From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

The exhibition titled Spaces is a unique opportunity to get immersed in a phenomenon that permanently changed the perception of art and its presence in our surroundings. By showing the work of the classics of Polish modern art – Magdalena Abakanowicz, Wojciech Fangor, Henryk Stażewski or Maria Pinińska-Bereś, to name but a few – the exhibition showcases the phenomenon of environment art, one of the most important and innovative trends in the second half of the 20th century.

The exhibition Centre of the Universe, prepared for the Zachęta Project Room, is a kind of personal credo by the young painter Alicja Kubicka. With her characteristic sense of humour, the artist explores the origins of the creative process, revealing her paining techniques while reflecting on society’s perception of artists and the populist derision often levelled at their work for being excessive and beyond basic human needs. Time and again, she seeks to reaffirm her belief in the meaning of art and creative expression

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

Zachęta – National Gallery of Art in Warsaw presents a focused selection of works by Giorgio Morandi (1890–1964), a Bolognese artist whose approach continues to resonate with contemporary audiences. The exhibition spans the entire artistic trajectory, from his experiments in the 1920s to his full expressive maturity, marked by a progressive rarefaction of line and palette. His still lifes, silent landscapes and delicate floral compositions reflect a sustained inquiry into perception and the representation of space.

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

The exhibition opens the archives of Zachęta to revisit the networks of global artistic relations forged during the socialist era in Poland. Contemporary artists confront these histories with the present, asking what remains of the “internationalist friendships” from before 1989, and how they might shape our understanding of a shared past.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

The exhibition opens the archives of Zachęta to revisit the networks of global artistic relations forged during the socialist era in Poland. Contemporary artists confront these histories with the present, asking what remains of the “internationalist friendships” from before 1989, and how they might shape our understanding of a shared past.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

For years, Joanna Fluder has worked outside the mainstream of the institutional world of art, and Slime is the first time her work is shown in such a comprehensive way . In her painting and installations, she combines surrealism with autobiographical elements to tell a story about living on the fringes of society, overshadowed by failure, among inconspicuous beings.

The exhibition opens the archives of Zachęta to revisit the networks of global artistic relations forged during the socialist era in Poland. Contemporary artists confront these histories with the present, asking what remains of the “internationalist friendships” from before 1989, and how they might shape our understanding of a shared past.

From the very beginning, architecture’s primary role has been to protect. The set of anxieties that accompany its inhabitants has evolved – people still turn to architecture to seek shelter from weather or the elements, but nowadays they also contend with climate catastrophe, wars or the prospect of mass migration. Does architecture have the tools to protect us from adversity? What practices taken from the construction and use of buildings can we employ to provide us with sense of security?

The exhibition opens the archives of Zachęta to revisit the networks of global artistic relations forged during the socialist era in Poland. Contemporary artists confront these histories with the present, asking what remains of the “internationalist friendships” from before 1989, and how they might shape our understanding of a shared past.