November 30, 2025 – January 10, 2026
DISORDER: solo exhibition by Aneta Grzeszykowska
Voloshyn Gallery Miami
802 NW 22nd Street, Miami, FL, US, 33127
Gallery Hours: Tuesday – Saturday, 11:00 AM to 5:00 PM

Sunday, November 30
1.00 AM to 6.00 PM – Opening Reception
1:30 PM – Artist-led walkthrough of the exhibition
3:00 PM – Artist talk moderated by Barbara London

Disorder presents a solo exhibition by Aneta Grzeszykowska, offering a compelling survey of the artist’s work from past works to her most recent explorations. Navigating across mediums, performance, photography, and object-based practice, Grzeszykowska employs visceral materials, including animal hides and hyperrealistic sculptural forms, to examine fundamental questions of existence, mortality, and corporeality. Her practice navigates the complex interplay between body, image, and identity, confronting viewers with the tension between presence and absence, self and surrogate.

In Disorder, Grzeszykowska engages her immediate environment, family members, domestic animals, and her own body, to reconsider conventional hierarchies within the household. Through staged scenarios, she introduces shifts in roles and identities: humans take on animal attributes, objects assume anthropomorphic qualities, and the artist positions herself in alternate familial roles. The exhibition explores the intersections of control, kinship, and subjectivity, presenting situations in which categories such as human/animal, life/death, and youth/age are unsettled.

Voloshyn Gallery will host an artist talk with Aneta Grzeszykowska, on the exhibition opening day, Sunday, November 30. The conversation will be moderated by Barbara London, founding curator of the video‑media exhibition and collection programs at the Museum of Modern Art (MoMA).

The exhibition centers on The Daughter (2025), a new body of work in which Grzeszykowska employs a hyperrealistic mask based on her own face at the age of fourteen, reconstructed from family photographs. Used in performative photographs with relatives, the mask enables her to reframe her place within domestic dynamics. Its inanimate features emphasize passivity, while the combination of a mature body with a youthful face produces an ambiguous effect that underscores themes of memory, identity, and temporality.

Also included is Domestic Animals (2022), where pigskin masks of the artist’s face are fitted onto her dogs. The photographs produced from these interventions examine ideas of recognition, projection, and estrangement.

The exhibition further features Mama (2018), a hyperrealistic silicone replica of the artist, created with professional fabricators. Photographed alongside her daughter in a range of constructed situations, the figure functions simultaneously as surrogate and object, raising questions about representation, identity, and the unstable boundary between person and image.

With Disorder, Grzeszykowska continues her investigation into selfhood, mortality, and the shifting relationships among human, animal, and object.

Aneta Grzeszykowska‘s photographs and video use dark, probing humor to explore sexuality, feminism, and the construction (and violent erasure) of the self. Over the past two decades, Grzeszykowska has used performance, photography, sculpture, and video to investigate the multiplicities of the self, the history of feminism and the phenomenology of her respective mediums. Grzeszykowska’s art draws her into the arena of Donna Harraway’s woman-cyborg. In breaking with the old, outdated schema, faded frames and post­ romantic, patriarchal phantasms, she retains an unpredictability and hybridity that lies beyond the confines of the dual-channel possibilities of identity, connecting that which is human with what is technical, the organic with the synthetic, male and female, alluring and repugnant, and, particularly in the case of her latest works, the artistic and the non-artistic.

Aneta Grzeszykowska’s (b. 1974, Warsaw, Poland) work has been exhibited at Haus der Kunst, Munich, DE; Kunstforum tu Darmstad, Darmstad, DE; The Francisco Carolinum Museum for Modern and Contemporary Art, Linz, AT; Raster, Warsaw, PL; MOCAK Museum of Contemporary Art, Krakow, PL; Contemporary Art Museum, St. Louis, US; Heidelberger Kunstverein, Heidelberg, DE; Fotografiska Stockholm, Stockholm, SE; Fotomuseum Winterthur, Winterthur, CH; Zach ta National Gallery of Art, Warsaw, PL; Ludwig Museum of Contemporary Art, Budapest, HU; Museo de Arte Moderno, Mexico City, MX; and Walker Art Center, Minneapolis, US; among many others. Her work is included in several museum collections, including the Solomon R. Guggenheim Museum, New York; Centre Pompidou, Paris; San Francisco Museum of Modern Art, San Francisco; Fotomuseum Winterthur, Winterthur; Hammer Museum, Los Angeles; Museum of Modern Art, Warsaw; Sammlung Verbund, Vienna; and many others. Grzeszykowska is represented by Raster Gallery and Lyles & King. She lives and works in Warsaw.

Barbara London is a New York-based curator and writer who founded the video-media exhibition and collection programs at The Museum of Modern Art, where she worked between 1973 and 2013. Her current projects include the book Video/Art: The First Fifty Years (Phaidon: 2020), the podcast series “Barbara London Calling,” and the exhibition “Seeing Sound” (Independent Curators International, 2020-24). London’s writing has appeared in numerous catalogs and publications, including Artforum, Yishu, Leonardo, Art Asia Pacific, Art in America, and Modern Painter. London teaches in the Sound Art Department, Columbia University, and previously taught in the Graduate Art Department, Yale, 2014-19.

About Voloshyn Gallery:

In 2016, Max and Julia Voloshyn established Voloshyn Gallery in the heart of Kyiv, Ukraine. Situated in a historic 1913 building, Voloshyn Gallery’s space provides an unconventional setting for contemporary art. It exhibits a broad range of works in a variety of media, representing both emerging and established artists. Voloshyn Gallery hosts solo and group exhibitions, works with accomplished curators and museums, and takes part in leading contemporary art fairs.

In 2022, Voloshyn Gallery made the difficult decision to close temporarily due to the full-scale invasion of Ukraine. In 2023 the gallery reopened its doors in Kyiv, Ukraine and also expanded with a space in Miami, Florida.

About Raster Gallery:

The Raster Gallery is among the pioneers and leaders of the Central European contemporary art market and one of the most recognizable Polish galleries. The gallery cooperates with the most significant institutions and collections, taking part in major art fairs while striving to support and develop Warsaw’s local art scene. The Raster also publishes books, art editions and other publications along with contributing to local and international cooperation platforms between galleries. For 20 years we have consistently been presenting the most original artists from Poland and the world.

The exhibition is organized by Voloshyn Gallery, with the support of the Polish Cultural Institute New York and in partnership with Raster Gallery, which also represents the artist Aneta Grzeszykowska. “Daughter” series was created with the support of D’ARC Foundation in Rome.