The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

Among the many roles played by Maurycy Gomulicki in his work as an artist, the role of a pop culture anthropologist is particularly fruitful. This can be seen in the case of the Tats project, dedicated to the documentation of primitive tattoos worn primarily by people identifying with the so-called git (git-ludzie, slang for ‘good people’) subculture, which was popular among young residents of large housing estates in the 1970s. From 2007 on, Gomulicki wandered through flea markets, parks and other marginalised areas of the city, taking thousands of photographs documenting this disappearing phenomenon and capturing this — often primitive, but honest — ‘iconography’ of the dreams of exotic lands, paradise, pleasure and longing, emerging in the most brutal conditions of imprisonment, military service, labour corps and detention centres.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

Among the many roles played by Maurycy Gomulicki in his work as an artist, the role of a pop culture anthropologist is particularly fruitful. This can be seen in the case of the Tats project, dedicated to the documentation of primitive tattoos worn primarily by people identifying with the so-called git (git-ludzie, slang for ‘good people’) subculture, which was popular among young residents of large housing estates in the 1970s. From 2007 on, Gomulicki wandered through flea markets, parks and other marginalised areas of the city, taking thousands of photographs documenting this disappearing phenomenon and capturing this — often primitive, but honest — ‘iconography’ of the dreams of exotic lands, paradise, pleasure and longing, emerging in the most brutal conditions of imprisonment, military service, labour corps and detention centres.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

Among the many roles played by Maurycy Gomulicki in his work as an artist, the role of a pop culture anthropologist is particularly fruitful. This can be seen in the case of the Tats project, dedicated to the documentation of primitive tattoos worn primarily by people identifying with the so-called git (git-ludzie, slang for ‘good people’) subculture, which was popular among young residents of large housing estates in the 1970s. From 2007 on, Gomulicki wandered through flea markets, parks and other marginalised areas of the city, taking thousands of photographs documenting this disappearing phenomenon and capturing this — often primitive, but honest — ‘iconography’ of the dreams of exotic lands, paradise, pleasure and longing, emerging in the most brutal conditions of imprisonment, military service, labour corps and detention centres.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

Among the many roles played by Maurycy Gomulicki in his work as an artist, the role of a pop culture anthropologist is particularly fruitful. This can be seen in the case of the Tats project, dedicated to the documentation of primitive tattoos worn primarily by people identifying with the so-called git (git-ludzie, slang for ‘good people’) subculture, which was popular among young residents of large housing estates in the 1970s. From 2007 on, Gomulicki wandered through flea markets, parks and other marginalised areas of the city, taking thousands of photographs documenting this disappearing phenomenon and capturing this — often primitive, but honest — ‘iconography’ of the dreams of exotic lands, paradise, pleasure and longing, emerging in the most brutal conditions of imprisonment, military service, labour corps and detention centres.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

Among the many roles played by Maurycy Gomulicki in his work as an artist, the role of a pop culture anthropologist is particularly fruitful. This can be seen in the case of the Tats project, dedicated to the documentation of primitive tattoos worn primarily by people identifying with the so-called git (git-ludzie, slang for ‘good people’) subculture, which was popular among young residents of large housing estates in the 1970s. From 2007 on, Gomulicki wandered through flea markets, parks and other marginalised areas of the city, taking thousands of photographs documenting this disappearing phenomenon and capturing this — often primitive, but honest — ‘iconography’ of the dreams of exotic lands, paradise, pleasure and longing, emerging in the most brutal conditions of imprisonment, military service, labour corps and detention centres.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

Among the many roles played by Maurycy Gomulicki in his work as an artist, the role of a pop culture anthropologist is particularly fruitful. This can be seen in the case of the Tats project, dedicated to the documentation of primitive tattoos worn primarily by people identifying with the so-called git (git-ludzie, slang for ‘good people’) subculture, which was popular among young residents of large housing estates in the 1970s. From 2007 on, Gomulicki wandered through flea markets, parks and other marginalised areas of the city, taking thousands of photographs documenting this disappearing phenomenon and capturing this — often primitive, but honest — ‘iconography’ of the dreams of exotic lands, paradise, pleasure and longing, emerging in the most brutal conditions of imprisonment, military service, labour corps and detention centres.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.

The project Amplifying Nature is based on the premise that architecture is part of processes occurring on a planetary scale. According to the authors of the exhibition—curator Anna Ptak and architects Małgorzata Kuciewicz and Simone De Iacobis of the CENTRALA collective—it serves not only to offer protection from nature, but is inherently connected with phenomena such as gravitation, water circulation, or the day-night cycle.

This cross-sectional exhibition of Polish 20th and 21st century painting includes a wide range of works by outstanding Polish artists of different generations — representatives of the key currents of art history and contemporary artistic trends. The exhibition features, among others, contemporary classics, artists representing conceptual attitudes, educators and experimenters, as well as artistic personalities that are worth reminding to the broader audience, who are now relegated to the sidelines of art history.

Larisa Crunțeanu’s project is connected with an accidental finding in the centre of Bucharest. Together with the artist Sonia Hornung, they encountered an object that was difficult to identify — a silent, stone-shaped loudspeaker standing on a lawn. The paradoxical finding provokes many questions, not only about what the object is and what it is for, but also about what it sounds like and what its voice says. Is it one of the voices of a larger group? Where is the boundary between its reality and being artificial?

Rebellion of the Deaf is a performance and film by one of the most interesting visual artists of the middle generation, an associate professor at the Chair of Intermedia of the Academy of Fine Arts in Gdańsk. The eponymous Rebellion of the Deaf refers to the protest of deaf students from the American Gallaudet University, who in 1988 fought for the appointment of the first deaf rector in history. The project was inspired by the story of a Dutch artist, a daughter of Chinese immigrants, born in Europe. When she was born, social services advised her parents to raise her without using their own language, in order to better assimilate her. The parents, who did not know Dutch, brought up their daughter practically without speaking to her: they used only about 50 of the simplest words at home.

Graphics are the most numerous and at the same time the least known works in the Zachęta collection. The individual objects included in the exhibitions have never allowed the broader audiences to look at the whole of the collection in a broader way. Therefore, we wanted to recall a genre that occupied such an important place on the artistic scene a few decades ago, and over the last 30 years has been gradually marginalised. The 2,100 works in our collection are a very diverse set in terms of style, quality and form; with particularly outstanding works from the 1960s. We noticed their consistency, high artistic level, as well as combination of traditional techniques with the search for new formal solutions, so characteristic of graphic arts.