Domicella Bożekowska/ Tatiana Wolska
The exhibition brings together works by Tatiana Wolska and Domicella Bożekowska. Though their respective practices arise from markedly different temporalities and contexts, their dialogue gives rise to a singular and enthralling universe, one that enfolds the viewer like a surreal and dreamlike narrative. The exhibition’s reality is wilfully inverted and disquietingly uncanny; rather than adhering to the conventions of display, it draws the audience into the very fabric of its unfolding spectacle.
Through gestures deeply indebted to Surrealism, both artists appropriate the most unassuming of objects, divesting them of their habitual meanings and functions. Wolska’s practice is rooted in elements of reality cast aside as refuse — materials abandoned, discarded, and deemed devoid of value. For Bożekowska, meanwhile, animals constitute both the principal motif of her work and the gravitational centre of the worlds she constructs. Within her imagined cosmology, they are afforded a place equal to that of the human in an otherwise anthropocentric order.
The exhibition itself operates according to a logic of reversal: humble objects are elevated to the realm of art, while art assumes the intimacy and familiarity of the everyday. Plastic forms evoke organic tissue; what appears soft hardens into rigidity, while what seems solid yields beneath the pressure of the hand. This fable-like narrative conjures an autonomous domain of imagination, rich with disquieting transformations and unexpected revelations.
Yet beneath the exhibition’s dense and fantastical poetics lies an acute sensitivity to profoundly contemporary concerns, particularly the accelerating degradation of the natural world. Although neither Wolska nor Bożekowska engages overtly with ecological discourse, their works nevertheless articulate a deeply affecting meditation on the condition of the contemporary world. What the exhibition ultimately proposes is a renewed mode of attentiveness: an invitation to perceive that which so often escapes visibility and, in a radical inversion of perspective, to place it at the centre of our collective narratives.
curated by Hanna Doroszuk