YEAR 2020

Save us from saviors exhibition 31.01.2020

TOURING CLUB THE CATASTROPHE / Phd by Marek Kucharski (No photo) / 28.01-02.02.2020

Depending on your needs, choose a land, a city that is less or more densely populated, a street that is more or less busy. Build a house. Furnish it. Try to adapt the decor to the surroundings as best as possible. Determine the season and time. Invite the right people and collect appropriate records and alcohol. The lighting and conversation topics must match the circumstances – the same goes for the mood and memories. If you did not make a mistake in the calculations, the result should please you. (Please inform the editorial office about the results).

Psychogeographic fun of the week, Gilles Ivain (Ivan Chtcheglov)

Animism. Colonialism. Ghosts of Kings.

We invite you to the defense of Marek Kucharski’s doctorate from the Faculty of Media Art at the University of Arts in Poznań.

We invite you to the opening at 7 p.m.

The Return of Real Fun exhibition, 17-25.09.2020

Lena Lubińska “Go get some help” 12.10.2020 - January 2021

Until the end of the year, in DOMIE you can see a series of sculptures, which is the basis for Lena Lubińska’s BA thesis on the sculpture of the University of Arts in Poznań. The work is titled “Go get some help”.

When hosting the work, we encourage you to further discuss the situation of female students / assistants / professors / employees at the University and strengthen feminist attitudes in art and social life. We join the postulate of appointing an attorney for the issue of equality at UAP and other Art Academies.

We invite people who want to organize a workshop, lecture, meeting, support group, or otherwise involved in the fight for equality.

We invite you to view the work after a prior appointment by phone or e-mail and during other events.

A conversation between Tomek Pawłowski and Lena Lubińska

Tomek: In July you defended your BA diploma at the Faculty of Sculpture, congratulations. Your diploma thesis was a series of objects, three puppets entitled “Go get some help”. What was the starting point for work?

Lena: Thanks. All three dolls are modeled on inflatable sex dolls – in different ways; by casting, removing negatives, or measures. It is such a form of reminding shame and taking responsibility for your choices (and the responsibility associated with them) in this implementation. What the symbolic inflatable doll releases from.

T: What materials did you use for this?

L: One doll looks concrete, I made it of resin mixed with cement, there is also silicone and a sweatshirt. At work, I wanted to play a game with strong cultural and sexual associations evoked by these inflatable sex dolls. I wanted to deprive them of their function, which is registered faster than the form of the object itself. I wanted to transform and dehumanize the doll, already a mock-up of a human being, along with the creation of each subsequent figure – visually away from the original form. Hence, and for the greatest possible diversification of the three forms, the choice of materials far from PVC from which the dolls are made.

T: And what was the defense itself like? What was your grade?

L: 5, but the defense was tough. I was emotionally drained, I was stuck talking about work.

T: Exactly? How was it received by the sculptural staff? This is not a classic approach to carving.

L: Theoretically, it is further from the classical concept of this department than practically. It was definitely difficult to accept the work of the committee… I think seeing sex dolls just closed the professors for deeper insight into the work. While presenting the work, I did not feel comfortable as a woman, a student. It is not difficult to imagine that there were sexist comments or those that diminish the feminist movement / its art / me as the author of the work. In my written work, I focused on the phenomenon of depriving functional objects of their function in art, it was also my position when presenting the commission for practical work. Still (in such a strong atmosphere of patronage, after a few jokes that should not fall) I heard to tell more about my personal interpretation of the work / the transitions that led me to create it. Even though I made it clear there are places more and less safe for me to talk about, and that this place is not. Of course, I had to repeat it. After some time, I did not want to answer the questions about whether I am a feminist through the amusement reactions caused by the positive answer ….. shitshow, Tomek, shitshow.

T: I am sorry to say it, but it does not surprise me. Art academies, especially sculpture, are even famous for this …

L: As for this sexist, typical power atmosphere, the biggest problem for me is not that I experience such comments/situations. Like other artists for a long time and it is not known for how long. Because this is nothing new, it happens all the time. The most difficult thing for me is that I am judged by such a committee. After these experiences and the dissatisfaction shown during the presentation, I get a high five. And what the five are for and what value they can be for me, you know.

T: Maybe it’s a meta-five that, like your objects, is transformed, dehumanized, and distant from the original form – you?

L: Absolutely. After that, I feel dehumanized.

The presentation of works is possible thanks to the city of Poznań.


In Memory of Victims of Self-Abuse / Exhibition by Adam Nehring and Katarzyna Wyszkowska 23.10.2020

Can’t stand the light of day

Can’t stand to hear people say

“Oh what nice boys you are!

Going to church every Sunday”

I don’t like being at school

I think the teacher’s a fool

Trying to teach me the rules

Bring me to church every Sunday

My house gives me the creeps

Granny snores when she sleeps

Dad gets drunk??? weeks

Sends me to church every Sunday

Discotheques make me feel sad

Movies with girls aren’t so bad

Maybe the best I’ve ever had

After the church every Sunday

I can’t wait to become a man

Then I’ll choose where to go every Sunday

No one else seems to understand

I can’t even defend myself, so sad

Every Sunday, Crazy Grang

On October 23, DOMIE will open the exhibition of Katarzyna Wyszkowska and Adam Nehring, which deals with cultural narratives that may negatively affect psychosexual maturation. Reflections on guilt in connection with Catholic upbringing and culture are here juxtaposed with the incels internet subculture, manosphere, and misogyny. From October 21, the duo will operate in the DOMIE space, transforming objects into site-specific activities.

We invite you to follow the event and take part in a vernissage, which will take place on October 23 at 19.00 at DOMIE.


Clowning with Klaudia Paliwoda 25.10.2023

DOMIE cordially invites you to Sunday clowning practice with Klaudia Paliwoda.

We encourage you to use the following hashtags #nakazpajacowania if you want to chat with us – e.g. from home, virtually, safely. Send us your clowning reports and confessions, we will be happy to find out how and why you clown. We invite people in Poznań on Sunday for a strong dose of outdoor clowning and a meeting/conversation with the artist.

We start at HOME at 16.00.

Klaudia Paliwoda about the project:

‘Delight and Smetek’ is an experiment that I cannot under any circumstances call a film work. I took comprehensive action to mobilize my entire ‘body’ to experience the process.

I led him down two paths. The broader context (film medium) allowed me to get involved in the life of the place, and the intimate context (oil painting) was a personal return to the place in a different dimension.

The result is an almost 14-minute video story and a small painting series.

I chose a place that moved me very much, where I spent 15 years of my life practically without leaving and experiencing only this universe. I like to think of Pasym as a separate universe of events.

The society here is very diverse, which is due to the difficult history of the Masuria region. Observing the town has always been an incredibly absorbing activity for me – people here have a habit of unabashedly and openly observing others.

Initially, I wanted to use the form of a fairy tale and I began to precisely implement the script.

However, I couldn’t stop myself from ‘looking’ and quickly noticed that this place had more interesting stories for me, more interesting because they were true, happening only here and now, and only once in the entire universe, completely unforced and honest.

The video ‘Delight and Smetek’ is primarily scenes recorded live.

The process also provoked me less pleasantly: to experience my personal fears and unresolved issues, frustration due to the ‘resistance of film and painting matter’, loss of self-confidence and the sense of admiration for the simple beauty of the world, which I call ‘lily’. This is how I decided to close and open the story: with the moment when I gave up and broke down.

I am aware that it may be clumsily ‘made’ from my tissue, but this is how it was presented to me.

One popular art magazine described my work as “clowning around in the bushes in a devil’s costume.” I didn’t find out anything else. I didn’t particularly want to give up my profession as an artist after this information, but I must admit that I insulted your critic under my breath. I don’t regret it, but I won’t do it next time because I’ve thought about it.

Unexpectedly, however, this topic began to concern me more.

I posted a screenshot in my Instagram story and my friend wrote to me: “Among other things, because of such an “unscrupulous” approach to the concept of criticism in the art world, I don’t feel like participating in its scene.” I thought to myself that it’s a pity and that many We lose as a society because of such criticism.

We often give each other freedom, which in my opinion is an inalienable factor in the creative process.

By repeating even linguistic constructions that carry associations with contempt, we have an influence on the perpetuation of certain social patterns.

What does violent language mean to you? What do you feel then? How to respond to criticism in a healthy way? How to construct healthy criticism that develops the community to which it is addressed directly or indirectly?

Martyna Miller and I decided that clowning is extremely important to us in art. Thanks to it, we are able to create honestly and no matter what. We invite you to discuss or clown together at HOME, virtually or in person. #clowning order

The film ‘Delight and Sorrow’ can currently be seen at the Magical Engagement exhibition at the Arsenał Municipal Gallery in Poznań.

Klaudia Paliwoda (1994) – multimedia artist, practicing classic easel painting, moving images and photography. Winner of many competitions, scholarship holder of the Minister of Culture and National Heritage (2013). He lives in Pasym.


Water is dripping - sadness / online radio play Rafał Żarski, Ola Zielińska /10.11.2020

November 10, 2020 at 19.00 we invite you

online event

We are training to be ghosts.

It’s never enough.

You always have to contribute something, add something.

You have to be tired, you have to be exhausted.

We must listen and act.

We invite you to the radio play entitled Water is dripping – sadness, during which listeners will be able to immerse themselves in a hypnotizing session about weariness and boredom in the context of performing artistic practices, about mutations into ghosts waiting to appear in the field of vision and the role of exhibition institutions as triggering media.

During the broadcast, the artists will invite listeners to perform exercises that will help them tame precarious fears, frustrations and ghosts that haunt the ambitions of people who constantly have to do more, more and better.

The event partner is @AquanetPoznan


Pain comes when it knocks on my bone like a door / online residence of Maryna Sakowska10.10.2020

Maryna Sakowska’s exhibition planned for November 13 entitled “Pain comes when it knocks on my bones like on a door.” Due to pandemic restrictions, it takes the form of an online residency. From November 10 to the end of November you will be able to follow the artist’s next activities on our social media: Facebook and Instagram.

Whenever possible, we will invite you to DOMIE to see the results of the artist’s work.

In the pandemic November, right after All Souls’ Day, DOMA will host Maryna Sakowska’s residency, which will focus on the role of funeral rituals and customs and examine superstitions and beliefs related to death in various cultures – both in Slavic lands and in more distant corners of the world. On a daily basis, Maryna deals primarily with artistic textiles, which she treats as both a medium for telling personal stories and constructing more universal messages. Her parascenographic fabric installations are found

at the junction of painting and sculpture/object – they are not completely flat, but they are also far from being fully three-dimensional. It’s more like 2.5 D. It will turn the Domie space into a large, comprehensive one

installation using techniques referring to traditional crafts and folk art: fabric, embroidery, ceramics.

The residency will be conducted in two ways: as a research of available materials and the production of an exhibition that will be available to visitors after the reopening of artistic spaces. The search process will be documented and shared on DOMIE’s Instagram.

Aleksander Wat

Nocturnes (1)

Pain comes when it knocks on my bones like on a door.

Like fate. With a bone finger until I give up.

Until I open it. And it beats between the eyebrows

and like a bookish deckhand he shouts at me g o d a m.

Furies of fallen leaves, dry storm foam

clouds, scuffle, crackle of disappearing wrecks —

the night when the alchemist cyanki brews bromine

verdigris is added to poppy seed decoctions.

Finally a clear morning. A morning without joy

the beginning of the day and the road of long agony.

When it slides away towards the past

without a sign, without a look, without a voice of farewell.

Saint-Mande, October 30, 1956

curator: Katarzyna Wojtczak

Maryna Sakowska (born 1992) deals with artistic textiles, painting, embroidery and text.

He tries to deconstruct the visual cultural codes that we use to illustrate such basic ideas as “nature”, “love”, “beauty”, “home”. In his work, he often refers to fictitious and true stories, superstitions and beliefs.

She graduated from the Academy of Art in Szczecin and the University of Arts in Poznań. Three-time finalist of the Hestia Artistic Journey competition (2017, 2018, 2019), finalist of the Geppert 2020 competition. Ambassador of the Sandra Gallery. Currently, she works as an assistant to Daniel Rycharski in the Sculpture and Spatial Activities Studio at the Academy of Art in Szczecin.


The event partner is @AquanetPoznan

Partnership: @AquanetPoznan