Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

Andrea Fraser (b. 1965), lives and works in Los Angeles, California. She is a professor in the Department of Art in the School of Art and Architecture at the University of California, Los Angeles (UCLA). She is one of the most influential and provocative artists of her generation. Since the mid-1980s, her groundbreaking work in the field of institutional critique has explored the social, financial and affective economics of the organisation of the art world, its various disciplines and groups.

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?

They met as students and graduates of the Lodz Film School. For those young artists, film and photography were not merely tools for capturing reality – they were a way of thinking about it. Interested in more than what the image presented, they also looked into the creative process behind it, the mechanisms that governed it, and its limits. From joint experiments conducted in the early 1970s, they went on to establish the Workshop of the Film Form. Fascinated with the language of the visual arts, they explored its structure, perception mechanisms, and communicative potential, ultimately exerting a decisive influence on its development at the time.

The exhibition at WATARI-UM, the Watari Museum serves as a small retrospective of works created over six decades. The selection, however, is enough to highlight the essential qualities of this art – the alignment of life and work, visual minimalism, the deliberate elimination of things, philosophical reflection – or simply attention turned inward – along with the pursuit of harmony: harmony with ourselves, with nature, and with our surroundings. The exhibition brings together a variety of Kamoji’s works, all of which are inextricably linked to the artist’s deeply internalized experience.

Bataille draws our attention to the fact that we are light. This idea is further developed by Viktor Frankl, who points to its transformative power: ‘What is to give light must endure burning’. We take this as an invitation to enter another dimension of life – an encounter with the heart. We see the heart as our inner sun: as a source of strength, love and light, but also as a force that orders and burns.

Neringa Černiauskaitė and Ugnius Gelguda, known as Pakui Hardware, are an artistic duo from Lithuania, and are currently presenting their new kinetic sculptures in Warsaw. Made of steel, glass, silicone, and elastic fabric, their creations move at a steady pace, creating an impression of autonomous 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?