Wystawa WORLD(S)



20.05 – 28.08.2022

exhibition as part of the Wrocław Drawing Triennial 2022

venue: BWA Wrocław Główny
curator: Honza Zamojski

Uri Aran, Zuza Golińska, Koji Kamoji, Bety Krňanská, David Krňanský, Hanna Krzysztofiak, Przemek Matecki, Zdzisław Nitka, Julia Scher, Aleksandra Ska, Daniel Stachowski, Juliusz Studnicki, Andrzej Szewczyk, Marcin Wicha + Marian Misiak, Zbiorowy

Accompanying Events:

2.06, 6pm Curatorial tour, guided by: Honza Zamojski
1.06, 8.06, 15.06, 22.06.2022, at 5 pm Wednesday Visiting with Agata Kalinowska

7.07, g. 18:00 O kondycji współczesnego rysunku – debata w ramach wystawy WORLD(S).
Wrocław Drawing Triennial 2022
galeria BWA Wrocław Główny | I piętro Dworca Głównego
goście: Marcin Wicha, Honza Zamojski, Przemek Pintal
prowadząca: Kama Wróbel
dostępność: wydarzenie transmitowane online z tłumaczeniem na PJM. ?? Можливість шепоченого перекладу українською мовою в галереї (звертайтеся: a.kalinowska@bwa.wroc.pl доки 4.07.2022)
wstęp wolny


In astronomy, parallax is a phenomenon of apparent change in the position of an object on the celestial sphere in relation to other objects, resulting from a change in the place of observation, caused by the movement of the observer. One can also assume that there are two or more observers tracking a distant space object with their eyes. Reversing the above situation and looking from a distant perspective at these theoretical observers, we find that we see not only them, but also the changing landscapes, conflicting emotions, competing technologies, and parallel worlds in which they live.


There is probably nothing more trite than the statement: "one’s point of view depends on the place where one is sitting". Maybe this saying was coined by a researcher of parallax mentioned earlier, or maybe it was said by someone who was too stubborn to move. However, in fact – an ant will not look at the world through the eyes of a badger eating an anthill, a badger will not show empathy towards a highway crossing its territory, and a human is rarely able to put himself/herself in the other person's shoes.

We talk about things, even though most of the conversations are clumsy translations between languages. We view various cultural products even though we are not qualified to comprehend them. We listen to songs and don't understand the lyrics. We move between worlds every day, unwilling and unable to see their complexity. Meanwhile, inability and unwillingness are catalysts for various antagonisms. After all, it is easier to say THEY are awful than THEY are different. It is, indeed, easier to shout than to think and articulate a complex statement. In such a shaky and swirling reality of multiple worlds, subjectivity is increasingly difficult to come by, and any attempt to define anything or anyone is more of a struggle between forces greater than the individual. ONI są wstrętni niż ONI są różni. Łatwiej przecież krzyknąć, niż zastanowić się i wyartykułować złożoną wypowiedź. W tak rozedrganej i rozhuśtanej rzeczywistości wielu światów coraz trudniej o podmiotowość, a każda próba zdefiniowania czegokolwiek lub kogokolwiek jest raczej szamotaniną pomiędzy siłami większymi od jednostki.


But where is drawing in all this? – someone will ask. Drawing always appears where words are lacking, as a universal method of communication. Drawing responds immediately with accurate commentary and is economically egalitarian – after all, all you need is a pencil and a piece of paper to draw something, write something, communicate something.

If one were to use the simplest definitions and express painting by color, sculpture by matter, and architecture by space, how would one define drawing, and are there properties of drawing that are attributed solely to it? Or perhaps, on the contrary, because of its democratic nature, drawing can unobtrusively appropriate what is most interesting in other disciplines. In this sense, drawing would be a creativity that is to some extent parasitic, but also negotiating with the others. Drawing as an inconspicuous middle man that often initiates painting, sculpture, or architecture projects. middle man, który często jest inicjatorem prac malarskich, rzeźbiarskich czy architektonicznych. 


The concept of the exhibition "W?RLD(S)" is closely related to the architecture of BWA Wrocław Główny gallery and its two wings of exhibition spaces. One part is occupied by the light world and the other by the dark world. These are not oppositions. Lightness and darkness of the rooms do not symbolize anything. Nor do they set themselves at opposite poles of discussion. The two worlds are different, but with similar parameters and composed according to similar principles. In each wing of the gallery, the same artists will present works at identical points in the space of each room.

The differences and similarities between the worlds can only be seen through small shifts in meaning and contrasts. Sometimes these contrasts result from the subject matter of the works, other times from their form. Some works play with the illusion of mirror reflection, some with the concepts of negative and positive. Thus, in the exhibition, drawing is present in every form, often positioning itself as a point of contact in communication between different and parallel worlds. Detached from the burden of formal solutions, it becomes words, emotions and emancipation. 

Honza Zamojski

organizer: The Eugeniusz Geppert Academy of Art and Design in Wrocław
co-organizer: BWA Wrocław Galleries of Contemporary Art

Co-financed by the Ministry of Culture and National Heritage

Signatures - see PDF

Marian Misiak (fonts), Marcin Wicha (words)
Type Specimen for Triennial, 2022
Koji Kamoji, Andrzej Szewczyk
Daniel Stachowski, Bety Krňanská
Hanna Krzysztofiak
drawings from the “Annual Horoscope 2” series, 2022
Hanna Krzysztofiak, Zuza Golińska
Juliusz Studnicki, Aleksandra Ska, Marian Misiak + Marcin Wicha
Marian Misiak (fonts), Marcin Wicha (words)
Type Specimen for Triennial, 2022
Aleksandra Ska, Marian Misiak + Marcin Wicha, Bety Krňanská
Bety Krňanská
Too Stable to Move, 2021, z serii „Too Fluid to Handle”
Bety Krňanská, Przemek Matecki
Przemek Matecki, Zbiorowy
Bety Krňanská, Przemek Matecki