"Simple Rainbow" was created in 1991 for the exhibition entitled "Epitaph and Seven Spaces", curated by Janusz Bogucki and Nina Smolarz. The rainbow stood on Małachowskiego Square until 1993. After 28 years, it will reappear on the square, as a conversation starter on today’s society and world.

Mariusz Wilczyński’s exhibition centres around one film – the full-length debut of this well-known animator titled Kill It and Leave This Town. The film had its world premiere at the Berlin International Film Festival in early 2020, but due to the coronavirus pandemic it had to wait almost a year before it arrived in cinemas. During this time it was shown and won awards at the world’s leading animation festivals -– in Annecy and Ottawa, among others.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

Roman Stańczak’s sculpture is a real aircraft, turned inside out, so that its interior — elements of the cockpit, on-board equipment and passenger seats — becomes visible on the outside, while the wings and fuselage are inside. The artist applied the same strategy of turning things inside out in his works from the Misquic series (in the first half of the 1990s) to everyday objects: a kettle, a bathtub or a wall unit. These works were interpreted in the context of the brutal economic transformation in Poland. Three decades later, the inside-out private luxury aircraft becomes a symbol of global economic inequalities.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

"Simple Rainbow" was created in 1991 for the exhibition entitled "Epitaph and Seven Spaces", curated by Janusz Bogucki and Nina Smolarz. The rainbow stood on Małachowskiego Square until 1993. After 28 years, it will reappear on the square, as a conversation starter on today’s society and world.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

Roman Stańczak’s sculpture is a real aircraft, turned inside out, so that its interior — elements of the cockpit, on-board equipment and passenger seats — becomes visible on the outside, while the wings and fuselage are inside. The artist applied the same strategy of turning things inside out in his works from the Misquic series (in the first half of the 1990s) to everyday objects: a kettle, a bathtub or a wall unit. These works were interpreted in the context of the brutal economic transformation in Poland. Three decades later, the inside-out private luxury aircraft becomes a symbol of global economic inequalities.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

"Simple Rainbow" was created in 1991 for the exhibition entitled "Epitaph and Seven Spaces", curated by Janusz Bogucki and Nina Smolarz. The rainbow stood on Małachowskiego Square until 1993. After 28 years, it will reappear on the square, as a conversation starter on today’s society and world.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

Roman Stańczak’s sculpture is a real aircraft, turned inside out, so that its interior — elements of the cockpit, on-board equipment and passenger seats — becomes visible on the outside, while the wings and fuselage are inside. The artist applied the same strategy of turning things inside out in his works from the Misquic series (in the first half of the 1990s) to everyday objects: a kettle, a bathtub or a wall unit. These works were interpreted in the context of the brutal economic transformation in Poland. Three decades later, the inside-out private luxury aircraft becomes a symbol of global economic inequalities.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

"Simple Rainbow" was created in 1991 for the exhibition entitled "Epitaph and Seven Spaces", curated by Janusz Bogucki and Nina Smolarz. The rainbow stood on Małachowskiego Square until 1993. After 28 years, it will reappear on the square, as a conversation starter on today’s society and world.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

Roman Stańczak’s sculpture is a real aircraft, turned inside out, so that its interior — elements of the cockpit, on-board equipment and passenger seats — becomes visible on the outside, while the wings and fuselage are inside. The artist applied the same strategy of turning things inside out in his works from the Misquic series (in the first half of the 1990s) to everyday objects: a kettle, a bathtub or a wall unit. These works were interpreted in the context of the brutal economic transformation in Poland. Three decades later, the inside-out private luxury aircraft becomes a symbol of global economic inequalities.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

Roman Stańczak’s sculpture is a real aircraft, turned inside out, so that its interior — elements of the cockpit, on-board equipment and passenger seats — becomes visible on the outside, while the wings and fuselage are inside. The artist applied the same strategy of turning things inside out in his works from the Misquic series (in the first half of the 1990s) to everyday objects: a kettle, a bathtub or a wall unit. These works were interpreted in the context of the brutal economic transformation in Poland. Three decades later, the inside-out private luxury aircraft becomes a symbol of global economic inequalities.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

Roman Stańczak’s sculpture is a real aircraft, turned inside out, so that its interior — elements of the cockpit, on-board equipment and passenger seats — becomes visible on the outside, while the wings and fuselage are inside. The artist applied the same strategy of turning things inside out in his works from the Misquic series (in the first half of the 1990s) to everyday objects: a kettle, a bathtub or a wall unit. These works were interpreted in the context of the brutal economic transformation in Poland. Three decades later, the inside-out private luxury aircraft becomes a symbol of global economic inequalities.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

Roman Stańczak’s sculpture is a real aircraft, turned inside out, so that its interior — elements of the cockpit, on-board equipment and passenger seats — becomes visible on the outside, while the wings and fuselage are inside. The artist applied the same strategy of turning things inside out in his works from the Misquic series (in the first half of the 1990s) to everyday objects: a kettle, a bathtub or a wall unit. These works were interpreted in the context of the brutal economic transformation in Poland. Three decades later, the inside-out private luxury aircraft becomes a symbol of global economic inequalities.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.

Natalia Romik’s exhibition is an artistic tribute to survival architecture, the hiding places built and used by Jews during the Holocaust. They used tree hollows, wardrobes, urban sewers, caves or empty graves to create temporary shelters.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.

-Happy Family is a family project. The impetus to create it was the situation the artist’s older brother Filip found himself repeatedly. Although nothing was lacking in family home, he was periodically homeless. The problem of homelessness is so complex that it is often difficult to pinpoint its causes.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.

The exhibition is not only an extensive showcase of young Polish art, but above all a story about anxieties, emotions and the potential they hold for change. Although its form refers to a traditionally understood survey of current art, it does not concentrate on mapping phenomena, tendencies and most significant approaches; nor does it point at the key actors on the art scene. It highlights generational sensibility and various ways of reacting to tensions and changes. Last but not least, it seeks what is common instead of showcasing individualities or original approaches.