This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.

This exhibition seeks to become something of an essay that distinguishes metaphors for our current times present in the art of Adolf Ryszka (1935–1995), a forerunner of new figuration, a tendency developing in parallel to the new wave in film and literature. The spotlight is on Ryszka’s famous works as well as those hitherto unknown, and the show features a group of small-scale sculptures that resonate with notions of organicity and concepts such as the uncanny, permutations, variability, imaginism. The sculptor built his own unique iconosphere by interpreting atrophy processes, combining the expression of the tragic and the vital, through opaque dialogues with visions of prostrate victims of wars in Pieter Bruegel the Elder.