Paweł Baśnik, Justyna Baśnik, Nikita Krzyżanowska, and Jędrzej Sierpiński—the founding quartet of the Wrocław art collective Nihilist Church (Kościół Nihilistów)—are currently on view at BWA Zielona Góra with their new exhibition 𝘗𝘭𝘶𝘵𝘢𝘳𝘤𝘩’𝘴 𝘚𝘱𝘦𝘦𝘤𝘩 (Mowa Plutarcha). The show runs until 11 January 2026.

𝘗𝘭𝘶𝘵𝘢𝘳𝘤𝘩’𝘴 𝘚𝘱𝘦𝘦𝘤𝘩 brings attention to the often-marginalized topic of animal rights within contemporary art discourse. The works on view explore interspecies empathy, tracing its roots to ancient ideas of vegetarianism and ethical coexistence.

Alongside new paintings, the exhibition presents a premiere of a new costume film inspired by Plutarch’s text from the first century CE—a remarkably early ethical argument that crosses species boundaries not through religious doctrine but through reasoning that resonates strongly with today’s pro-animal activism.

Featuring an ensemble cast of artists and collaborators, including performers connected to the Wrocław Theatre Academy, the film reenacts Plutarch’s address using a Polish translation by historian Damian Miszczyński. The project is directed collaboratively by Justyna and Paweł Baśnik with filmmaker Marta Bratuś, starring Dariusz Lech in the leading role.

The project is supported by the Botanical Garden of the University of Wrocław, Wrocław Opera, and 66P – Subiektywna Instytucja Kultury.

How do young artists respond to the contemporary world? Starting on 10 October, the National Museum in Gdańsk offers another opportunity to see reality through their eyes. The second edition of the exhibition featuring the collection donated to the museum by mBank focuses on the realms of emotion, myth, intuition, imagination, and memory. It is the voice of a generation that seeks not only form in art, but meaning as well

Łukasz Stokłosa’s artworks are currently on view at the Royal Castle in Warsaw as part of the 𝘓𝘦𝘵 𝘛𝘩𝘦𝘮 𝘚𝘦𝘦 𝘜𝘴! 𝘐𝘮𝘢𝘨𝘦, 𝘈𝘵𝘵𝘪𝘳𝘦, 𝘉𝘰𝘥𝘺 (𝘕𝘪𝘦𝘤𝘩 𝘯𝘢𝘴 𝘸𝘪𝘥𝘻ą! 𝘞𝘪𝘻𝘦𝘳𝘶𝘯𝘦𝘬, 𝘴𝘵𝘳ó𝘫, 𝘤𝘪𝘢ł𝘰) exhibition.

Clothing can function as a form of communication. From ceremonial garments worn by monarchs to the bold designs of today’s fashion innovators, what we wear continually conveys who we are – our identity, authority, social standing, aesthetic preferences, and beliefs.

This visual language can be unmistakably clear, yet it often reveals layers of meaning we may not intend to share. Clothing has the power to reinforce control and conformity, but it can just as easily become an expression of freedom and individuality. It mirrors shifts within society while remaining rooted in tradition, which it occasionally reinterprets with a touch of irony.

Curator and Artist Tour
6.30-7.30pm, Thursday 11^th September

Join Curator George Vasey and the artists for a tour of the Harrow, March 31^st2005… This will be an opportunity to hear about the ideas and inspirations behind the exhibition and artworks. The tour will last approximately 40 mins with time for conversation and questions.

Exhibition Brunch
10.30-12.30pm, Saturday 13^th September

An opportunity to view Harrow, March 31^st 2005… in a relaxed environment with coffee and pastries. The curator and some of the artists will be around for informal conversation and reflection on the exhibition.

Although comics have a long history in Poland as part of popular culture, it is only in recent years that they have begun to be recognized as a fully fledged artistic medium. After 1989, the Polish comic scene entered a period of dynamic transformation—one that continues today—marked by a steady breaking of established conventions and dominant frameworks.

The exhibition In a Wide Frame offers a multifaceted account of these changes—from grassroots initiatives by artists seeking to capture and interpret social shifts, through the impact of the Internet, the blogosphere, and the emergence of a professional comics market, to works created for public institutions or social organizations that reflect specific political narratives.

The Museum of Literature presents an exhibition devoted to the surprising relationships between the poetry book and the visual and audiovisual arts.

As the curators emphasize, a poem constantly moves between two natures. On the one hand, it refers to reality—indirectly, through meanings that lack physical form. On the other hand, once written down, it gains a tangible presence. When published as a book, it becomes an object that can function much like a work of art.

“Poems are not made of ideas but of words,” Stéphane Mallarmé reminded us. Yet when we speak about poetry, we often lose sight of this duality of its material. With the same language we use to ask for bread, we also construct poetic imagery. A poem can evoke intense, almost physical aesthetic sensations. Where does this sensory quality arise from? The sound of the words? Their notation? Their composition? Or perhaps from their texture, shape, or color? Could language possess properties similar to those of paint, ink, fabric, or resin?

The geopolitical events of recent years — armed conflicts, including the full-scale war in Ukraine, the COVID-19 pandemic, and their economic consequences such as inflation — have generated a widespread sense of uncertainty and a pessimistic outlook on the future.

In place of bold, futuristic visions, a turn toward nostalgia has emerged, resonating unexpectedly well with the present moment. Nostalgia, understood as a feeling of loss, in its reflective form combines longing with a sense of belonging. Svetlana Boym described it not only as “a longing for a home that no longer exists or has never existed,” but also as “a romance with one’s own fantasy.” The exhibition, featuring works by 22 artists connected to Kraków and born between 1979 and 2001, resembles a smile through tears — a gesture that, while masking sadness, can momentarily soften it.

The paintings, installations, and sculptures on display were created as an attempt to build a safe space for memories. They are returns to childhood experiences that may offer comfort. To a large extent, these are figurative works. The artists adopt distinctly narrative approaches, assuming the roles of storytellers of fairy tales, myths, urban legends, as well as stories drawn from films and television series.

Congratulations to Anna Maria Zuzela and Kacper Wiatrak for their outstanding accomplishments in the 16th Edition of Najlepsze Dyplomy Artystyczne (Best Artistic Diplomas), organized by ASP Gdansk!

Anna Maria Zuzela was honored with the Marshal of the Pomeranian Voivodeship Award (Nagroda Marszatka Województwa Pomorskiego) for her diploma project Imago, along with two solo exhibition prizes from PGS in Sopot and Artinfo.

Kacper Wiatrak received the Top Award – Rectors’ Prize (Nagroda Rektorów) for his diploma project Duchy (Spirits), as well as a solo exhibition award from Galeria Przypływ. 

KRUPA warmly invites you to celebrate the launch of Radek Brousil’s catalogue for the solo exhibition What You See Is Not Here Tomorrow. 

Join us for this special occasion on 25 April, from 6–8 PM, at our Wrocław gallery. 

KSIĘCIA WITOLDA 48/70 8th FLOOR 
50-203, WROCŁAW, PL 

We are pleased to share that Radek Brousil will join us for the event; a guided tour of the exhibition with the artist will take place. Copies of the exhibition catalogue will be available at the venue. 

OPEN CALL: Diploma Exhibition at KRUPA Gallery

As part of our annual tradition, KRUPA GALLERY Wrocław showcases selected diploma exhibitions by graduates of Fine Arts academies in Poland. We recognize that after leaving academic institutions, many artists face challenges in finding the right space to present their diploma projects to a wider audience. We also understand the significance of this moment as a formal entry into an independent artistic path. Our goal is to support emerging artists by providing an exhibition space and partial organizational assistance for their solo projects.

We are delighted to announce the next edition of this initiative, inviting graduates completing their studies this year. While past editions primarily featured graduates from the Academy of Fine Arts in Wrocław, we now welcome submissions from graduates of any Polish art institution at the master’s or doctoral level, across all visual arts disciplines.

In previous years, we had the pleasure of presenting the work of Paweł Baśnik, Monika Polak, Aleksander Baszyński, Zuzanna Janosz, and Kacper Wiatrak. This year, we are opening the call for submissions and will select at least one candidate.

Submission deadline: 31 March, 2025
Announcement of results: 07 April, 2025
Applications should be sent to: kontakt@krupagallery.pl
Email subject: “Diploma Exhibition + Your Full Name”

Requirements:

• A PDF portfolio including your CV.
• A separate PDF detailing your diploma project, including sketches, images of existing works, and a project description.

The exhibition will take place between July and August 2025 and will run for 2–3 weeks at KRUPA GALLERY in Wrocław, Poland. Exact dates will be agreed upon with the selected candidate.

We look forward to your submissions! 

On the closing day of “The Ark” group exhibition, Krupa London presents four sound, voice, and movement performances hosted by one of participating artists Natalia Januła. Engaging bodies, space, and sonic landscapes, the event extends the artist’s interest in organic transformation and interconnected systems.

Hollie Miller & Craig Scott will explore the interplay of bodily movement and sound, using fetal motion sensors to activate an evolving sonic environment. Karolina Łebek will present an experimental composition intertwining folk instrumentation with digital soundscapes. Aprigoat & David will create a semi-improvisational performance merging modular synthesis and sample manipulation into surreal sonic narratives. Agnieszka Szczotka will perform a spoken word piece bridging memory, language, and presence.

Join us for activation of “The Ark”, where shifting forms and resonant bodies bring the exhibition into live motion.

THE ARK – closing event & performance programme 

Agnieszka Szczotka

Hollie Miller & Craig Scott

Aprigoat and David

Karolina Łebek

hosted by Natalia Janula

The performance If I Were a Stone, I Would Carry Myself develops Wiktoria’s multithreaded project Imprint-Sculptures by focusing on rebuilding the lost relationship between humans and nature through physical contact with something most primal, from which we are constantly moving away. So far, the project has taken the forms of installation, video and photography, in which the most prominent role has been that of sculpture, or more precisely – what lies between sculpture and the body of the viewer.

Performative objects are tools for getting physically closer to nature through communion and touch by strengthening mental and spiritual bonds. Drawing on somatic healing methods, Nawrocka and Jakubowski will revive stone in order to delve deep into history, archaeology, acts of touch and sound. They will create a ritual choreography in tribute to nature, carrying the body into a sensory mythical story in which the performers use a stone key to open a portal to a utopian reality of multispecies love.

The works were inspired by the aesthetics of erotic fashion, BDSM, and the context of eco-sexual practices. Thanks to the contact between skin and stone and the firm attachment of the sculptures to the body, the work “becomes” anew with each successive contact. The healing properties of stone bring solace in a time of increasing overstimulation, when the body is alerting us to internal discomfort and tension. Stone as an amulet offers protection by transferring energy to strategic points, such as the lower abdomen, solar plexus and loins.

Wiktoria has graduated from the Academy of Fine Arts in Warsaw. She is currently completing her second master’s degree at Beaux-Arts de Paris, in the studio of Tatiana Trouvé. She lives and works in Paris, where she is a member of the Poush atelier and Aubervilliers. Since 2019 her practice has focused on restoring the relationship between humans and the environment. Her performative installations, objects, traces and ephemeral engravings are manifestations of a physical experience of our perception, revealing the memory of bodies and touch, and outlining a renewed and intimate relationship with nature in our consciousness. The works draw on the open and unlimited idea of sculpture, in which the boundary between object and body is indeterminate. The sculptures are both the material and the body that encompasses them, as well as the space between them.

Bartosz Jakubowski is an artist, performer and queer activist. He is interested in daydreaming, speculative history, and utopia as a survival strategy. His multi-sensory activities are based on working with archives and smells, as well as movement practice rooted in contact improvisation, Ilan Lev method and BMC. He is a member of the Queer Academy of Movement, co-founder of the X-Philes collective and the Score Me Queer radio program.

Jagna Nawrocka explores choreographic strategies used in working with camera and word, fabric, sculpture and performance. As a body-researcher, she is interested in speculative (post)artistic projects, focusing on somatic imagination and the production of collective knowledge through the exchange of sensory experiences. She is a member of the Queer Academy of Movement and initiator of the SCORE ME QUEER project; she conducts participatory performative research, Longing to be Long, and co-creates the Lios Labs residency program – an international research platform dedicated to the entanglements of art and ecology.

Sorry, this entry is only available in Polish.

This is a mechanism by which it is possible to remain in the place that you live, without exposing others or being exposed, while still being able to experience the presence of resistance in three dimensions. In my own private apartment, you will be able to experience the encounter between body and law while managing to come out without a single scratch. Your guilt will accompany you throughout the spaces as you digest the resistance digitally. This is the possibility of staying in isolation and being present in all places in the real world.

Over the last few months, large-scale protests have been ongoing in Israel. A number of organizations, with the main one being the “Black Flags” movement, protest against a range of issues: against the Prime Minister, where the protesters are demanding his resignation due to the indictment against him; against the erosion of state institutions, emphasising harm to the rule of law system; against the treatment of the economic crisis created in Israel due to the corona pandemic; protests by sectors affected by the economic crisis, including the self-employed, employees, teachers, social workers, restaurateurs and people in the fields of sports and culture. Many civilians were injured due to police violence.

SEE THE PROJECT > thevirtualcanvas.site

ABOUT THE ARTIST

Regev Amrani (1988) is a video artist and sculptor and a graduate of the Bezalel Academy of Art and Design (BFA) in the Fine Art Department 2016. In changing settings, Amrani combines sculptural installations, sound, video works, and autobiographical information with contemporary social and political situations.
On the surface of many of his works there is a desire to distance masculine violence and sexuality. The ideas of impulse and desire are disinfected, purified and cleansed through various mechanical filtering objects. These mechanisms dismantle the physical experience of the body with the help of these filters.

The House of Protest is a part of The Virtual Canvas online exhibition.

The images used in “Covid Playgrounds” were taken in Warsaw during COVID-19 pandemic lockdown (April 2020), when several restrictions on the use of public space and social distancing were introduced to protect the public health.

Using the model of the popular children street game hopscotch (and incorporating “heaven” and “hell” fields which are typical elements to the Polish version of the game), Post Noviki explores the ironic, yet frightening development of the public space during a pandemic.
The work invites the viewer to contemplate on how COVID-19 will affect the way we use and perceive the public space and what the future of urban planning and city design in a post-COVID-19 world could be.

SEE THE PROJECT  > www.thevirtualcanvas.site

ABOUT THE ARTISTS

Post Noviki is a studio established by Marcin Nowicki and Katarzyna Nestorowicz, based in Warsaw, Poland.
Studio’s signature is a post critical approach to graphic design and the idea of constant redefining the borders of wide-ranging practice.
P-Noviki create works across various media, generally in close dialogue with artists and curators.

P-Noviki projects have been published, in IDPure, Slanted, Introducing Culture Identities (Gestalten), Pretty Ugly (Gestalten), It’s Nice That. They have served as external consultants at the Royal Academy of Art, The Hague, and at the Academy of Fine Arts in Warsaw. They lectured at art schools and universities across Europe and Asia, run workshops at the Jan van Eyck Academy in Maastricht and the Tehran Museum of Contemporary Art, displayed their commissioned and self-initiated project both in museums of contemporary art as well as graphic design shows, blurring boundaries between the disciplines.

noviki.net/

Covid Playgrounds is a part of The Virtual Canvas online exhibition.

Satisfying the housing needs of the society is one of the basic tasks of the modern world. Yet at the same time, the world is getting louder and more cramped than ever before. Regardless of what we want or plan, the space for rest is merging with the place of work.

The comfort of home is gradually commodified. Workplaces in co-working spaces and large corporations are made to look homely, while laptops are often marketed as devices to be used from the comfort of your own bed. Once given the possibility to work remotely, paid work has crept into the space of home. We work from the bedroom, the kitchen table, and the toilet.*

*Aleksandra Gordowy, Dom jako przestrzeń produktywna i nieproduktywna [Home as a productive and unproductive space], Bęc Zmiana, 2020

The text used in the work entitled “Compression” is based on articles in The Guardian describing the housing problems of British people during the Sars-Covid-19 epidemic.

SEE THE PROJECT  > www.thevirtualcanvas.site

ABOUT THE ARTISTS 

Why Quit (Karolina Balcer & Iwona Ogrodzka)
Collaboration, acquiring knowledge, the power of friendship and community building are important factors of our work. We have been working together closely since 2016, and the Why Quit initiative, launched in 2019, is the result of our experience, including the establishment of the bottom-up Wykwit Gallery (2015-2019), the Wykwitex Group (since 2017) and many joint projects, e.g. during our residency in KulturKontakt in Vienna (2018). Why Quit is a nomadic initiative which, apart from acting in a duet, attracts creative people to critically comment on social, political and economic situations. We believe that art can be one of the tools to put pressure on the structures that make up the harmful system.

why-quit.com

Compression is a part of The Virtual Canvas online exhibition.