You may realise many objects here relate to food, which perhaps alludes to a visceral conviction that arrived all of a sudden in the artist’s childhood – he wouldn’t touch the dark part of his Hamburger and Hamburger 2, i.e. meat, in real life. The tasty subjects of the paintings are fairly understandable, especially now that Burger King changed its visual communication to something similar. The thicker one, painted using oil, is so thick it is still gooey liquid inside, likely reminiscent of the caramel section of a Mars bar (feel free to gently touch it but please do not taste). These are burgers in their own axonometry or their own panoramic perspective. The title of Say Cheese says it all, again we encounter a banal explanation, plus the work is very much ready to be taken pictures of. The Polished złotys on the pizza box (let’s see if they are still there at the end of the exhibition) are a failure of a coin toss, a bet left unsolved given that the difference on their sides has been decidedly erased.

To a large extent, we could call Demczuk a performance artist. Generally, his video acts depict simple gestures, short fragments scrutinising one simple idea. If the artist doesn’t necessarily attempt to reach mastery, exhaustion, and commitment to the oeuvre are important elements nonetheless. It apparently took two years of practice with the javelin to reach the skill to shoot the two-channel Javelin Throw we encounter here. Using multiple screens, the artist himself may decide how well he throws.  On the other hand, Sky is the Limit proves there is a natural limit to things, and it comes much earlier to us than the sky. Cliffhanger visits us from the world of cinema (just like Slapstick), and given the fact that the 28-second long video performance featuring the artist hanging on a ledge has now become a cute animal/table on legs, I can’t help thinking the stakes have been raised and I bear a hint of responsibility for the performance artist’s safety.