging the choreographic archetype of the duet, Chasing a Ghost stages these doubles within a spectrum of violence and desire. Central to this duality, a double in of itself, is the notion of the uncanny: an estranging phenomenon in a seemingly ordinary context, but also the potential act of transgression as our repressed impulses and subconsciousness may at any time rupture into our experience of reality.

Chasing a Ghost encompasses a choreography for five dancers (including the artist herself), an original music score played live by two pianists, and a stage setting that shifts between live movement and moving image. These elements are in constant relationship to each other, but the connections between them are intentionally disturbed. As such, Bachzetsis transforms the duet into an unsettling image, the movement between two bodies a distressing and unexpected occurrence, a perpetual folie-à-deux that challenges how we look at ourselves and others.

Text by Hendrik Folkers

Villa Róż is an eclectic city palace designed by Józef Huss and erected in 1876. Its facades, dominated by Neo-Renaissance forms, harmoniously integrate into the most representative part of Warsaw, situated in the immediate vicinity of the Ujazdowski Park, the Royal Łazienki Gardens, the Centre for Contemporary Art, and numerous government premises.

Villa Róż, Aleja Róż 1
00–556 Warsaw, Poland

May 21-24, 2026
bachzetsis

16/05/2026

CONSTELLATIONS: SQUARES IN A CUBE

Alan Charlton, Melissa Kretschmer, Sol LeWitt, Thomas Ruff, Zbigniew Rybczyński

On view until 23 May 2026

Piktogram hosting Konrad Fischer Galerie

Pictured
Alan Chartlon, Detail Painting, 1978
acrylic on canvas, 9 x 9 x 4.5 cm

British painter Alan Charlton emerged in the early 1970s at a moment when Minimalism, post-Minimalism, and hard-edge abstraction were reshaping the possibilities of painting and sculpture. His work resonates with the formal clarity of artists such as Ellsworth Kelly and with the modular, materially attentive investigations characteristic of American and European minimalism.

Within this landscape, Charlton developed a singular position defined by extreme precision, disciplined restraint, and a sustained commitment to the sculptural potential of the painted surface. It was also against this backdrop that Charlton made the pivotal decision to work exclusively with the color grey—a choice that has shaped his practice for more than five decades.

Rather than functioning as a neutral absence, grey became for him a rich instrument, a means of investigating physicality, tone, and surface without the distractions of chromatic expression. In tandem with this chromatic discipline, Charlton employs a distinctive vocabulary of forms—modules, notches, crosses, and other geometric articulations—that ties his practice to minimalist sculpture as well as to painting. These structural interventions activate the paintings’ meticulously controlled surfaces, allowing rhythm todevelop through subtle shifts, repetition, and the play of light across relief.

Born in Sheffield in 1948, his major solo exhibitions have been held at Museum Kurhaus Kleve (2008) and the Stedelijk Museum Amsterdam (2001). He has participated in significant group exhibitions, most notably documenta 7, Kassel (1982). His works have also been shown at institutions including the Solomon R. Guggenheim Museum, New York, and the Van Abbemuseum, Eindhoven.

15/05/2026

CONSTELLATIONS: SQUARES IN A CUBE

Alan Charlton, Melissa Kretschmer, Sol LeWitt, Thomas Ruff, Zbigniew Rybczyński

On view until 23 May 2026

Piktogram hosting Konrad Fischer Galerie

Squares in a Cube presents works by Alan Charlton, Melissa Kretschmer, Sol LeWitt, and Thomas Ruff—a selection of paintings, wall works, sculptures, and photographs from 1978 to 2023. Piktogram Gallery is contributing Zbigniew Rybczyński’s 1972 film Kwadrat.

Exhibition views by

constellations2026

13/05/2026

CONSTELLATIONS: SQUARES IN A CUBE

On view until 23 May 2026

Piktogram hosting Konrad Fischer Galerie

Squares in a Cube presents works by Alan Charlton, Melissa Kretschmer, Sol LeWitt, and Thomas Ruff—a selection of paintings, wall works, sculptures, and photographs from 1978 to 2023. Piktogram Gallery is contributing Zbigniew Rybczyński’s 1972 film Kwadrat.

Melissa Kretschmer

Born in Santa Monica in 1962 and based in New York, Melissa Kretschmer works at the intersection of painting and sculpture. Her practice is grounded in a sustained and rigorous investigation of materials and their inherent structures. For more than twenty-five years, she has explored the subtle relationships between constituent elements, attending to the transformative potential that emerges through their combination.

Kretschmer’s process is as much one of construction as it is of painting. Her works are built through the layering of plywood, parchment, and successive strata of gesso, forming custom-made supports that are often unified by soft, opaque white tonalities. Using woodworking tools, she incises fine reliefs and fissures into the surface, embedding beeswax within these cuts. This method produces a nuanced integration of foreground, background, and edge, allowing the works to register simultaneously as paintings and as objects that unfold spatially through their sculptural depth.

While she does not identify as a colorist, Kretschmer orchestrates a complex interplay of textures, employing transparency, translucency, opacity, and liquidity. Light becomes an active element within the work, establishing a reciprocal relationship with material. Her work has been exhibited widely, including presentations at MoMA PS1, the Centre Pompidou, and the Miami Art Museum.

Flare, 2022
plywood, watercolor, vellum, gesso, casein, wood glue, 61 x 61 cm

Dawn, 2022
plywood, watercolor, vellum, gesso, casein, wood glue, 52 x 52 cm

Corona, 2022
plywood, watercolor, vellum, gesso, casein, wood glue, 60 x 60 cm

Dusk, 2022
plywood, watercolor, vellum, gesso, casein, wood glue, 52 x 52 cm

04/05/2026

in conversation with featured in the new issue of

Zuza Golińska
Writing as Positioning of the Self in Sculpture
A conversation with Anna Kipke
[Intro-Text]
Zuza Golińska is a sculptor and visual artist who lives and works in Warsaw and Gdańsk. In her artistic practice, she explores the production of space in various aspects, interrogating the public and private spheres. Her practice is based at the intersection of sculpture, performance,
spatial design, and experimental forms of writing. Golińska studied at the Department of New Media Art and graduated from the Mirosław Bałka’s Studio of Spatial Activities (MA) at the Academy of Fine Arts in Warsaw. In her latest performance, Mud, Muck, Marsh (2025), she worked together with the performer Anna Steller on themes of mourning, exhaustion, isolation,
and fatigue. It was part of the performative program accompanying the opening of the new museum building and of the exhibition The Impermanent: Four Takes on the Collection at the Museum of Modern Art, Warsaw. In her latest solo exhibition, Swarm (2025) at Piktogram in
Warsaw, the practice of writing offers a dimension to the displayed sculptural works, positioning the self within current geopolitical dynamics.

02/05/2026

Nils Alix-Tabeling, Corps Humain à l’Éventail, 2019
Carved wood, plastic sheets, chain mail, jesmonite, fiberglass, resinated papier mâché, plaster stripes, weave iron wool, river water pearl, motor, adaptor, charger, 220 x 110 x 100 cm + pedestal

as part of Superglue, or Inventing the Friend at Contemporary Art Centre in Vilnius
curated by and team

The two sculptures, Corps Humain à la Botte and Corps Humain à l’Éventail, focus on representations of the figure in monumental sculpture. The artist seeks to rethink and critique notions of idealised bodies, (and by extension identities), and oﬀer a new monument that displays and celebrates a q***r and camp representation of the body. Their gender is rendered ambiguous through taking casts from diﬀerent bodies and collaging and melding them together.
They are freely inspired by the famous monument by Vera Moukhina (Worker and Kolkhoz Woman, 1937) representing a worker holding a hammer, and a farmer holding a sickle, symbolising the nobility and power of the working class. But here these utilitarian items are replaced by a profusion of symbols associated with frivolity, perversion and pleasure (the fan, the leather boot, the rose, the tutu). The materials are inexpensive and associated with labour: iron wool to clean wooden floors, plastic sheets for painters, butcher gloves made of steel, and tin for roofing: here they are rendered camp and couture through craftsmanship and care.
The movement of the fan is nonchalant, the second sculpture oﬀers a rose with many limp hands, a direct reference to visual archetypes of q***rness. The leisure and pleasure being performed has a decadent excessive quality, themes and traits usually connected to the aristocracy and the leisure classes, but here these sculptures depict a working class downing tools and reclaiming their own bodies and theirown pleasur.

20/04/2026

The last two days of the first edition of Paris Internationale Milano, where we will present works by Nils Alix-Tabeling and Paweł Olszewski.

The works of both artists share a view of reality detached from the common perception of sight. It is as if other dimensions of reality were visible.

The reality depicted in Paweł Olszewski’s paintings resembles how it might be perceived by non-human detectors—whether artificial or the sensors of bats or flies. The space in them also brings to mind some undiscovered mutant hybrid of cubism and futurism. The colors are muted, the light is dim, the forms are blurry, abstract up close, the shapes emerge when you step back and look at them from a distance. The atmosphere there is reminiscent of the delirious state of mind of a haunted programmer late at night.

Booth 1.06, first floor

Paris Internationale Milano
First Edition
April 18-21, 2026
Preview April 17

19/04/2026

CONSTELLATIONS: SQUARES IN A CUBE

Alan Charlton, Melissa Kretschmer, Sol LeWitt, Thomas Ruff, Zbigniew Rybczyński

Constellations Warsaw
10 – 12 April 2026
Exhibition
10 April – 23 May 2026

Piktogram hosting Konrad Fischer Galerie

Squares in a Cube presents works by Alan Charlton, Melissa Kretschmer, Sol LeWitt, and Thomas Ruff—a selection of paintings, wall works, sculptures, and photographs from 1978 to 2023. Piktogram Gallery is contributing Zbigniew Rybczyński’s 1972 film Kwadrat.

Exhibition view by

constellations2026

17/04/2026

The first day of the first edition of Paris Internationale Milano, where we will present works by Nils Alix-Tabeling and Paweł Olszewski.

The works of both artists share a view of reality detached from the common perception of sight. It is as if other dimensions of reality were visible.

The reality depicted in Paweł Olszewski’s paintings resembles how it might be perceived by non-human detectors—whether artificial or the sensors of bats or flies. The space in them also brings to mind some undiscovered mutant hybrid of cubism and futurism. The colors are muted, the light is dim, the forms are blurry, abstract up close, the shapes emerge when you step back and look at them from a distance. The atmosphere there is reminiscent of the delirious state of mind of a haunted programmer late at night.

In turn, Nils Alix-Tabeling’s sculptures depicting “cats” look as if they were seen through special “psychological” glasses—they have been portrayed with emphasis on their facial expressions, poses, and gestures, dressed in costumes, personified, with human faces and hands. Through them, we see their character traits, their “human” personality.

Booth 1.06, first floor

Paris Internationale Milano
First Edition
April 18-21, 2026
Preview April 17

13/04/2026

We are delighted to invite you to the first edition of Paris Internationale Milano, where we will present works by Nils Alix-Tabeling and Paweł Olszewski.

The works of both artists share a view of reality detached from the common perception of sight. It is as if other dimensions of reality were visible.

The reality depicted in Paweł Olszewski’s paintings resembles how it might be perceived by non-human detectors—whether artificial or the sensors of bats or flies. The space in them also brings to mind some undiscovered mutant hybrid of cubism and futurism. The colors are muted, the light is dim, the forms are blurry, abstract up close, the shapes emerge when you step back and look at them from a distance. The atmosphere there is reminiscent of the delirious state of mind of a haunted programmer late at night.

In turn, Nils Alix-Tabeling’s sculptures depicting “cats” look as if they were seen through special “psychological” glasses—they have been portrayed with emphasis on their facial expressions, poses, and gestures, dressed in costumes, personified, with human faces and hands. Through them, we see their character traits, their “human” personality.

Booth 1.06, first floor

Paris Internationale Milano
First Edition
April 18-21, 2026
Preview April 17

10/04/2026

OPENING TODAY
We are thrilled to invite you to the opening of our collaborative exhibition with the Konrad Fischer Galerie.

CONSTELLATIONS: SQUARES IN A CUBE

Alan Charlton, Melissa Kretschmer, Sol LeWitt, Thomas Ruff, Zbigniew Rybczyński

Constellations Warsaw
10 – 12 April 2026
Exhibition
10 April – 23 May 2026

Piktogram hosting Konrad Fischer Galerie

Squares in a Cube presents works by Alan Charlton, Melissa Kretschmer, Sol LeWitt, and Thomas Ruff—a selection of paintings, wall works, sculptures, and photographs from 1978 to 2023. Piktogram Gallery is contributing Zbigniew Rybczyński’s 1972 film Kwadrat.

Thomas Ruff (b. 1958, Zell am Harmersbach) is an artist whose work has played a significant role in the development of contemporary photography
since the late twentieth century. He came to international attention in the late 1980s as part of the Düsseldorf School, having studied from 1977 to 1985 at the Staatliche Kunstakademie Düsseldorf under Bernd and Hilla Becher. While sharing their interest in seriality and typological thinking, Ruff established an independent approach that expanded the conceptual and technical parameters of the medium.

Pictured
Thomas Ruff, cassini 18, 2009
C-Print auf Dibond 3 mm, Mirogard glass, 108.5 x 108.5 cm
Edition of 6 ( #1/6)

piktogramgallery

piktogram

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Wtorek	12:00 - 19:00
Środa	12:00 - 19:00
Czwartek	12:00 - 19:00
Piątek	12:00 - 19:00
Sobota	12:00 - 18:00