born 1977, lives and works in Paris (FR). Graduate of the École nationale supérieure des Beaux-Arts in Paris (ENSBA) under the direction of Christian Boltanski. In her artistic practice, Markul brings together sculpture, painting, film and installation in poetic and unnerving ways that cite the unforeseeable threat to humanity that nature can pose — a threat that is inevitably brought about through the actions of humans themselves. Her work is rooted in a fascination with unfamiliar, often dangerous places. Uniting fact and fiction, even science fiction, her projects take viewers to some of the most far-away places on the planet (such as the underwater rock formations of the Yonaguni Monument, the melting icebergs of the Tierra del Fuego, the desolate Atacama Desert, irradiated Chernobyl or post-nuclear Fukushima). She primarily works with natural materials (wax, leather, felt, light) to evoke the destructive forces we fear, but which fascinate us, setting them outside of the conventional categories of good and evil. Markul is the recipient of numerous awards: Prix MAIF (2017), Prix COAL (2016), SAM Art Project Prize (2013).
Wojciech Ireneusz Sobczyk
born 1985, lives and works in Krakow (PL). Studied graphic art at the Academy of Fine Arts in Krakow, where he received his doctorate under the mentorship of Professor Dariusz Vasiny. He holds an adjunct position at the Pedagogical University in Krakow. In his artworks, he creates sculptures, installation, animation, music and graphic illustration. Wojciech Ireneusz Sobczyk is an artist who’s decidedly un-contemporary. His interests are focused on a broadly understood concept of humanism, while his artistic practice draws from traditional, oftentimes even archaic, techniques, topics and iconographies. Sobczyk reaches back to the fundamental questions on the nature of Mankind, the existence of Good and Evil, the essence of Beauty and Art. His isn’t, however, a strictly elementary return to the ideas and craft of a Renaissance artist. Sobczyk’s affinities amid the values of the humanities take on a characteristically material dimension. Through an obsessive manual dexterity and a passion for uncanny details, he builds his own moral corpus. Sobczyk’s fetish with regard to ideas and matter come together in an immutable and sophisticated tangle, which translates into a nostalgic search for one’s own spiritual formula.