Jagoda Dobecka

In her latest painting works, Dobecka addresses the issues of manipulation and discrimination. She often evokes the “perfect housewife” myth, which originated in the 1950s in America. According to it, an ideal lady of the house should not neglect her looks. In the artist’s opinion, despite the fact that almost seventy years have passed since the weird idea was started, not much has changed. In her How Balenciaga Wanted To Feed The World, she critically analyses the fashion industry and exploitative marketing strategies, indicating the manipulations which expose capitalism as a system based on exploitation and enslavement of the weak. She is also interested in how the complexity of the modern world influences people’s decisions. Social media as a means of communication and information platform play a significant role in shaping public opinion. For some time now, what is key in political campaigns is what goes on in the virtual world. Separating true information from fake news is very difficult. This is reinforced by closing users in their media bubbles, where they are condemned to the self-propelling opinion circle limited to a particular group of topics and viewpoints. In the future, Dobecka wishes to develop those themes further, analyze decision-making processes and their consequences, as well as the role of awareness and free will. What she considers important is to understand the status quo and its sources. For me, the interesting aspect of her artistic practice is that in her projects Dobecka uses painting and sculpture as well as video, photography and other media, persistently sticking to the classical techniques, even though it might seem that social and political current affairs would be communicated more easily and appropriately by means of new media.

Joanna Rzepka Dziedzic

www.jagodadobecka.com

Education

2016 Akademia Sztuk Pięknych we Wrocławiu, Wydział Malarstwa i Rzeźby

Individual Exhibitions

2019 No Brain No Problem, Galerie Panel, Praga
2018 Sky Is the Limit, Art Walk, Warszawa (Wykwitex)
2016 Cofam Suba, Stroboskop, Warszawa
2016 LOL, Galeria Sztuki Współczesnej MD_S, Wrocław
2015 The End, 5 Malunai, Wilno (z Iwoną Ogrodzką)
2015 SKAJP, Galeria Sztuki Współczesnej MD_S, Wrocław

Collective Exhibitions

2020 Nasza Bomba Jest Kwiatem, IP Studio (Why Quit), Wrocław
2019 Who Let The Dogs Out?, Galeria Arttrakt, Wrocław
2019 Wersal Soft, Minus 1 Artspace, Katowice
2018 Dzikość serca i siła mięśnia, Odeon, Lublin
2018 Konteksty 8. Międzynarodowy Festiwal Sztuki Efemerycznej, Sokołowsko (Wykwitex)
2018 Survival 16. Kapitał, Pałac Wallenberg-Pachalych, Wrocław
2018 Matrix, Uniwersytet Jagielloński, Kraków
2018 Miłość, Inkubator Kultury – Pireus, Poznań
2017 Jak jest?, Galeria Labirynt, Lublin
2017 Pomada 7, Dziedzictwo, Pałac Kultury i Nauki, Warszawa (Wykwitex)
2017 Otwarte Triennale, Centrum Rzeźby Polskiej, Orońsko
2017 WGW 2017: Gerstberger, Pawszak, Rechowicz feat. Wykwitex, BWA Warszawa (Wykwitex)
2017 Home(sick)/ Nostalgia, Centrum Spotkań Kultur, Lublin
2017 OUT OF STH, Zajęcie, BWA Wrocław, Wrocław (Wykwitex)
2017 Sztuka na Giełdzie, Dworzec Autobusowy, Lublin
2017 Dziewczyństwo, Scena Robocza, Poznań
2017 Nowa Fala, Centrum Kultury, Lublin
2016 Młodzi w Muzeum. Poziom Najwyższy, Muzeum Narodowe, Wrocław
2016 Dom Rozpusty, Wykwit, Wrocław
2016 Błaźni i Kapłani, Urania, Berlin
2014 Rysować, Galeria Wozownia, Toruń
2014 Wolna Pracownia Kosałki, Galeria Entropia, Wrocław
2014 2nd International Biennale Of Student Drawing, Academy of Fine Arts in Sofia, Bułgaria