Article: 30 Emerging Artists to Watch This Summer

Przemek Pyszczek’s studio may only be a 20-minute ride on the train from Berlin’s Alexanderplatz, midway along a line most frequented by the Easy Jet-set on their way back and forth from Schönefeld Airport for sleepless weekends of bad drugs and great music. But the kilometer-long stretch of warehouses in Schöneweide which used to house East Berlin’s most important power station and now, in part, Pyszczek’s sundrenched atelier is a Berlin those hoards—and, for that matter, most of those who populate the city’s increasingly booming city center—rarely see.

This is Ossi country, untouched by the city’s newfound, relative economic prosperity of tech firms and startups of all colors, and thus relatively unchanged since the wall came down, save the stoppage of the whirring turbines that employed the micro-region’s residents. It’s a fitting setting for the 30-year-old, Polish-born, Canadian-raised, Berlin transplant to create works that trace his home country’s transition since the fall of the iron curtain and an ongoing journey to rediscover his own past.