2021.03.06 06:25:00
Agnieszka Różyńska Alicja Wysocka Bianca Bondi Ewa Tatar Gregor Różański Horacy Muszyński Joanna Rzepka-Dziedzic Justina Los Karolina Plinta Karol Komorowski Kuba Szreder Liliana Piskorska Martyna Czech Mikołaj Sobczak Monika Drożyńska Nomadic State Norbert Delman Pracownia Portretu Przemek Branas Styrmir Örn Guðmundsson Sylwester Gałuszka Tobiasz Jędrak Wykwit Zofia Krawiec Zuza Golińska
Agnieszka Różyńska
°1990, Oława
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Feminist, queer activist, cultural labourer. Since graduating from Polish-English School for Youth Trainers (2012) she has been programming and managing artistic and social projects and building educational realms based on Gestalt. Curator of artistic events engaging local communities, i.a. Generator Malta as a part of Malta Festival Poznan (2016, 2017), academy for young creators Sąsiedztwo – granice bliskości (2016, 2017), Eksperyment: DIALOG (2017); cultural educator in frames of Struktury Kultury (Very Young Culture at National Centre for Culture in Poland, 2016, 2017), Centre for Educational Practice (2016, 2015), Koalicja Kulturotwórców (FIO, 2015); animateur and coordinator of youth and social activities for the projects: Ogród Łazarz (2015), Otwarta Strefa Kultury Łazarz (2015, 2016), Institute of Social Education (2013, 2014); producer of Teatr Polski in Poznan (2016–2017), PR manager of performative programme at Art Stations Foundation (2015–2016); coordinator of education department and PR manager of Resident Theatre Center SCENA ROBOCZA in Poznan (since 2017).

Alicja Wysocka
°1985, Rybnik

1. Collective creation
The cooperative organisation is based on collective work, which enables its members to share their experience, skills and develop creativity. The Cooperative Spółdzielnia Ushirika derives from the tribal traditions characteristic of this region of the world, where every day work is accompanied with conversations and shared meals. Contrary to a typical manufactory, working in the cooperative does not mean passive reproduction of ready made projects. The members instead influence the final shape of the self made produce.
2. Safety at work
The cooperative provides safe and healthy working conditions. The members of the cooperative are covered by health insurance.
3. Changing the economic and social situation of the employees in Cooperative Spółdzielnia Ushirika. We work from Monday to Friday, 9–16, with a lunch break.
4. Well-being and work comfort
The cooperative provides food products for meals that the members cook and eat together, strengthening work and friendly ties. Women have the opportunity to come to work with children.
5. Learning skills and adapting to the labour market
Learning and exchanging skills is the primary motto of the Ushirika Cooperative. Its employees have learned to sew from scratch.
6. Use of local materials and recycling
The cooperative uses local materials, thus supporting local economics. Used tires and plastic bags are being recycled.
– Foundations of Cooperative Spółdzielnia Ushirika

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Studied at the Academy of Fine Arts in Cracow, School of Design and Crafts in Gothenburg and Vrije Universiteit in Brussels. She obtained her diploma at the Academy of Fine Arts in Poznań, with an annex in the studio of Miroslaw Balka (2010). She graduated from the Pontifical University of John Paul II in Cracow, at the faculty of Cognitive Science. Her work under the brand name Alfa Omegi is related, among others to Omega Workshops, founded at the beginning of the twentieth century in London, as a combination of applied and fine arts, bringing together the creators of various disciplines, collaboration, crafts, localities and loyalty. AO questions the notion of authority and authorship, distances itself from the ways in which the art market and the big brands operate.

Cooperative Spółdzielnia Ushirika, a social and artistic project run by Alfa Omegi and the Mathare Valley community, which is a reference to the tradition of cooperative movements, began its activity on January 23, 2017 in the Mathare slum in Nairobi, Kenya. Its headquarters are located above the Mathare Art Gallery.

The project is realized with the help and support of the Pamoja Razem Foundation.


Bianca Bondi
°1986, Johannesburg

You believe in your creative potential. You are directing your energy towards the best possible ends. You believe in the power of art.

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Bianca Bondi began her artistic training at Wits University Johannesburg where she completed two years of a Bachelor of Fine Arts (BAFA), before moving to France where she obtained her master equivalent at l’Ecole National superior d’Art de Paris Cergy (2012). From 2010, Bondi has taken part in numerous exhibitions and residencies globally in places such as Banjoun Station, Cameroun (2011), the Château de la Roche Guyon (2014 and 2015), the Centre for Contemporary Art Ujazdowski Castle in Warsaw (2014), Galerist, Istanbul, Turkey (2015). She was selected for the Bourse Revelation Emerige in 2015 which showcases the work of young artists from the emerging french scene. She recently had a solo project running for five months beginning the summer of 2017 at the Cité des Sciences in Paris.
With a multidisciplinary approach that is often site-specific, Bondi’s practice being very much process based, is blending of material experiment and method. Working with a non-exhaustive list of ingredients such as copper, resin, salt, latex and various chemical solutions, the materials are chosen for their potential for transformation; resulting in entirely strange and new surfaces. Her work process can be likened to ritual practice or a sort of instinctive alchemy in the promotion of mutation and ultimately in poetic dissolution. She correlates these organic combinations to various current situations flirting with spiritual, psychological, and social subject matter while always honoring the intangible. Lives and works in Paris.


Ewa Tatar
°1981, Kielce
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Art researcher and curator. The author of exhibitions-essays, e.g. on the post-revolutionary identity and transition of the Polish society from cyclical time to historical time (Farmhands in Factories and Boas in Brasseries, Museum of Modern Art in Warsaw, 2016), quasi-biographical on the life and art of Krzysztof Niemczyk (2010) and Władysław Hasior (2015) or emotionally exhibitist (You Fell in Love with Someone Who Does Not Exist, 2015). She is the author of a publication on the Polish network of Bureau for Art Exhibitions (BWA), currently working on a book on the self. She sees opportunities for feminist revolution in Polish culture in articles and bi-gender nouns.

Gregor Różański
°1988, Wrocław

Electronic music and parties are forms of decentralized control of bodies / minds / crowds, and this usually does not fit the authority that has its own biopolitics and wants a monopoly of mind control and crowd control – while techno postulates: let the beat control your body, a disinterested and universal beat, not power. And it’s not even about techno itself, but about partying in a general and timeless sense. Partying is a revolutionary attitude, or a substitute for revolution. Since the twentieth century this phenomenon has been going under eradication efforts, because party society is a society that is hard to control.
– Gregor Różański, Raving Institution, 2017

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In his work, Różański explores contemporary phenomena of living and working in hybrid and precarious reality, using such media as installations, research projects, the internet, video and objet trouvé. He studied visual arts and sculpture at the Kunsthochschule Weissensee in Berlin. His work was presented at solo exhibitions i.a. in the Centre for Contemporary Art Ujazdowski Castle in Warsaw (2015), Zona Sztuki Aktualnej, Academy of Arts in Szczecin (2015), Wrocław Contemporary Museum (2012), O’Artoteca Project Space in Milan (2010), Para_Site Gallery in Graz (2009) and group exhibitions, i.a. at the Zachęta National Gallery of Art in Warsaw (2016), All the Time at Work in BWA in Tarnow (2016), Private Settings. Art After the Internet at the Museum of Modern Art in Warsaw (2014), IS IT ART OR IS IT JUST in BWA Zielona Góra (2014) and Het Plafond in Rotterdam (2013), Something That Is Coming – 21st Century Architecture Festival in the National Library in Warsaw (2011), Material Conversion at the Grimm Museum in Berlin (2011), Agency for Unrealized Projects at Art Basel 2011, Vienna Biennale in Vienna (2010) and Subversive Messe under the European Capital of Culture in Linz (2009). He lives and works in Warsaw.


Horacy Muszyński
°1994, Poznań

Depending on the conditions, the game takes place outdoors or in interiors with appropriately arranged scenography. Most often, players are dressed in costumes suitable for their characters. The settings and costumes vary according to the world of the game ― rich and colorful, symbolic and contractual, or not at all, and recalling the corresponding images is left to the imagination of the players. One of the most common garments maintained in the medieval style is tunic and coats, while in futuristic games popular clothing is typically military. Participants usually have to deal with a lot of props to symbolize means of payment, valuables and various objects placed in the game area.
― According the definition of LARP (ang. live action role-playing), Wikipedia

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Horacy Muszyński is a graduate of multimedia at the Department of Painting and New Media of the Academy of Art in Szczecin. Finalist of the Artistic Travel Hestia 2017, winner of the Młode Wilki 16. His films were presented amongst others at 68. Cannes Film Festival (2015), Film Polska Berlin (2016), Szczecin European Film Festival (2016), Krakow Film Festival (2017). The main field of his interest is experimentation on the border of film and art. His performative approach to the film is manifested in the realisation of Dolly ― the actors who played the family had to remain in family relationships also outside of the film plan throughout the shoot period. In the ID, Muszyński hired the actor who replaced him for a week in real life. Currently, the artist is working on the series, Ass Death Dicks, which will be an authorial comment on the methods of distribution in the field of young contemporary art.

Joanna Rzepka-Dziedzic
°1979, Bielsko-Biała

Phoenix Syndrome ― (gr. sýndromos ‘analogous’ ― med. symptom complex characteristic of a clinical picture of a certain illness; greek Phoíniks, latin Phoenix, a mythical holy bird living in Arabia, dying in flames and resurrected from ashes every 500, and according to other sources 1,000 years) ― creative sine wave theory ― signifies the state of extreme revival and disintegration of bodily functions and all personality consisting in cyclical experience of energetic stimulation and psychic inflation (animation, power, divinity) and withdrawal, isolation and alienation.
– according to the Lexicon of Greek-Egyptian psychiatry by Chiron (6th century BC)

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A multimedia artist working in installation, photography and music, curator, educator, local activist. Graduated from the Academy of Fine Arts (now University of the Arts) in Poznan and the Institute of Creative Photography at the University of Silesia in Opava (Czech Republic). Scholarship recipient of the Ministry of Culture and National Heritage of the Republic of Poland. She co-creates an independent cultural institution Galeria Szara (until 2015 in Cieszyn, and since 2016 in Katowice). Throughout several last years as a curator of Szara she co-organized exhibitions, meetings, workshops, concerts and other events dedicated to contemporary art. She co-produced books, catalogs and music publications. Her own artistic projects were presented in Poland and abroad. Currently working on the Phoenix Syndrome, the concept of sinusoidal modes of operation by creative personalities. She lives and works in Katowice since 2016.


Justina Los
°1986, Ełk

“Center”, the central point of something, such as the nervous center, earthquake center; a characteristic place, an environment where something significant happens, around which something is focused, e.g. an industrial or economic center; an institution dealing with complex activities in a specific field and in a specific area, e.g. a breeding center, a farm in the social sciences it means clustering of many important parts of a phenomenon in one place. This may be a resistance center, a combat center, a command center, a research center.
– according to the Dictionary of the Polish Language and Wikipedia

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She studied at the Akademie für Kommunikationsdesign Köln and the Academy of Fine Arts in Warsaw where she obtained her bachelor’s degree at the studio of Grzegorz Kowalski (2014) and her master’s diploma under the supervision of Mirosław Bałka and Krzysztof Wodiczko (2016). She works mainly in the field of video arts, performative activities and installations. Her work was presented, among others at the Salon Akademii in Warsaw (2017) at the British Art Show 8 in Courtyard Theater in London (2016), at the Center for Contemporary Art Ujazdowski Castle in Warsaw, BWA Zielona Góra, at the European Media Arts Festival in Osnabrück (2015) and the Fondazione Pastificio Cerere in Rome (2014). Since 2015, she has co-founded Polen Performance duo with Mikołaj Sobczak, as contracted service providers mainly for artistic institutions, recently at the Henryk Gallery in Cracow (2017), Museum Kunstpalast in Düsseldorf, the Zachęta Project Space in Warsaw, Centre for Contemporary Art Ujazdowski Castle in Warsaw (2016), lokal_30 in Warsaw and WRO Media Art Biennale in Wroclaw (2015). Participant of the Aesthetics and Bias conference organized by Bezalel Academy of Arts and Design Jerusalem in Tel Aviv (2017). She lives and works in Berlin.


Karolina Plinta
°1988, Szczecin

The new generation of artists lives in the shadow of their artistic ‘fathers and mothers’ who have no intention of giving way to them; it is quite a problematic question why young artists are not able to make it and to perform a spectacular demonstration of a generation success. Is it because they make worse art? Or maybe they are too distanced and in fact they do not have to prove anything to anybody? Neither of these options reaches the crux of the matter. If there is a factual and indisputable reason why the young generation is in a worse position than their predecessors, we should first of all see it in historical determinism – the boom for Polish art, which started together with the fall of the Eastern bloc, has definitely ended. The global artistic establishment is no longer examining Polish scene with an enhanced interest, there is no preferential treatment in evaluating the works of Polish artists; there are the same rules as for everybody else, and these rules, whether we like it or not – are not based on leftist empathy or on supporting the excluded.
― Taken from The critical margins. Artistic reality in Poland in the eyes of the post-enthusiastic generation, Karolina Plinta (2017)

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A graduate of art history at the Jagiellonian University (as part of the Inter-Faculty Individual Studies in the Humanities). Currently a PhD student at the Artes Liberales Faculty of Warsaw University. Professionally engaged in art criticism. Still during her studies, in 2010, she founded the Sztuka na gorąco (Hot Art) blog, which ran until 2013. Maintained in a mock convention, it was created in opposition to the language used in official scientific and institutional texts. She collaborated with Ha! Art Corporation, where she published feature articles with the joint title Sztuka na gorąco, and later also a series of Mistrzynie $tylu (Mistresses of Style) dedicated to the selected female artists or personalities within the artistic community. The feuilleton series Sztuka na gorąco was also featured in the Szum magazine, with which she began collaborating in 2013. Currently she works as Szum’s editor.
In 2016, right after Warsaw Gallery Weekend, she announced the activity of Galeria Kubeł – a new exhibition space in Warsaw, located in Ikea’s waste bin (Fniss, price 1 euro). The first exhibition in Kubeł, Disappointment Island 2, with the logo of the Griffin Art Space Foundation, bicycle lights, Hawaiian flowers and Krajowa vodka, referred directly to the involvement of the artistic community in the policy of property development companies in Poland. Galeria Kubeł also joined the celebrations of the Year of the Avant-garde, organizing a series of publicist-satirical exhibitions (Drop it: Galeria Kubeł at the Congress of Culture, Into Poland / Galeria Kubeł ft. Liliana Piskorska), The Lost Money of the Minister, Galeria Kubeł ft. Jakub Gliński, Wiwat New Year! – exhibition by Irmina Rusicka, Welcome to the Year of Avant-Garde: #heritage, Exhibition: #deprivation). The gallery also takes part in the Warsaw Gallery Weekend, which it did not apply to because it did not have to.


Karol Komorowski
°1994, Częstochowa

Where to stay? What to work for? Which way should one look for his own way out? How not to get sucked by an advantageous scheme? Where to direct the time one has? How to create an alternative world on one’s own terms? How to slow down instead of speeding up? How to pervert the existing system? How to overcome human primitiveness? What is the limit of adaptation? How to fulfil a basic sense of justice? Is it possible to adapt to the contemporary reality on the basis of intellect? What should one do in order to bring quality over productivity? How to use the system and not reproduce it? How to create more than is consumed? Which interdependencies make sense? How to take advantage of the pathologisation of structures? How to avoid obsolescence? Should we care about our own future more than about the future of the world surrounding us?
― Różnia

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Post-photographer, filmmaker and director of abstract films (“November/December” – 2017), writer (“Piszę na żywo, jak żywo?” – 2016, “Wypierdalaj ze sztuki” – 2016). Between 2012 and 2016 associated with Warsaw-based Lookout Gallery. Theoretician of Różnia gallery, an artistic appropriation of private residential space, an informal social project created in Warsaw together with Anna Sidoruk (from April 2016 until February 2017). Currently nomadising in the Italian South and searching for a new place to restart this initiative.


Kuba Szreder
°1977, Gdańsk

The life of each projectarian is marked by fundamental ambivalence. Let’s look at the project itself. On the one hand, it is a device that allows acting beyond the strict supervision of the institution and discipline of the bureaucracy. It is a way to maintain “independence”, preserve freedom, work with people one likes. On the other hand, the project is a way to manage people, is a tool of distributed power and network control. Projectarians are under pressure of deadlines and temporality. Exposed to the risk of becoming precarious, they burn out in a constant race for access to opportunities.
― Taken from ABC Projektariatu (ABC of Projectariat), book by Kuba Szreder published by Bęc Zmiana (2016)

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Lecturer at the The Faculty of Management of Visual Culture at the Academy of Fine Arts in Warsaw. Graduate of sociology at the Jagiellonian University (Krakow), he received PhD from the Loughborough University School of the Arts. He combines his research with independent curatorial practice. In his interdisciplinary projects, he carries out artistic and organizational experiments, hybridizing art with other domains of contemporary society. In 2009, he initiated Free / Slow University of Warsaw, with which he completed several inquiries into the political economy of contemporary artistic production, such as Joy Forever. Political Economy of Social Creatvity (2011) and Art Factory. Division of labor and distribution of resources in the field of contemporary art in Poland (2014). Editor and author of several catalogues, readers, book chapters and articles. In his most recent book ABC of Projectariat (Polish edition, 2016), he scrutinizes economic and governmental aspects of project-making and their impact on an ‘independent’ curatorial practice.

Liliana Piskorska
°1988, Toruń

I proposed to conduct an evaluation for the organizers of the Young Triennale. It will concern the overall process of working on project preparation. Its results will be anonymous, and what to be exposed will be decided by the three of participants. In recent years, I have used evaluation skills in the field of activism, working with trainers of non-hierarchical groups, facilitating and moderating group processes.

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Visual artist, student of the Interdisciplinary Studies in the Humanities at Warsaw University, graduate of the Faculty of Fine Arts at the Nicolaus Copernicus University in Toruń. Currently a PhD student at the same university (tutor: Elżbieta Jabłońska). Since 2013 a member of the Grupa nad Wisłą (Vistula Group). Her work was presented at more than 65 group and solo exhibitions in Poland and abroad, and in the media, among others in TVP Kultura, Arte TV. Multiple scholarship holder. Finalist of the Forecast Forum at the Haus der Kulturen der Welt in Berlin in 2017. Selected exhibitions and festivals: Forum Forecast, Haus der Kulturen der Welt, Berlin; Malta Festival, Poznan; Hygienists, Supermarket, Stockholm Independent Art Fair in Stockholm (2017), IN CONFLICT, Visible White Photo Prize in Florence (2017), Everything is alien to me, Galeria Szara Kamienica, Cracow; Biennale of Young Art Rybie Oko 8, Baltic Gallery of Contemporary Art, Słupsk, Enter Quickly As I’m Afraid of My Happiness, CSW Znaki czasu, Torun; The Limits of Globalization / Polish Art Tomorrow, Mediations Biennale, Zamek Culture Center, Poznan; CIPAF Cyprus International Performance Art Festival, Nicosia, Cyprus; 12. Art Review Survival: City – Inflammatory State, Wroclaw; Epidemic, CSW Znaki Czasu, Torun. She participated in the T4T: Training for Trainers programme in Cluj in Romania (2016). Her action settles in the feminist-queer, feminist, anarchist, and posthumanist perspective. She has a constant interest in producing an alternative to heteronorma.


Martyna Czech
°1990, Tarnów

In many paintings I include my own stories. I settle up with myself, as a representative of the human species and the world we create. (…) I paint because I want, because I have to, because I can not function without it.
― Taken from an interview with the artist, artbazaar.blogspot.pl

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A graduate of painting at the Academy of Fine Arts in Katowice, in the studio of prof. Andrzej Tobis. In her work she deals with criticism of the human world on the basis of her own experience. In many works she focuses on the subject of animal suffering. As an in-depth observer of the relationship between animals and humans, she is interested in situations in which the collision of these two worlds causes pain and suffering. She participated in many exhibitions, among others in Różnia Gallery in Warsaw, BWA in Tarnów, Schwarz Contemporary in Berlin (2017) and the Foksal Gallery Foundation (2016). Her solo exhibitions were presented at the Galeria Pojedyncza in Katowice (2017) and Galeria Potencja in Cracow (2016). Laureate of the 8th Edition of Talenty Trójki in the Visual Arts category (2017). Received the Grand Prix of the Minister of Culture and National Heritage during the 42nd Bielska Jesień Biennial of Painting (2015).


Mikołaj Sobczak
°1989, Poznań

I understand your role as curators and the resulting tension. It’s you planning everything, fixing, taking care to make it look good and make sense. You want to prepare everything in advance. However, in this case, I think you should just trust us. Let it go! Let the artists come, and by working in groups or group, tell something about themselves, about this place by means of what they find there. After all, artists are the “creative industry”, and in Orońsko there is plenty of material to overwork, use and create interesting work.
– A fragment of an e-mail conversation with Mikołaj Sobczak and curators of the Open Triennale

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Mikołaj Sobczak graduated from the Academy of Fine Arts in Warsaw, obtaining a diploma in the Studio for Spatial Practice (diploma work realised in collaboration with Nicholas Grafia, Storm and Hot Desires, 2016). Scholarship holder of the Universität der Künste in Berlin (2014-2015) and Young Poland (2016). Since 2015 he has studied at Kunstakademie in Münster. Together with Justina Los he co-creates Polen Performance duo. In his work Sobczak focuses on contemporary politics and economics, presenting them from the perspective of the immediate surroundings. His artistic practice is based on remixing literature, tv broadcast and the internet, analyzing the related aesthetics and trends.


Monika Drożyńska
°1979, Nowy Sącz

School of embroidery for ladies and gentlemen “Golden Hands” is the smallest cultural institution in the world operating without subsidies. It deals with the widespread use of embroidery techniques, flat embroidery, cross stitch and historical techniques. There is a library and reading room on site. The collection includes literature, newspapers, magazines and zines on embroidery, politics, feminism, activism, art and fashion. Tuition fees are paid by means of economies based on the exchange of goods and services.
The school is run by the “Golden Hands” collective, and decisions about its functioning are made by consensus. Collective works pro bono, but not for free.
The collective “Golden Hands” deals with activism, runs an Occupation Embroidery, encounters that result in producing embroidered banners, which then go to the library and from there they can be hired for a demonstration.
Want to enroll? Welcome.
― Entries are accepted by female and male members at the following address: centrala.zloteraczki@gmail.com

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An artist and designer initiating projects realised collaboratively and presented within the urban space i.a. Punkt (2004-2010), House of Culture (2008-2009), Urban Embroidery (2010-2011). She presented her work within solo and group exhibitions, among others at the Centre for Contemporary Art Ujazdowski Castle, Zachęta National Gallery of Art (2010, 2013), CSW Łaźnia, Gdańsk (2008), CSW Kronika, Bytom (2013, 2014), Teatr Wielki National Opera in Warsaw (2011), MOCAK, Cracow (2010). Her work are within collections in i.a. Bunkier Sztuki and National Museum in Krakow. Recipient of the scholarship from the Ministry of Culture and National Heritage of Republic of Poland (2010) and Visegrad Artist Residency Program (2012). Laureate of the competitions Kulturysta of the Polish Radio 3 Program (2011), Kulturalne Odloty of Gazeta Wyborcza (2008). Founder of the School of Embroidery for Ladies and Gentlemen, “Golden Hands”, member of the collective “Golden Hand”. She lives and works in Cracow.


Nomadic State
°2015, Internet

Giuseppe led us to a holy place, which only a few know about. When we asked about the impact of technological development on shamanism, the old woman sent us to a younger shaman. He functioned very well in the virtual world, ran a wide-ranging commercial and spiritual life in it: he made sketches of the person dedicated to the individual on the basis of his confidences. Younger Korean shamans often act as therapists, using rituals to cure people who are addicted to computer games.
― Taken from Najmniejsze państwo świata (The smallest country in the world), Karolina Mełnicka, Stach Szumski. An interview by Alek Hudzik, „Notes Na 6 Tygodni” 2016, no. 106.

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Nomadic State is an open, mobile project initiated by two artists, Karolina Mełnicka and Stach Szumski. Based on the creation of a nomadic micro-state, which mimicry fits into the existing geographical and social space. It refers to the origin of “non-places” in the meaning of space without identity through the globalization of unification of reality, and also to the non-geographical nature of the internet and physical reality. It creates a field for reflection on the position of man in the political system of the state in which he operates. In 2015, the duo realized a project during which he studied the gradation of shamanism through the prism of technological development, for which they visited via land water routes Russia, Korea and Japan. They also built a temporary embassy in Munich during the Spielart Festival. In 2016 the group managed to meet the president of Liberland, an independent state located between Croatia and Serbia. In Poland, the work of Nomadic State was presented at the i.a. Zachęta Project Space, by the Matosek Niezgoda duo and in Księgarnia Wystawa in Cracow. Laureate of the Młode Wilki 15 Prize by the Academy of Arts in Szczecin. Associated with the Polana Institute.


Norbert Delman
°1989, Warszawa

Small fountains in the courtyards of rich houses were discovered in Pompeii. In the Middle Ages, the fountains often symbolized paradise and purity. In monasteries they served to lave during religious rites. In the Baroque period, the fountains were decorated with numerous figurines. Sculptures were then the main element, and water was used only for their animation and decoration. In the 19th century, the fountains honored national heroes or historical events. Resultant of unpredictable energy, collective spitter of the youth – what can be the fountain realized during the Open Triennale in Orońsko?
– Norbert Delman

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Sculptor and performer, creator of videos, installations and graphic works. Curator of exhibitions and collaborative projects, among others There is no yawning at the Nowy Teatr in Warsaw (in collaboration with Agnieszka Delman, Marta Królak and Tymon Nogalski) and mobile exhibition WY 3208G (together with Klara Czerniewska, 2015). In the years 2008-2014 he studied at the Academy of Fine Arts in Warsaw, where he obtained a diploma in Mirosław Bałka’s Studio of Spatial Activities, and in 2012 at University College Falmouth in the United Kingdom. He co-creates the Stroboscope art space in Warsaw (since 2016) with Agnieszka Delman and Franciszek Buchner. Scholarship recipient of InterModem at MODEM Center for Modern and Contemporary Arts in Debrecen, Hungary (2011), RSA / ESW Edinburgh (2014), WRSW | BRLN (2016). His work was presented, among others in MODEM Center for Modern and Contemporary Arts in Debrecen in Hungary, ESW in Edinburgh (2014), Royal Scottish Academy (2015), MOCAK in Cracow (2013), BWA Zielona Góra (2014, 2015), Labirynt Gallery in Lublin (2014, 2015), the Arsenal in Białystok (2013), the Ludwig Museum in Budapest (2016), the Museum of Yugoslavia in Belgrade (2016) and the Sculpture Park at Bródno and Warsaw in Museum of Modern Art in Warsaw (2016). Scholarship recipient of the Minister of Culture and National Heritage of the Republic of Poland (2016). He lives and works in Warsaw.


Pracownia Portretu
°2013, Łódź

Imagine a man holding a parrot. The act of seeing is connected with the act of cognition and is evidence of the existence of a parrot. Now close your eyes. I throw a parrot. Where is it? It can be anywhere. It is only by exploring the room that we have a chance to find it. And by finding it we are materializing all the potential chances of its occurrence at one point – in that parrot itself. Our installation works in a similar way. It is only available when we know of its existence and we use our research instruments to discover it. (…) We have invited artists who were earlier presented in the Pracownia Portretu to create an exhibition at the Young Triennale.

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Pracownia Portretu (Portrait studio) was created in October 2013. It focuses on presenting the latest developments in contemporary art.


Przemek Branas
°1987, Jarosław

Herbs are edible plants, therapeutic and pleasant to the senses. Flowers have strong associations with ancient knowledge and notions of beauty. Bamboo is a representation of orientalism in art and the environment. I selected and placed all the flowers and herbs in the botanical press constructed by myself. Then I attached the plants to sheets of paper, forming a herbarium. At the last stage, I chose plants with toxic properties. Through the steam distillation apparatus, I prepared an extract obtained exclusively from these poisonous flowers. The liquid contained in this vile can be lethal if consumed (…) What is poisonous is very close.
― Excerpt from a text accompanying Moonrise project by Przemek Branas at Terra American Art Foundation in Giverny (2017)

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Graduate from the Interdisciplinary Department of the Academy of Fine Arts in Cracow. In his work, he combines biographical themes with symbols. He is interested in crossing boundaries marked by the body, culture and social functioning mechanisms. Currently a PhD student in Interdisciplinary Doctoral Studies at the University of the Arts Poznan. He took part in Embodied Action Festival (Hong Kong, 2016), GUYU ACTION Performance Art Festival (China, 2016), Polish Performance Night (Quebec, 2014). His solo exhibitions were presented at i.a. Grey House Gallery in Krakow (2017), Bank Pekao Project Room, CCA Ujazdowski Castle (2016), as part of Krakow Photomonth Festival (2014). Galeria Wschodnia, Łódź (2013). Recipient of the scholarship from the Ministry of Culture and National Heritage of the Republic of Poland (2013). Laureate of the Prize of Gray House Foundation (2015). Resident at Meet Factory (Prague, Czech Republic, 2016), Sesama (Yogjakarta, Indonesia, 2017), Terra Foundation for American Art (Giverny, France, 2017). Nominated to the eighth edition of the Zachęta National Gallery of Art and Deutsche Bank Prize Views (2017). He lives and works in Jaroslaw.


Styrmir Örn Guðmundsson
°1984, Reykjavik

The toothpaste we use is very toxic – not only toxic but full of plastic – let it get to your brain start acting stupid – so so stupid I don’t understand it – human feelings make me feel strange
― Taken from the track Sírenuvæl by Styrmir Örn Guðmundsson, as part of the musical titled What Am I Doing With My Life? (2017)

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Styrmir Örn Guðmundsson is a storyteller, a performer, an object maker and an illustrator. Styrmir has a love for the absurd, by which is meant less an obsessive passion for the ridiculous, nonsensical or the odd, than a tender and caring attitude: he takes care of the absurd, he helps it to develop, he gives it a place alongside everything else where it can be your most disturbing neighbor and your best friend. He has brought his objects and performances to places such as the Contemporary Art Center of Vilnius, The Living Art Museum in Reykjavík, Casa del Lago in Mexico City, Cricoteka in Krakow and to the Lithuanian Pavilion at the 57th Venice Biennial (2017). Styrmir is from Iceland and lives in Warsaw.


Sylwester Gałuszka
°1978, Przemyśl

Robotnicy sztuki (The Art Workers) practiced art that was no different from what we did on a daily basis ― our everyday life at the Shipyard was transformed into the Art Worker. We did not want to delineate what we were doing: organizing exhibitions, hanging paintings, being curators, muralists, acting multidisciplinary. We wanted to stress that we were from Gdansk Shipyard, Artists Colony. Here was our home, here was born Art Worker and PGR ART.
We have included it in our manifesto ― “PGR ART exists beyond divisions and clearly defined borders. It is not important to us whether what we do is still art, politics or fun. PGR does not create, PGR makes aware. PGR is more than just an artistic group, it is a social project and maybe even a way of life.”
― Taken from Nieprzewidywalne kolonie (Unexpected colonies), Sylwester Gałuszka. A conversation by Jakub Knera, “Nowe idzie od morza”, 2016

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Organizer and animateur of artistic events in Gdansk. Author of many cultural, social, curatorial and educational projects. Artistic Director of the Open Source Art Festival in Sopot. He produces documentary and video works. Since 2001 he has been co-creating the Colony of Artists, an open, independent and experimental space functioning until 2008 at the Gdansk Shipyard. Since 2015, as the President of the Colony of Artists Foundation, with Katja Smola is leading the New Colony, which promotes and support artists of various disciplines by organizing exhibitions, concerts, festivals, educational and residency programs.


Tobiasz Jędrak
°1985, Kraków

Sometimes I have a doubt. It is always the same as previous one and always a little different. I do not know then whether I see what I think I see. I do not know if I’m sure it’s there. I start to doubt not so much in the square, but rather in what I have placed in it myself. Although I am alone in this – I speak of my square – I am comforted by the fact that there are still others who, although they see a square differently from me, are inclined to claim that it is something more than a small part of the view from the window. I remember that they are in the minority, and maybe even within the minorities of this minority. But they are, they are after all. And some of them, I think, also have a variety of doubts.
– Taken from the film Black Square on a White Background Living in a View from My Window (2017)

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Interdisciplinary artist, graduate of the Academy of Fine Arts in Cracow and University of the Arts Poznan. He lives and works in Poznan.

°2015, Wrocław

Wykwit (exhaling) is a bottom-up initiative. We exist through our own involvement and the help of those who are willing to work with us. Home owners have given us trust and support for our activities. Wykwit operates in the conditions opposite to white-cube spaces. The projects presented at our premises should take into account the potential of the place, its specificity and contexts. We also consider proposals of providing the space for events not strictly related to the specificity of the home, nevertheless taking into account the nature of our activity.
On the occasion of artistic activities we get acuqainted with the local community. We are committed to creating a natural bond and exchanging with the further and closer neighbors of the villa. Through mediation of art we try to counteract the issue of the elitism of contemporary art.

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Wykwit is a place of artistic and exhibition activity. Erected at the end of the nineteenth century, the house situated in Wroclaw Zacisze (formerly Willemsruh) is now inhabited mainly by artists. Community inititative has been active since July 2015. Thanks to the trust and support of the owners of the building, the community has been involved in activities of other artists, friends and neighbors. Due to negligence and spontaneous interferences from previous tenants, the building of over 130 years of history with original architectural details almost completely lost its former glory, but artists attempt to save its condition and let in some fresh energy. The whole building is surrounded by the garden. The current team of Wykwit is Karolina Balcer, Martyna Muth, Karolina Włodek, Adam Martyniak – living on site – and Irmina Rusicka, Kasper Lecnim, Kamila Wolszczak, Jagoda Dobecka, Iwona Ogrodzka, Michał Mejnartowicz, Anita Welter and Miłosz Flis.


Zofia Krawiec
°1986, Poznań

Girls who take photographs of themselves, post them online and tell their own story take control over their images; they start functioning on their own principles. They show bodies with imperfections as attractive, they show that sadness or weakness are not reasons for embarrassment, and a woman who does what she wants becomes a model to be copied. Despite its many flaws, the Internet is the place where it all becomes possible.
― Taken from the text titled Emancipating girls and boys by Zofia Krawiec (2017)

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Art critic, curator, cultural journalist and artist. She runs a feminist instagram project called Neurotic Girl. Author of the book Miłosny Performans (Love Performance). She lives and works in Warsaw.


Zuza Golińska
°1990, Gdańsk

Sharing time means staying, building up and taming a particular space. Exchange should take place on many levels and in different places. Every day physical activity, for example in the form of such as daily walks, can affect the dynamics of a group. Starting out with physical activity practiced by theater workers and dancers is not very popular among the visual artists. Breaking out of individualism and entering into collective thinking requires the creation of a common rhythm.

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In her work Golińska often deals with the space by creating installations and site-specific projects. Graduate of Leon Tarasewicz and Paweł Susid’s Studio of Painting Spaces at the Academy of Fine Arts in Warsaw (2013). She completed her Master’s degree at the Department of Media Art at the Studio of Spacial Activites, led by Mirosław Bałka, and her theoretical work was supervised by Anda Rottenberg (2015). Diploma installation Run-up was presented in the post-industrial space of Dom Słowa Polskiego in Warsaw, Heiligenkreuzerhof in Vienna and the Národní Galerie in Prague. Nominated to the StartPoint Prize (2015), laureate of the grand prix at the Gdańsk Biennial of Art (2014), finalist of the Artistic Journey of the Hestia (2014). She participated in many group exhibitions, among others S-NOW project at the inauguration of the European Capital of Culture in Umeå, the series of three exhibitions No Yawning at the Nowy Teatr in Warsaw and Stay in Shape in Galeria Studio (2017). Her solo exhibition Common Ground was presented by Gdansk City Gallery (2016) and in the expanded version by MOS/BWA in Gorzow Wielkopolski (2017). Laureate of scholarship awarded for achievement by the Ministry of Science and Higher Education (2014). She received a scholarship from the Ministry of Culture and National Heritage of the Republic of Poland (2016). Resident of Artists’ Development Program by European Investment Bank in Luxembourg (2017). She lives and works in Warsaw.