Stefan Szydłowski, a renowned art dealer and the owner of the Szydłowski Gallery, began his artistic and professional journey before the systemic transformation in Poland. His career as a private art dealer officially started in 1996, although he had already been involved in numerous cultural initiatives in previous years. For over three decades, his activities have significantly influenced the Polish art market.
Before establishing the gallery, now located in the heart of Warsaw, Szydłowski worked at the Library Gallery in Legionowo, where, between 1990 and 1994, he organized an initiative modeled on a folk university—a series of interdisciplinary meetings for the local community. His ambition at the time was to create a space where artists, intellectuals, and residents could come together. For several years, he invited distinguished artists, music theorists, writers, musicians, and performers to Legionowo. These gatherings aimed to promote art and culture while fostering communication networks that extended beyond academic circles.
A specific event, however, marked a turning point in his professional life. While working on Koji Kamoji’s exhibition Haiku-Water, Szydłowski, along with the artist, constructed a well as part of the installation at the Library Gallery. This decision sparked criticism and led to his dismissal. Despite the challenges, this difficult moment became a pivotal one. The controversy gained media attention, and widespread support from artists and critics helped Szydłowski gain greater recognition in the art world. Soon after, he became the deputy director of the Center for Contemporary Art in Warsaw (CSW Zamek Ujazdowski), opening new opportunities and broadening his network of contacts.
In 1996, encouraged by Andrzej Starmach, a friend and respected Krakow-based gallerist, Stefan Szydłowski decided to open his own gallery. The inaugural exhibition featured works by Koji Kamoji. Initially, Szydłowski approached the commercial aspect of gallery management with some hesitation, believing that valuable art should exist beyond the influence of market forces and commerce. However, as he deepened his relationships with artists such as Jan Tarasin and Zbigniew Dłubak, he realized that his role could extend to representing and promoting these creators.
From the very beginning, Szydłowski emphasized that the gallery should serve as a space for dialogue, not merely a site for art sales. His vision was to create a venue that would attract both art enthusiasts and those actively seeking cultural and aesthetic values. He organized regular exhibitions, meetings, and discussions, drawing collectors, art lovers, and artists alike. As a result, the Szydłowski Gallery became more than just a venue for art commerce (avoiding the typical German Kunsthandel model); it emerged as a social institution.
Szydłowski collaborated with many prominent figures in contemporary Polish art, including artists associated with the Krakow Group—Erna Rosenstein, Jadwiga Maziarska, Maria Stangret-Kantor, Tadeusz Kantor, and Jerzy Nowosielski. He often noted that his relationships with these artists were foundational to the gallery’s activities and his work as a dealer. Over time, the gallery became a hub for exceptional exhibitions of neo-avant-garde and contemporary art, contributing to the development of the Polish art market.
The gallery also established connections with artists from the Warsaw Academy of Fine Arts, particularly Jan Tarasin. It showcased works by figures linked to the legendary Foksal Gallery and the Krzywe Koło community, including Henryk Stażewski and Stefan Gierowski. Through his friendships with artists and his profound understanding of their work, Szydłowski gained the trust of many artistic circles, a critical aspect of his role as an art dealer.
Expanding the gallery’s profile to include additional artists naturally led to a desire to promote Polish art internationally. Since the 2000s, the Szydłowski Gallery has participated in international art fairs in cities such as Berlin, Milan, Turin, and Shanghai. These events have been crucial for the institution’s growth, enabling Polish art to reach international audiences and engage with diverse artistic environments. Although challenging at first, these efforts were rewarding, providing artists with opportunities to connect with a broader, global audience.
A milestone in the gallery’s history was its collaboration with Wojciech Fangor. Widely recognized for his unique op-art compositions that attracted global collectors, Fangor returned to Poland in 1999 and joined the gallery in the same year. The relationship between Szydłowski and Fangor was remarkable, both professionally and personally. The two shared a close friendship, frequently discussing and planning numerous artistic projects. Szydłowski often recalled that their joint ventures were not only artistic successes but also commercial triumphs, playing a pivotal role in sustaining the gallery. Fangor, whose work continues to enjoy international acclaim, became a cornerstone of the gallery and remained connected to it until his death.
Among the gallery’s numerous international initiatives is its involvement in the Warsaw Gallery Weekend—a yearly contemporary art festival where private galleries present premiere exhibitions, collectively offering a comprehensive overview of young artists’ works.
Since 2018, Konstanty Szydłowski has significantly influenced the gallery’s programming. He has invited collaborations with young artists, distinguished international creators, and initiated participation in both domestic and international art fairs.
Today, the Szydłowski Gallery organizes up to six exhibitions annually in its 100-square-meter exhibition space located in central Warsaw. It bridges the gap between established postwar artists (such as Tadeusz Kantor, Wojciech Fangor, Erna Rosenstein, and Edward Krasiński) and contemporary emerging talents (such as Wiktor Dyndo, Maja Kitajewska, and Krzysztof Nowicki) from Poland and abroad. Additionally, the gallery serves as a publisher of monographic books dedicated to its artists, including Wiktor Dyndo, Nina Haab, Antoni Starowieyski, and Małgorzata Mirga-Tas. Operating in the realm of visual arts, the gallery is not only focused on artist promotion but also on actively shaping the Polish art market by engaging with the artistic legacy of the second half of the 20th century.