YEAR 2022

TO HAVE / TO HOLD, Wera Bet, Shira Lewis / 22.04 – 06.05.2022

Artists: Wera Bet, Shira Lewis
Curator: Katarzyna Wojtczak
Place: DOMIE
Partners: Galeria Miejska Arsenał in Poznań and the City of Poznań
Collaboration: Gosia Patalas, Rafał Żarski
Duration: 22/04 – 06/05/2022
Vernissage: April 22, at 19:00

On a April evening in 1968, artist Christina Ramberg and her source Philip Hanson went to one of these crowded bars in Chicago’s Brighton Park.
They made their way through the crowd at the bar. Christina forced herself, her clothes did not reveal her particular penchant for fashion. The couple sat down at the bar. Filip ordered 2 beers. Christina was looking for money by paying

for her drink, she found nothing in her corduroy jacket. The contents of the small cardigan pocket were also empty. Resigned, she checked the contents of the pockets in her jeans. The pocket was full of holes and the loss of a dollar was painful.

On September 19, 1991, two German tourists found the remains of the man Ötzi in the Ötztal valley. Ötzi lived over 3,300 years ago BC and died at the age of 40–53. He was dark haired, probably had brown eyes, and suffered from lactose intolerance. He was dressed in bear, chamois and deer skins, with shoes and socks made of soft grass and bast. He had a strong belt with a pouch attached to his clothes, and in the pouch: a scraper, a drill, and flint flakes.
Probably Ötzi was the first pocket owner the world knew, and in the 13th century Europe became acquainted with pockets again.

The first pocket-like containers appeared in men’s clothing. The end of the 15th century is the moment when the pocket appears more regularly in men’s fashion, and finally in the 16th century it gained popularity and became permanently attached to our clothing.

Pocket – a feminine word, inflected by cases: pocket, pocket, pocket.
A pocket is a kind of container, a piece of material in the form of a bag sewn into clothes, the wall of a bag or luggage. However, the pocket was only a man’s issue, because it was already under
by the end of the 17th century, men already had an established tradition of integrated, solidly sewn pockets in their clothing.

Men’s pockets indicated an orderly attitude towards things. One pocket carried the key to the house, the other pocket held a small coin, so that another pocket held the most necessary things. Women’s clothing was poor in these “hiding-pockets”, and if they appeared, they were of a temporary nature – pockets detachable or tied around the waist, and these mainly stored needlework utensils.

An exception is one lady who, apparently, stole a duck from the market in her 60-centimeter pocket. At the beginning of the 20th century, women’s clothing is still not here to stay
familiar with the pocket. Charlotte Perkins Gilman wrote a short story in 1914 entitled “If I Were a Man”. The author successfully creates the landscape of thoughts of a young woman named Molly, who with all her heart and soul wants to be

man. The woman got lucky and dressed her husband’s body for one day.
It was no surprise for a woman to have male genitalia or strong facial hair, but this new and most surprising sensation was having pockets. Of course she knew about their existence, sometimes she even mocked them, darned them, maybe even envied them, but she never dreamed of them. In her husband’s suit, she was pleased to know the feeling of a hand in his pocket. Her hand moved from pocket to pocket. Everything you needed was in your hand – a key, a pen, a notebook, a checkbook, a cigar. She felt a burning sense of power and pride, she felt something she had never felt before in her entire life – she felt what it meant to have money. His own money, the money he earns, the money he can give

or stop

, I don’t have to

he begs for them

, teases

, extorting


Tania Perez-Bustos gave Donna Haraway a small fabric bag. The bag was a gesture of friendly concern and had companions

her on a trip around Colombia in 2019. Donna quickly became attached to the package. She liked the big embroidered flower on the front of the bag that said “Flore ser.” For her, this flower was a kind of promise of the flowering and fertility of the world. Tania told Donna the story of this bag, which was made by one woman who was
member of the textile activist collective Flore Ser Habitat. This collective advocates for environmental justice and sexual rights. This small bag carried an aura of great concentration, was slowly hand-sewn with the belief that in these difficult times this type of practice is necessary for personal healing, for rebuilding interpersonal relationships and
telling the story of the land, displacement and still possible futures.
This bag hanging over Donna’s shoulder manifested her inability to understand the story told by the bag itself. Its appearance reminded us of the constant struggle for life and the earth, because carrying this bag means learning to listen and respond to life.

Our story is not over yet. The story of 5, 6, 7 will be told yet.

The pocket, in its inconspicuous form, carries a heavy burden of history – the division into what is feminine and what is masculine.

Shira Lewis – ur. w 1989

(Jerusalem), studied at the HFBK in Hamburg at the Faculty of Sculpture, where she received her master’s degree. She received the DAAD Award for Outstanding Achievement by International Students in 2015. In 2017, she was nominated for the Hiscox Award.
In 2020, she won a project grant from the Hamburgische Kulturstiftung.
In 2018, she initiated cooperation with Marvin Moises Almaraz Dosal, which resulted in the Hhintersection project. The project took the form of an online platform –, promoting the visibility of women and LGBTQ artists.

She presented her works, among others: at the Kunstverein Harburger Bahnhof, Kunsthaus Hamburg, Come Over, Kunstverein Schwerin and at the Almanac Inn in Turin, Italy. Her work was published in Pfeil Magazine #12 (April 2020).

Wera Bet – born in 1987, she studied at the University of Arts in Poznań at the Faculty of Painting, and was also a guest student at the Academy of Fine Arts in Warsaw in the class of Mirosław Bałka.
She was nominated for the young talents award. Geppert in 2013. She showed her works, among others: at Trafostacja, Survival Festival in Wrocław, Grzegorzki Shows in Berlin, A4 Art Museum Luxelakes in Chengdu in China, Galeria Arsenał, Zachęta Project Room.
Bet curated Cristina Ferreira’s exhibition at Kunstverein KVOST in Berlin. Her drawings were published in RTV Magazine.
Currently working on an online heart archive. He also devotes himself to new collaborations with great pleasure.


View from the window – neighborhood exhibition10-17.VI.2022

  • The View from the Window exhibition is part of neighborhood cooperation that began in March 2022 and continues to this day. You can follow the news on the View from the Window group.
  • LINK: 

An exhibition summarizing a series of Sunday neighborhood meetings in the yard in front of DOMA – an experiment of collective care conducted since 2018 in the building of the former Fotoplastykon (premises at ul. Św. Marcin 53A).

In March 2022, Martyna Miller, one of the founders of DOMIE, together with a team of collaborators: Rafał Żarski, Marta Węglińska and Gosia Patalas, started weekly Sunday picnics dedicated to the neighborhood community. The involvement of neighborhood people exceeded our expectations.

We believe in the profound meaning of intergenerational exchange, intersectional work and inclusivity. In the project, we treat creative work as a building block of social bonds. We invite you to the first Neighborhood Exhibition at DOMA!

The project is an experimental production of the Creatures – Creative Practices for Transformative Futures program / as part of a University of Sussex research grant (Horizon2020).

Its basic assumption is the exchange of photographic glances based on a reference to the first photograph in the history of the world – View from the Window in Le Gras by Nicephor Niepce, which is strikingly similar to the landscape of our common backyard. Photographic fun is a pretext to challenge what is internal and external, intimate and collective, close and alien. It is also the first step to abandoning the punishing power of sight and transforming it into subsequent stages of getting to know each other.

The Creatures project conducts research on the category of eco-social sustainability, in which social bonds play a key role.

Partnership: ZINEK (xeroxeroxer) and the Promotion Office of the University of Arts in Poznań

Sebastian Winkler | SELFSPLOITATION 13-22.05.2022

The opening of the exhibition will take place on Friday, May 13 at 7 p.m.

FINISSAGE MAY 22: opening of the exhibition at 1:00 p.m., at 6:00 p.m. guided tour by the author/curator, at 7:00 p.m. meeting/video show/performance by the performer Rascal Black (aka Maciej Czapliński) with the participation of the artist/curator from the DOMIE collective, Gosia Patalas.

CURATORIAL TEAM: Piotr Fortuna, Martyna Miller


PARTNERS: Galeria Miejska Arsenał in Poznań and the City of Poznań.

[The graphic shows a sculpture by Sebastian Winkler entitled “Alienated Labor” on a black background with the words “SELFSPLOITATION” next to it.

FONT: Gosia Patalas.

SELFSPLOITATION, i.e. self-exploitation, self-abuse, self-abuse, self-exploitation. In his latest project, Sebastian deals with the themes of symbolic violence and invisible emotional labor, taking as a starting point Sara Ahmed’s observation that “some bodies can >>benefit<< from comfort only as a result of the work of another, with this work itself being pushed outside the field “vision”*. In the basements and darkrooms of the social unconscious, freaks, dissenters, transpeople, aunts, perverts, dykes, homosexuals and other aliens must pedal furiously in defiance of pedaling prohibitions; move your legs and arms, wave devices and tentacles, transforming the energy of dirty thoughts into renewable energy; to knit and patch up the veneer of normality so as not to offend anyone, not to make anyone feel good, and not to scandalize anyone, God forbid. Otherwise, they may get a slap in the face or a kick in the kidneys; a life sentence of kneeling, disciplinary crouching and standing in courtrooms for offending higher, superior, dominant, lordly, domineering and sadistic feelings.

Behind the façade of good facial expressions, under the powdered folds of skin, behind the painted gates of a closed mouth – otherness grows, swells and simmers. She leaves bruises and bruises before finally breaking out of hiding like an Alien from Ellen Ripley’s chest.

Is the monstrosity of the Alien only in the eye of the straight normist beholder and does it arise from the fear of the unknown? Is it real in some sense and is it born from harm suffered by the Alien (it is a mutation resulting from living in toxic, radioactive conditions)? Is Sebastian’s masochistic gay fantasy an unconscious enactment or reaction to internalized, incorporated oppression? Or maybe an erotic elaboration of social subordination – a way to capture social hatred and put it to work for your own pleasure? Finally: is the Alien’s monstrosity a testament to its power as a threat to the shaky, boring and oppressive status quo?

In the sculptures and paintings presented in the main hall, Sebastian explores the gay imagination and exploits the space of his own body. Fear and fantasy, pain and excitement, fetishistic pleasure and capitalist exploitation mingle here to the point of indistinction. In a smaller room, the artist outlines an alternative (postulated?) vision of reality. Homoerotic sketches of muscular aliens (invaders? workers? revolutionaries?) oscillate between nightmare and wet dream, between utopia and dystopia. The queer work of the other, although learned underground, is this time performed in full view, in all its glory, in the light of day – and serves to build a new world on the ruins of the heteronorm.

* Sara Ahmed, The Cultural Politics of Emotion, Edinburgh University Press 2014, p. 149.

[Author of the text: Piotr Fortuna]

CONTENT WARNING: The exhibition contains sexual and violent material that may be considered inappropriate for minors.


Creator of visual objects, sculptures, paintings, installations and video forms. He treats clumsiness, fumbles and bungling as queer strategies for pushing the imagination. In her artistic practice, she examines her social position, which is a mixture of exclusions and privileges conditioned by the categories of class, race, gender and sexuality.

The project presented in 2019 entitled “Grandma Tina”, referring to a personal, childhood memory of Tina Turner as a grandmother, asks the question about the sources of Polish racism. In 2020, together with Marta Jalowska and Edka Jarząb, he implemented the “I want” project, which is part of the “Common Area” program at Komuna/Warsaw. In 2021 at Stroboscope, he presented the exhibition “Splintered Skin and Corrupted Blood”, which is a reflection on the relationships between various forms of exclusion (due to sexual orientation and economic situation).



Cultural expert, graduate of the Institute of Polish Culture and the Institute of Philosophy of the University of Warsaw, PhD student at the Institute of Literary Research of the Polish Academy of Sciences and the Polish-Japanese Academy of Information Technology. His scientific interests include broadly understood visual culture and digital culture. As a publicist/essayist, he writes, among others: about new technologies, art and film. He published in “View. Theories and Practices of Visual Culture”, “Przegląd Humanistyczny”, “Kultura Popularna” and “Kwartalnik Filmowy”, as well as in “Dwutygodnik”, “Magazyn Pismo”, “Gazeta Wyborcza” and “Kultura Liberalna”. He is a member of the LGTBQ community, privately a partner of an artist.


DOMIE, ul. Saint Marcin 53a, Poznań
exhibition open on: 18-23/10 and 25-30/10

We came all this way to explore the Moon,
And the most important thing is that we discovered the Earth.

(Bill Anders, Apollo 8)

The next edition of Mars Colony Hackathon will take place in March 2022. These are workshops organized by the Embassy of the United States, the European Space Foundation and the Polish Space Agency, the aim of which is to create designs for Martian city-states. Two Polish artists, space dilettantes, Karolina Wojtas and Maciek Cholewa, fill out application forms. Only one of them is accepted to participate in the project, and he ends up leaving the workshop simply pissed off. Cholewa writes to me and Karolina: “Even if someone convinces me that these advanced Martian research and a colony are necessary, especially in their design and subjecting them to futurological reflection – why move the existing world there?”

The duo of Karolina Wojtas and Maciek Cholewa is a formation of self-proclaimed cosmonauts that naturally formed during the creation of the exhibition. The fairy-tale image of the artists consists of muscular suits with a hairy pattern, lampshades carelessly placed on their heads and a mass of garbage with galactic connotations in their hands. There are shooting stars and swooping drones, the Big Bang of fireworks and a cosmic ejaculation on Cholewa’s long, bald head. Artists, like photojournalists, follow their own history of attempted space conquest. Left alone on an alien planet or returning to Earth, they find themselves in suspension like heroes of road literature. They are climbing somewhere, looking for something, examining something, heading in an unknown direction. In their works, the planetary world is the reality of the abandoned Polish land and opposes the vision of romantic conquests of space; is a sandbox made of mine dumps in Silesia and a temporary base in an abandoned shopping kiosk. There is no room for big-budget productions here – after all, this is art financed by public subsidies, not private capital.

“Space expeditions were a hitherto unknown and most costly type of desertion from the area of ​​historical changes,” Starck proclaimed in an anti-astronautistic diatribe created by Stanisław Lem in “Return from the Stars.” Escape into space is nothing more than submission in development and an attempt to find an extraterrestrial setting for the systems currently destroying the world, those based on capitalist exploitation and exploitation. It’s no wonder that individual astronomers are concerned about the ethics of space exploration, as exemplified by The Just Space Alliance, an initiative advocating for a more inclusive and ethical extraterrestrial future.

The colonies are a story that must end with death so that other lives can continue. Catastrophic thinking is desired by artists and even has the character of a pious wish written on a postcard from space.

author of the text: Daria Grabowska
– curator of the Colonies exhibition by Karolina Wojtas and Maciej Cholewa
in the Gdańsk City Gallery

Karolina Wojtas (born 1996) – photographer, graduate of the National Film, Television and Theater School. L. Schiller in Łódź and the Czech Institute of Creative Photography in Opava. He lives in a colorful world of experiment and endless fun. It draws from childhood fantasies and memories. She may be inspired by the mess in her grandpa’s garden or a giant slide. You can’t just run through her exhibitions, they are covered with glitter or balloons, but you can feel like a child there – play, throw something around and scribble. In 2019, during the summer holidays, she opened her own museum in her home village in Podkarpacie.

IG: @matriioszka

Maciej Cholewa (born 1991) – visual artist, graduate of the Academy of Fine Arts in Katowice, represented by Galeria Szara. Creates objects, graphics, photographs and videos. It focuses on topics related to the periphery, the city, the local community and the visual interpretation of cultural texts. In his narratives, he uses the processing of stories and contexts he hears. He lives in a small town, which he treats as an important source of references and inspiration. Author of the profile “Greetings from a small town”.IG: @pozdrowienia_z_malego_miasta


QueeR Kody_SAFESPACE_11.II.2022


32 MALTA FESTIVAL - NO TITLE / 30.06 — 18:00 (1h 30‘) – opening, Domie / 1, 2, 3.07 — 15:00 (4h) – exhibition, Domie




With the increasing ability of technology to collect and manipulate data, there are no limits to the way in which representations of people and events can be controlled and created. This opens an unprecedented gap between the representation of the world and reality.

Encryption sits in this ambivalent landscape where the line between what is real and what is not has become blurred. In this space, man is transformed and transformed in a way that we cannot yet understand or fully assess its consequences. Through the repetition of simple gestures that undergo subtle changes over time, the performance creates a continuous hypnotic quality that isolates and abstracts the body. The body becomes digitized and degraded, disconnected from its source.

The show is the result of cooperation between two artists representing different disciplines. Inspired by issues related to illegal surveillance and human relations with technology, it is a physical and visual exploration of the gray zone that emerges from conflicting information and disconnection from technology.


Andreas Daugstad Leonardsen is a Norwegian and Sami filmmaker and visual artist, trained at

University of Texas at Austin and University of California at San Diego. His practice ranges from experimental Super 8 films to meditative documentaries and stage performances. His film “The Banisher of Thought” won an award at the Norwegian Short Film Festival in 2016 and has been shown at film festivals around the world.

She currently lives in Kautokeino, an indigenous Sámi community in northern Norway, where she works on relationships with the land. In 2021, he started cooperation with the Dáiddadállu artistic collective, designed sound for the film RitDePassageUnnatural – Klimaterra and cinematography for the film VUOIŊŊASTAT – ÅNDEDRAG. In April 2022, he performed at the Sámi Easter Festival.

Tony Tran is a Norwegian-Vietnamese choreographer and performer based in Oslo, Norway. He graduated from the National Academy of Arts in Oslo and the Danish National School of Performing Arts in Copenhagen in 2012. His choreographic research consistently focuses on male identity and its construction. In January 2022, the premiere of his latest play “Brotherly”, examining oppressive brotherhoods, took place at Bærum Kulturhus, and in 2019 in Nuuk Nordic he created the play “Jakob” – a duet describing a codependent homoerotic relationship. He is currently working on “Street Fight”, a performance exploring street fights as a choreographic framework. Tony Tran is a scholarship holder of the Young and Emerging Artists Award from the Norwegian Department of Culture. In 2021-23, his artistic works were exhibited in Europe, Asia and North America.

Directed and conceptualized by: Tony Tran & Andreas Daugstad Leonardsen

Video, photo: Andreas Daugstad Leonardsen Performer: Tony Tran

Dramaturgy: Ingri Fiksdal, Thomas Schaupp

Composer: Mileece I’Anson

Costumes: Tanja Andreeva

Video Consultant: Tobias Leira

Outer Eye: Marie Bergby Handeland, Hedda Rivrud

Consultant: Annika Ostwald

Co-producers: Black Box Theater Oslo, DansiT, Dansearena Nord

Collaboration: Nordic House Reykjavik, Grenland Art Gallery

Support: Arts Council Norway, Audio and Visual Fund, FFUK, Nordic Cultural Fund, City of Oslo, SPENN

HAFTEN – BARTOSZ JAKUBOWSKI , 22-23.10.2022 R.(no photo) /


 Exhibition title: Haften 

Artist: Bartosz Jakubowski

Address: Domie, Święty Marcin 53A, Poznań

(っ◔◡◔)っ  Duration of the exhibition:

22.10 | 15:00-22:00

23.10 | 12:00-19:00 


 18:30 – author tour


 Project Description:

The German word “haften” means “to adhere.” From the same word comes the Polish verb “haftować” (“embroider”), behind which, in addition to the decorative and artistic tradition of the craft, there is a piercing oppression. Puncturing fabric with a sharp needle, interrupting its tissues and imposing a designed pattern is a violent act of power, which the author in his project compares to the systemic masks forcefully applied to the identities of LGBTQ+ people.

“Haften” is an exhibition of photographs by Bartosz Jakubowski, accompanied by a spoken soundtrack evoking intimate, academic and abstract texts about queer experiences. Photographs are also complemented by an original fragrance composition that is an interpretation of the themes raised in them. The embroideries seen in the works were made by 10 local embroiderers from 10 different regions of Poland, closely related to the cultural and geographical roots of the portrayed people.


Bartosz Jakubowski (born 1994) – in his works he modifies the course of past events, creating new contexts and materializing utopian endings to lost histories. His collages made of historical scraps are topped up with fantasy to fill in the blanks in non-heteronormative narratives. His work is documentary and collective in nature. Its basis is a research process and collaboration with people specialized in their fields, which gives projects a variety of perspectives. In his productions he focuses on emotions, creating atmosphere and immersion.

He lives and works in Warsaw and studies photography at the University of Arts in Poznan. Winner of the Scholarship of the Minister of Culture and National Heritage (2021). Initiator, producer and curator of the X-Philes project (2021-) disseminating queer poetry. Since 2019, he has been practicing contact improvisation and movement improvisation, which is becoming an increasingly important part of his work.

(っ◔◡◔)っ  Co-creators of the project: Emilia Pluskota, Julia Gensina, Natalia Gadomska, Maria Hołdys, Klaudia Szott, Jolaś Anioł, Agata Grabowska, Kasia Skoczylas, Miriam Sadowska, Rafał Domagała, Olo Rusinek, Weronika Wysocka


L=10 sound performance for 13 loudspeakers-heads-dolls 23.VII.2022 /


sound performance for 13 loudspeaker-headed-puppets

Duration 36’ 45”

L=10 is a minor tragedy about an inability to L=10. To overcome this incompetence a loudspeaker-headed-puppet prepares to leave I behind in order to enter the world of U.

This message was brought to you by gateway to solar trance

leave your earthly fears behind and step in:




**explosing ideals**

etermal incompleteness

The weary anechoic chamber - Lorene Bouboushian / 25-26.07.2022 /

A SLOW TOUR OF THE CITY : Krzysztof Biegun_ 19-23.II.2022(no photo) /

Fun to draw | exhibition and workshops / 9-13.09 /

From the OPEN HOUSE series:

𝗣𝗿𝘇𝘆𝗷𝗲𝗺𝗻𝗲 𝗥𝘆𝘀𝗼𝘄𝗮𝗻𝗶𝗲 | 𝘄𝘆𝘀𝘁𝗮𝘄𝗮 𝗶 𝘄𝗮𝗿𝘀𝘇𝘁𝗮𝘁𝘆

September 9-13

𝗼𝘁𝘄𝗮𝗿𝗰𝗶𝗲 𝘄𝘆𝘀𝘁𝗮𝘄𝘆: Friday, 9/09. time. 20

𝘀𝗲𝘀𝗷𝗲 𝘄𝗮𝗿𝘀𝘇𝘁𝗮𝘁𝗼𝘄𝗲L Saturday-Sunday, 10-11/09 at 14-20; Monday, September 12, 4-8 p.m.; Tuesday, September 13 – by appointment;

𝗣𝗿𝘇𝘆𝗷𝗲𝗺𝗻𝗲 𝗥𝘆𝘀𝗼𝘄𝗮𝗻𝗶𝗲 is an initiative by Katarzyna Goździk, Anka Rynarzewska and Ola Skorupka focused on building a safe space conducive to mindful being and regeneration, where you can enter into a free, drawing unusual dialogue with yourself and others. Their operation at DOMA will include:

– 𝘄𝘆𝘀𝘁𝗮𝘄𝗮 drawings created as part of a collaborative drawing process

based on simplicity and free expressiveness

– open 𝘄𝗮𝗿𝘀𝘇𝘁𝗮𝘁𝘆, joint drawing sessions lasting throughout


SzkiCOwniki is a collaboration and exchange between friends: Kasia Goździak and Ola Skorupka, which has been ongoing since March 2021. It involves creating shared notebooks in which they draw after, next to, and with each other’s drawings until they consider them finished. They sew sketchbooks themselves – from whatever is at hand, from scraps: newspaper pages, old packaging, foil, baking paper, yellowed paper found in the basement – they care about recycling and giving attention and tenderness to materials that would otherwise be omitted, underestimated and most likely thrown away.

The first sketchbook was filled during a train journey –

we drew in it alternately, and then simultaneously, almost pushing each other with crayons on the small pages. The next ones accompanied us in various configurations – living down the street from each other, we could always drop off our sketchbook in the mailbox, meet for a moment of drawing together in the park or over coffee; later, when we lived in other Polish cities, and even later – in other countries, we always found a way to “meet in drawing” [next to or at a distance], in our intimate and safe paper space.

Since we draw remotely, we work on two sketchbooks at once – we exchange them, we draw, we exchange them again…

For me, sketchbooks are a kind of free flow, unforced creativity, taking care of each other, creating with the feeling that my gesture is not without significance, that someone is waiting for it and that it will make someone happy. It is a kind of conversation, an exchange of letters not written in words, but drawn. It is about letting go and taking the initiative, moving in a very intimate space that someone opens to me and which I open in return.

I invite you and accept the invitation.

For me, drawing together is a practice of mutual care, connection, patience, and respect for the other person’s sensitivity. Waiting to see what I will see when I open the sketchbook in which Kasia used to draw is always exciting. When I receive it in my hands and see the transformation of what was inside last time, I feel admiration for the diversity of our thinking, gestures, selection of materials – I think “I wouldn’t have thought of that”. I accept this thought and draw from it, starting my drawing turn.

What is created formally on the pages of our sketchbooks takes a very open form. A composition usually consists of many small gestures that get tangled, overlap and flow between each other. This process reminds me of weaving. Gestures create a network of records and moments located in various places in time and space. Sometimes they involve the gesture of a third person, or a travel ticket, or a leaf from a tree under which one or both of us were drawing.

All these threads are welcome in SzkiCOwniki.

text: Ola Skorupka

𝙆𝙖𝙩𝙖𝙧𝙯𝙮𝙣𝙖 𝙂𝙤ź𝙙𝙯𝙞𝙖𝙠

He studies painting at the University of Arts. Magdalena Abakamowicz. She is also interested in listening and creating music, as well as dancing. He notices and tries to take care of the healing potential of artistic activities. She is interested in collective action in the area of ​​sound and beyond. For her, drawing is a daily ritual that combines her childhood passion with the present.

𝘼𝙣𝙠𝙖 𝙍𝙮𝙣𝙖𝙧𝙯𝙚𝙬𝙨𝙠𝙖

She is a student of Photography and Artistic Education at the University of Arts. Magdalena Abakanowicz in Poznań. Her driving force is her family history and the environment in which she grew up. They constitute a starting point for the interpretation of contemporary social phenomena. She uses personal threads to draw attention to important problems of smaller and larger communities. In his activities, he most often uses the medium of photography, using alternative analog photography techniques and archival materials.

𝙊𝙡𝙖 𝙎𝙠𝙤𝙧𝙪𝙥𝙠𝙖

In 2022, she defended her bachelor’s degree in painting in the studio of prof. Dominik Lejman at the University of Arts. Magdalena Abakanowicz in Poznań. In my work, I deal with topics such as materiality, mindfulness, memory, coexistence, and care. I am interested in crafts traditionally considered feminine – weaving, embroidery, felting, ceramics. I often use materials saturated with presence, found, abandoned – those that you don’t have to look far for. The closest form of being creative to me is sitting on the grass or the floor with other people, with sheets of paper, a piece of clay, yarn… sometimes in silence, but always in delight at the diversity of the work of our hands.

Wiktor Szymurski 2.IX.2022 / Concert /




Rain needles run along the tops of the naked body, flowing into the nooks and crannies, and together weave multisensory rhizomes. The earthy, moist scent opens the nostrils, becoming a signal for the imagination that crosses boundaries, awakening openness to the flow of the present moment, taking with it traces of the past that seeks the future. He weaves their meanings through fascinations and uncertainties. An intoxicating freshness permeates our being. The noise of ongoing dialogues, constellations that redefine memories, thoughts, everything that stands on the mountains of our attention, taking on undulating shapes previously unknown to us, become a breath.

A momentary transformation of the Domie space for a shared touch of the moment.

Jagoda Walczak’s diploma exhibition in the DOMIE space

Sorry to disturb you -26.V-3.VI.2022 Solo exhibition of works by Agata Sznurkowska / Curator: Wera Wysk /

𝗣𝘂𝗹𝘀𝗼𝗻𝗮:𝗥𝗲 – 22 -24.IX.2022 / Ewę Bojanek i Kristine Visotskaya /

Ewa Bojanek – born in 1994 in Zielona Góra, graduate of the Adam Mickiewicz University

in the fields of Indian Philology and Interactive Media and Performances. Co-founder of Vir

Gallery, multimedia artist, DJ, activist. In his work, he explores the perception of sound,

explores the relationship between man and the phenomenon of sonorism in everyday surroundings.

She is passionate about sound and new technologies, which she uses as a means of expression in her projects


Vernissage: September 22 at 19:00

The exhibition is open every day from September 22 to September 24

at 16:00-21:00 or by prior arrangement.

Lena Peplinska's diploma exhibition - date and title to be added (photos are available) / LINK: