For the solo exhibition “Yesterday’s Tomorrow” by the Polish-German artist Anna Raczyńska, born in 1990 in Bielsko-Biala, Poland, the Art Space in Warsaw will feature a multi-spatial work, presenting for the first time a complete installation of her sacred and paradisiacal works.

Based on her narrative work “Yesterday’s Tomorrow (Eden),” originally conceived for the group exhibition “Paradise Engineering” at the Rosa Stern Space in Munich, this solo exhibition presents an expanded exploration and overall cross-space installation. It addresses the nuanced concept of paradise, the complex dynamics of human life, and the evolving symbolism of wealth and power in our world today.

In “Yesterday’s Tomorrow,” Raczyńska engaged in a profound dialogue with the works of Hieronymus Bosch and Jan Brueghel. Similar to Bosch, who is famous for his surreal and symbolic compositions, she dared to reinterpret the timeless notion of paradise in the context of the present. Here, the Garden of Eden transcends traditional representation and evolves into an intricate web of metaphors in which money, wealth, and influence are seamlessly integrated into grand urban landscapes-a modern capitalist haven within the confines of a Christian architectural element.

The resonance between Raczyńska’s work and Bosch’s legacy lies in their shared fascination with symbolism. Both artists* cleverly employ visual metaphors, challenging viewers to decipher the multi-layered narratives hidden within their works. Just as Bosch’s surreal entities hold deep meaning, Raczynska’s interpretation of Paradise masterfully interweaves the conventional with the contemporary, prompting reflection on the subtle bridges between past and present. In doing so, she places the interpretive space for the future in the hands of the viewer, drawing him or her into her world.

While Bosch and Brueghel used traditional materials to depict their visions of paradise, Raczyńska relies on the transformative potential of technology. Stained glass windows in cathedrals have a centuries-old heritage with their intricate craftsmanship. But to accommodate the modern ethos, Raczyńska employs modern techniques such as laser cutting and materials like Plexiglas and aluminum. This nuanced shift captures the essence of her exploration – how the tools and materials of our time shape interpretations of paradise and its intricate shadings.

“Yesterday’s Tomorrow” is a chronicle of Raczyńska’s journey of discovery. Each work in this series represents a separate chapter, inviting those who wish to engage deeply with art to engage with her narrative. It is a continuation of their quest, offering a new perspective on timeless stories and an opportunity to bridge the gap between historical echoes and the changing modern landscape.

In the former acoustic room, which today serves as an exhibition space and was historically the place of origin of UNITRA radio – the most prominent radio of the Soviet Union and thus a definitive mediator of information – Anna Raczyńska creates a new dimension for the interpretation of knowledge and communication. She imbues this spatial transformation with a unique symbolism through the depiction of sacred windows in her artworks.

These windows, inspired by sacred representations, are not only aesthetic elements, but they also represent a deep understanding of the shift in the interpretation of information and the meaning. They reflect the history of this place as an information center and contemporary artistic reflection on the transmission of knowledge and the interpretation of life.

Control over the interpretation and interpretation of information shifts from an external source to an intrinsic endeavor to understand our lives and our being. For Raczyńska, engagement with traditions is not a mere tool, but rather a central component in both form and content within her artworks.

Her work creates a fascinating combination of the historical importance of this place as an information center with contemporary artistic reflection on symbols and narratives of the present world.”

Anna Raczyńska, born in 1990 in Bielsko-Biala, Poland, is at the forefront of a new generation of Polish creatives. Her extensive portfolio encompasses a variety of artistic forms, including objects, digital prints, sculptures, and immersive installations. Raczyńska has a remarkable ability to transform everyday objects into profound forms of expression by reshaping their form, materiality, and scale. In her creative process, she masterfully balances ironic gestures with profound explorations of materials, weaving a narrative that continually engages and challenges the viewer.

What really sets Raczyńska’s exhibitions apart, however, is their role as living, breathing stories. Each exhibition she meticulously curates is a distinct narrative universe unto itself. With a keen awareness of the idiosyncrasies of her exhibition spaces, Raczyńska’s installations are an artful play, a deliberate distortion of materials and ideas that lure viewers into uncharted territory.

In addition to numerous group exhibitions among others in Germany, Poland, England, the Netherlands and France, and solo and duo exhibitions in Leipzig, Deventer, Paris, Braunschweig and Wrocław, recent purchases of her work by the The Federal Collection of Contemporary Art Republic of Germany (Bundeskunstsammlung) and the the Cultural Foundation of the Free State of Saxony (KDFS). She has been awarded international residencies in France, the Netherlands, Slovakia and Bulgaria. Since October 2021, she has been working as an artistic associate at the HGB Leipzig, where she co-directs the class for installation and space with Prof. Joachim Blank.

The exhibition takes place in close collaboration with stART Foundation Europe Stichting and a&o hostel and hotel Warszawa.