For the current exhibition Eva Weinmayr, born in Augsburg and living in London, shows three videos investigating the mysterious vanishing of the English artist collective Art in Ruins. Formed by Hannah Vowles and Glyn Banks, Art in Ruins came to international prominence in the 1980’s and 1990’s, provocatively addressing capitalism, discrimination and the art world. After a distinct political phase of activity, Art in Ruins became quiet, a state that they describe as being ‘in limbo’. Weinmayr fills this silence by speculating on the reasons for the withdrawal.

The Neo Rauch exhibition in the Zachęta National Gallery of Art is the first full overview of the painting of an artist who is an outstanding phenomenon of the German and European scene. This show will also be one of the relatively few presentations of German art made in Poland over recent years.

Zachęta National Gallery of Art announces a retrospective exhibition of the work of Zbigniew Libera, combined with the publication of a wide-ranging monograph on the artist in English and Polish. The exhibition will be the first such extensive presentation of the artist’s work in Poland and, following his American show (Ann Arbor, 2006), only the second retrospective worldwide of the oeuvre of the author of such works as Lego. Concentration Camp” or Positives.   

This exhibition attempts to provide Belarusians with a possibility to look at their art from the outsider’s perspective, without common taboos. Most of the works in the project, in one or another way, reflect upon Belarusian society and its concerns today, but only a few dare to openly express things that ‘we don’t talk about’. Potentially the project can open new channels of communication for Belarus’ comparatively isolated and internationally unknown art scene. In other words, the successful realization of it can leave the door slightly ajar.

Zachęta – National Gallery of Art will present the first individual exhibition in Poland of the work of Peter Land – one of the best-known contemporary artists from Denmark. The show will comprise a selection of projects from different periods of the artist's activity. Major part of the show will consist of films and video installations created from the mid-90s, in which the author appears in different costumes and slapstic situation.

The largest Polish presentation of Paulina Ołowska’s work to date, the exhibition shows both its thematic diversity and the various working methods employed by the artist. It features works of painting, sculpture, stage design, installation, neon light, assemblage, drawing, collage, textile, as well as a new installation, created specially for the exhibition: a fashion store with a collection by the brand Clemens en August.

The exhibition Monument. The Architecture of Adolf Szyszko-Bohusz, connected with the presentation in the Polish Pavilion at the Architecture Biennale in Venice, concerns the issue of the mythmaking potential of architecture. Szyszko-Bohusz, a former legionary connected with Józef Piłsudski, as an architect of the regime projected monuments: buildings that were to act as the memorials of the epoch, to express the spirit of the reborn state and to revive its praiseworthy history, but also to give testimony to the good life and progress through the effective realizing of the commissions of the political and financial elites of the day.

Fabulous Łódź – with its history, still to be clearly felt in the urban tissue, its social issues, a continuing modernization and commercialisation of public space, the unique Muzeum Sztuki and the avant-garde tradition, a history of famous projects organised by artists for artists, the world-renowned Łódź Film School (PWSFTViT), the Academy of Fine Arts (ASP) educating visual artists and fashion designers, or fi nally a vibrant music scene – was what I wanted to present at Kordegarda Project.

In his most recent project, prepared specially for the Kordegarda as part of the Room with a View series, Maciek Stępiński portrays selected fragments of Warsaw’s urban landscape. Stępiński talks about places close to his heart: tennis clubs, in which he played or competed as a boy. The exhibition’s title, borrowed from a name of real tennis club, evokes the period of late communism, when tennis was an elite sport, a symbol of a better, ‘Western’ lifestyle and Warsaw’s tennis clubs stood out from the dull greyness of almost everything else. Today, these are mostly abandoned or neglected places. The buildings show signs of wear and tear, and vegetation has run wild and taken control of the courts.

The author of the concept for the Contemporary Trends. Paintings from the Collections of the Stedelijk Museum in Amsterdam and the Stedelijk van Abbemuseum in Eindhoven exhibition, and its initiator, was Edy de Wilde (1919–2005). The opinions of this charismatic museologist left their mark on the character of the whole exhibition. De Wilde was the director of the Van Abbemuseum in Eindhoven (1946–1963) and then of the Stedelijk Museum in Amsterdam (1963–1985). Therefore, he presented works which he mostly bought for the museum collections himself.

Włodzimierz Pawlak (born 1957) – painter, performer, poet, art theoretician, member of Gruppa (one of the most important artistic collectives of the 1980s) – had until now never had either a comprehensive solo exhibition or an exhaustive publication about his work. The Zachęta show will be the first retrospective presentation of the artist’s oeuvre, covering the years 1984-2008.

The festival The Artists is a summation of the most important sound and music projects of visual artists in Poland of recent years. It will bring together artists for whom work in sound is a constant and integral part of their artistic practice.

In the space of Zachęta’s Mały Salon we will present a selection of the original "Little Reviews" (from the collection of the National Library), whose English translations will consecutively appear at the Polish Pavilion in Venice.

Sharon Lockhart (b. 1964) is an American artist living and working in Los Angeles and Poland. Lockhart works with communities to make films and photographs that are both visually compelling and socially engaged through collaborations that unfold over long periods of time. Created with young women from the Youth Sociotherapy Center in Rudzienko, Poland, her project Little Review comprises translations, a new film and series of photographs, as well as educational workshops.

In her project, Marta Krześlak reflects on the universality of meanings, pondering time and space. She creates a laboratory of moving objects in which she observes how they interact with each other and their surroundings, as well as how they relate to familiar phenomena while remaining abstract objects.

Jerzy Krawczyk’s exhibition at Zachęta — National Gallery of Art presents a multi-layered oeuvre based on the painter’s experiences and personal convictions, as well references to the canon of ancient art and art from the early 20th century. The exhibition features the artist’s mature works, including landscapes of Łódź painted from the second half of the 1950s, still lifes and portraits developing the concept of spatial realism.

Susan Mogul’s solo exhibition at Zachęta — National Gallery of Art will include video productions from the 1970s as well as her most recent films, objects and works on paper. They touch on important issues such as the position of women, social changes in customs, family ties and the artist’s relationship with her mother.

The series of paintings by Wiktor Dyndo, entitled The Date, is a new version of his painterly statement on the beauty of the tragedy of contemporary times. The beauty of the inevitability of the course of events bringing suffering and death, the spectacle of the events to which the artist devotes his attention, lies in the fact that all this evil is happening before our eyes: we see it on the screens of our smartphones, computers and TV sets. We know about it. These are portraits of tragic events marking the rhythm of our times; the dates like horizontal cuts hurt our eyes, obscuring the painted landscape.