- »La Nube« Mexico City, 2023
- Group Exhibition »End of History?« Stockholm, 2022
- Group Exhibition »Almond shaped eyes for circles and dots • Circles for eyes and almond shaped dots • Dots and almonds for circles in eyes« Mexico City, 2022
- »EIN AUGE, OFFEN« Berlin, 2017
- Group Exhibition »GATHERED FATES curated by Ignasi Aballí« Berlin, 2015
- Group Exhibition »DRAWN« Berlin, 2014
- Group Exhibition »Summer show« Berlin, 2012
- »Nonetheless« Berlin, 2011
- Group Exhibition »SUMMER SHOW« Berlin, 2009
- »Landschaftsabfälle« Berlin, 2008
- »Kein Warum« Berlin, 2005
- Group Exhibition »Out Of Place« Berlin, 2004
- »Nachtruhe« Berlin, 2002
- »Through Melancholia and Charm« Berlin, 2000
- »Ordnung« Stockholm, 1997
- »Rampen« Stockholm, 1994
- Group Exhibition »Mnemosyne 1273« Stockholm, 1992
- Group Exhibition »Art against AIDS« Stockholm, 1991
- »Mirosław Bałka« Stockholm, 1990
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Anda Rottenberg: Miroslaw Balka. Pursuing Meaning, Fleeing Meaning, , Pirelli Hangar Bicocca, Milan 2017
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Simone Menegoi: Social Body. The Individual and the Collectivity in the Work of Mirosław Bałka, Pirelli Hangar Bicocca, Milan 2017
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Alegra Pesati: All that Remains: the Drawings of Mirosław Bałka, Muzeum Sztuki, Łódź 2017 2017
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Julian Heynen: That's How it Is, in: Mirosław Bałka. How it is, Tate Publishing, 2009
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Mirosław Bałka in conversation with Rafał Jakubowicz, Documenta Magazine, 2007
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Peter Schjeldahl: Polish Haiku, The Reinassance Society, 1992
31 x 29 x 8, 2 x (129 x 72 x 90), 2005, steel, ventilators, glass; dimension same as title in centimetres
Mirosław Bałka »Kein Warum«
Berlin, April 15, 2005 - May 28, 2005
Galerie Nordenhake is pleased to present an exhibition with new works by the Polish sculptor Miroslaw Balka. In "Kein Warum" ('no why') he deals with the moral burden of the Second World War. Typically for the artist, he focuses on the corporeal ordeals of war and sufferance; the dirt and the fleas, the obsessions with, and fatal deceptions surrounding hygiene and disinfection, and the shadow that Death cast over Europe.
Over the years Balka has moved from a realist representation of the human body to a more minimalist conception of his art. His sculptures today are often metaphorical and narrative - in such a way that he can create an active relation between artist and beholder, as well as between the private and the public. Another basic formal principle in his works is the intricate relation between the human body (or the body of the artist) and its closest, almost enveloping, environment - manifested in appearances of objects such as a bed, a coffin or an urn. Balka's works take its point of departure in the horizontal and vertical dimensions of the human body; the vectors that delineate the presence of the body in a room. To this the artist attaches a more delicate investigation into the absent traces a body leaves in a room; almost as a residuum. In this context frequently used substances such as salt, ashes and soap become important elements. Ashes as the residual element left by a fire consuming organic materials, salt as the essence of sweat - an epitome of human endeavours - and soap as a principle of purity and recycling; in Miroslaw Balka's art the materials are used as a vehicle of time.
31 x 29 x 8, 2 x (129 x 72 x 90), 2005, steel, ventilators, glass; dimension same as title in centimetres
10 x 33 x 33, 2005, steel, carpet, dimensions same as title in centimetres
Ein Floh / Ein Leben und ø 100 x 15, 2005, video, pvc, revolving motor, 116 x 150 x 15 cm
193 x 256 x 100, 2005, steel, disinfectant tablets; dimensions same as title in centimetres