Lodz Kaliska (b. 1979, Lodz), "Emblem [2]", 2004

Exhibited
Lodz Kaliska, "Project Emblem", Karowa Gallery, Warsaw, 2004.
Lodz Kaliska, "Project Emblem - NEW POP", Museum of Cinematography, Lodz, 2004.
"Hiccup. 40 Years of the Łódź Kaliska Group", Mazovian Centre for Contemporary Art Elektrownia, Radom, 24.01-15.03.2020

Literature
Czkawka. 40 years of the Lodz Kaliska Group, exhibition catalog, Mazovian Centre for Contemporary Art Elektrownia in Radom, Radom 2017, pp. 126-127 (il.)
"Playboy", March 2004, no. 136, p. 112 (il.).
Łódź Kaliska Museum NEW POP, November 2004, no. 1 (il.).
Ewa Nowina-Sroczynska, Masters of ostentatious transgression. Łódź Kaliska with anthropologist in the background, 2018, p. 212.
Łódź Kaliska. Collection of Jacek Franasik, Kantor Sztuki, Łódź 2021, cover 4 and p. 173 (il.)
Jan Boncza-Szabłowski, Łódź Kaliska. Masters of scandal infuse delight and sow scandal, "Rzeczpospolita" 26.05.2017, https://www.rp.pl/plus-minus/art10437481-lodz-kaliska-mistrzowie-skandalu-wprawiaja-w-zachwyt-i-sieja-zgorszenie

Biography
The group consists of Marek Janiak, Andrzej Kwietniewski, Adam Repecki, Andrzej Świetlik and Makary (Andrzej Wielogórski). It was founded in 1979 in an atmosphere of scandal, as a neo-avant-garde formation aimed at exploring the aspect of seeing and recording of a photomedia nature, derived from the tradition of conceptualism, primarily in the field of photography, experimental film and performance. In 1980-81 it changed its artistic program to a decidedly more Dadaist-surrealist one (happening and anarchist in expression), attacking and ridiculing the Polish neo-avant-garde formation and depicting the absurdity of life in the People's Republic of Poland. Kwietniewski and Janiak wrote a lot of manifestos during this time, including, for example, Janiak's "Embarrassing Art" manifesto, which was important for the 1990s. Since the second half of the 1990s, thanks in part to television film productions (the triptych I Remember, I Remember, I Remember...), Lodz Kaliska has entered the mass-media and political establishment. But everything in their work, including the artists themselves and their muses (models), became an element and object of endless play with a hedonistic message.