Iga Świeściak
“Postergonomic fluffer setup”


Zuzanna Sosnowska
“The (Un)pleasant spa”

Performative installation was created to materialize the instability of the pandemic times. Liquid substances dominated human bodies. The passivity of performers reflects the conditions of the year 2020.

Próżnia Gallery

Natalia Keller


Claudia Bielicka
“Are we living in a Simulation? Chances are about 50:50”


Małgorzata Trajkowska
“The Dream Institution”

The Institution of Dreams is a performative emotional and critical theatrical activity, an audio tour that takes place in various spaces of the main building of the Academy of Art in Szczecin. The walk takes place during the Academy’s working hours.
As part of the performance, I balance on the border between fiction and truth. I am interested in using the natural environment as a setting for my diploma. It is my personal decision not to join the race for the most spectacular work, diploma, object, performance.
I oppose the hierarchical economy of violence that puts pressure on young artists without a budget. In the wake of the adoption of Law 2.0, also known as the Constitution for Science, my diploma is an attempt to create a poetic ephemeral situation rather than a product. A significant and important for me is the gesture of me “taking over” the building for the duration of the diploma by moving in it on my terms.
The institution is changing and must meet external standards, responding to current needs to create safer spaces.
The Dream Institution project deals with different levels of violence – with a special focus on the story of the Academy of Art in Szczecin. During performance/walk, I will try to talk about the nuanced nature of violent gestures, the lack of response to violence, in order to indulge in the last scene of the dreams.

performance at the Academy of Art in Szczecin main building


Alicja Kuczyńska
“The sound is familiar, but as if heard in a story”

video installation with sound exhibited at Hala Odra

At the beginning of March 2022, around 3:50 pm, on the route I was covering on foot (total length of 1.7 km), there was an unexpected event, which was the sudden appearance of a metal hoop at the intersection of two streets. I did not see the rim touch the asphalt. What caught my attention was the sound of metal bouncing against the road. I stopped and turned toward the sound and noticed the hoop moving on the street. The only vehicles at the center of the incident were a delivery truck and a scooter, moving quickly in opposite directions. Since it seemed impossible that the hoop came from either of these two vehicles, the object gave the impression as if it had appeared out of nowhere. It was impossible for me to determine its origin. The intriguing shape of the rim was unknown to me, which made it difficult to investigate and draw conclusions. This unknown gave the event and the hoop itself a special, mysterious character, in a way almost mystical. I watched the rim for a while until it stopped rotating and fell on the asphalt. However, I left the object in its place and walked away. The incident with the metal hoop, however, remained in my consciousness for a while longer. I decided, on my way back, to take it with me..

Marta Kubiak
“I have always wanted to have
my own tree house”

Public Space

The exhibition/installation “I always wanted to have my own tree house” explore the problem of the real estate crisis in Poland.
The tree house refers to my childhood dream, which
has currently transformed into the dream of owning my own place and home. Unfortunately, the market situation in Poland prevents me from realizing this dream. This installation is my personal manifesto, but also the voice of young people forced to come to terms with the existing realities.

Paulina Pawłowska
performed in collaboration with Klaudia Szott
sound by Paweł “Bahus” Bednarczyk
3D video by Digital Mental Data

Performance at the Theatre Room of Academy of Art

What new forms of bodies and identities might emerge in response to the functioning choreographies of power? In performance, I look at the relationship of sexual bodies and their control. I explore BDSM choreographies as a form of critical tool to emancipate bodies. The fluid forms escape the familiar meanings of gesture, the performers abandon themselves and transform themselves anew.
The title error is a mistake, eluding choreographies of power. It is a shift to the terror of bodies and identities, with a particular focus on the industry of pornography, mediating power through the screen.

Decolonizing the binary body requires us to remain in perpetual motion; accidental bodies that, in their error, refuse definition and, as such, defy language. Forcing the failure of words, we become impossible. Impossible, we cannot be named. What is a body without a name? An error. – Glitch Feminism. A manifesto – Legacy Russell

link to video documentation by Cezary Malinkiewicz

Marianna Czaczkowska


The exhibition titled “149,27m2” is dedicated to the OS17 art space and the building where it is located. In frames of the project the space was analyzed using different artistic (phenomenological observation, emotional impression) and scientific (microscopic tests) methods.