British British Polish Polish

Jess Flood-Paddock, Oyster Standing, 2012, Jesmonite, paint 46 x 35 x 17 cm (źródło: materiały prasowe organizatora)

Mick Peter, Lying and Liars installation (Image shows Reading and Tyre Knot Wall) 2012, Cement, polystyrene, acrylic resin with metal armature Courtesy of Galerie Crčvecśur, Paris and Collective Gallery, Edinburgh (źródło: materiały prasowe organizatora)

Michael Landy, We love the jobs you hate, 1995, plastic refuse sack filled with metal cut-outs, 24 x 18 x 18 cm, courtesy of the artist and Thomas Dane Gallery, London (źródło: materiały prasowe organizatora)

Jess Flood-Paddock, Love, Like a Cough, Cannot be Concealed, installation view dimensions variable, The Poor World is Almost Six Thousand Years Old: Art and Archaeology from the Iron Age to the Present, curated by Tom Morton) The Usher Gallery, Lincoln 2013, courtesy of the artist, Carl Freedman Gallery and Grimm Gallery. The photographer credit for this image is David Rowan (źródło: materiały prasowe organizatora)

Michael Landy, The stills from the video ‘Scrapheap Services’, 1995, six colour photographs, 40 x 50 cm each, courtesy of the artist and Thomas Dane Gallery, London (źródło: materiały prasowe organizatora)

Jess Flood-Paddock, Harvest, Holden, 2012, Leather, steel, jesmonite, 100 x 55 x 50 cm (źródło: materiały prasowe organizatora)

Jess Flood-Paddock, Oyster Standing, 2012, Jesmonite, paint 46 x 35 x 17 cm (źródło: materiały prasowe organizatora)

Gangsta’s Paradise, installation view showing Big Lobster Supper (wood, paint, rubber) and Truman (dye, flax), Hayward Gallery Project Space, London 2010, Dimensions variable (źródło: materiały prasowe organizatora)

Damien Hirst, Away from the Flock (Divided), 1995, glass, painted steel, silicone, acrylic, plastic cable ties, stainless steel, sheep and formaldehyde solution, two parts, each: 1180 x 1860 x 513 mm | 46.5 x 73.2 x 20 in, Photographed by Prudence Cuming Associates, © Damien Hirst and Science Ltd. All rights reserved, DACS 2013 (źródło: materiały prasowe organizatora)

Jake and Dinos Chapman, Forehead, 1997, Fibreglass, resin, paint, wigs, trainers and metal plate 53 x 23 x 18 in. (134.6 x 58.4 x 45.7 cm) © Jake and Dinos Chapman, Photo: Todd-White Art Photography, Courtesy White Cube (źródło: materiały prasowe organizatora)

Karol Tchorek at The Public, Matthew Darbyshire, 2013, dzięki uprzejmości artysty (źródło: materiały prasowe organizatora)

Olimpia, Katarzyna Kozyra, 1996, dzięki uprzejmości artystki (źródło: materiały prasowe organizatora)

Sarah Lucas, Self Portrait with Fried Eggs, 1996, Iris print on watercolour paper, 80 x 60 cm, © The Artist, courtesy Sadie Coles HQ (źródło: materiały prasowe organizatora)

Mick Peter, Lying and Liars installation (Image shows Measure and Measure Again and Tyre Knot Wall) 2012 , Cement, polystyrene, acrylic resin with metal armature, Courtesy of Galerie Crčvecśur, Paris and Collective Gallery, Edinburgh (źródło: materiały prasowe organizatora)

Mick Peter, Lying and Liars installation (Image shows Tyre Knot Wall and Martin and Laurie’s Wall) 2012 Cement and polystyrene. Courtesy of Galerie Crčvecśur, Paris and Collective Gallery, Edinburgh (źródło: materiały prasowe organizatora)

Mick Peter, Lying and Liars installation (Image shows Porcine Lout and Martin and Laurie’s Wall) 2012 , Cement, polystyrene, acrylic resin with metal armature, Courtesy of Galerie Crčvecśur, Paris and Collective Gallery, Edinburgh (źródło: materiały prasowe organizatora)

British British Polish Polish

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