Willa Gawrońskich, Aleje Ujazdowskie 23, Warszawa
May 22-25, 2025

Elementary particles, the smallest known elements in physics, also generate enormous energy between themselves. We want to discuss this energy generated between the viewer and the work of art, as well as between individual works, in our presentation at NADA Villa Warsaw.

In the Solarstalgia series, Diana Lelonek set out to develop photographs on large sheets of fabric with the use of the light-sensitive cyanotype technique. Lelonek’s works are created in close relationship with nature, which has been at the center of her artistic practice for years. The title of the series directs us to the sun as an essential factor in the process of creating photographs. It also draws on the term “solastalgia,” used to describe the melancholy caused by environmental catastrophe.

Anna Orbaczewska creates a story about interpersonal energy. Emotions served on plates bring to mind eating, the most trivial of daily activities, which Orbaczewska equates with compulsive gorging to silence emotions. The artist sees a shared meal as an arena for everyday dramas – an empty plate may turn out to be the first step towards our own cleanliness, achieved by reaching what we hold inside.

A series of wooden panels by Liliana Zeic using the technique of intarsia interweaves plant motifs with images of human bodies, queer polymorphous communities, seed collectors, mysterious rituals. In these works, the artist addresses the tradition of biomorphism,  that is the history of modelling social organisations on organic forms and processes occurring in living organisms.

Julia Woronowicz is interested in creating alternative historical scenarios and presenting its anti-patriarchal version. In her works, including the densely woven Verdure Magnuszewska, we learn about this history from the perspective of the year 2410. We encounter the remnants of Polish culture, discovered after four centuries by a post-Polish research team from the Institute of the History of Postmodernism at the University of Chicago.

Joanna Rajkowska’s Zechstein Sea project takes its name from the sea that stretched from the lowlands of Great Britain to northern and central Poland. At that time, this area was near the equator, and due to high temperatures and arid conditions, the sea evaporated. Its eventual disappearance was part of a general marine regression. Zechstein Sea is another attempt by the artist to shift point of view to prehistoric times, to completely different geological, geographical and biological realms. It is a tactile warning that things could radically change and end up in human extinction.