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SURVIVAL made it evident that krzaczki w wydruku artistic narrative that perceived the cityscape as an agora, a place for holding discussions or a fuse to instigate a revolution had come to an end.

Here, art was no longer a tool, a banner, a sword or a speaking tube; it seemed that no one wanted to use it to fight for democracy together.

At least not in the way that had been suggested so far.


In spite of dreams, the squares where social movements were based have not succeeded in devising new methods of democracy that would truly function; on the contrary, the ongoing stream of news about bloodshed in places which we viewed krzaczki w wydruku hope and admiration is deeply disappointing.

The letters of a neon light of the non-existent Polonia cinema were rearranged to form the inscription OPIA, which ambiguously balanced between a utopia and a dystopia.

Nowy wątek - Świat - Forum dyskusyjne |

Internet footages of different joint actions — from folk pastimes to mass uprisings and violent repressions krzaczki w wydruku were put together to form an incoherent and chaotic whole devoid of any narrative, and thus of any chronological purposefulness.

The final effect dazzled with emotionallycharged images, which, however, lacked sense or meaning, triggering a feeling of being lost, misunderstanding, and finally — aversion.

A designer box contained materials to make banners, notebooks, cotton handkerchiefs, templates, spray paints, and a set of necessary documents. Although the accompanying text talked about countering the inflammatory state by exercising the constitutional right to organise peaceful demonstrations, it also considered the possibility of launching this well-designed set for sale.

The Kit was unexpectedly used on the opening night: Polisiewicz presented films made in Maidan Square and reprints of posters and banners displayed there, accompanied by photographs of poems written by Ukrainians fighting in Kiev.

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The three videos, in which we could hear Ukrainians living and fighting in Maidan, seemed to have been included krzaczki w wydruku the safe environment of the exhibition as if by force. What did it actually mean to show the experience of the Maidan protesters at a contemporary art review? Was it possible in any way to translate their experiences, participate in their feelings?

The reprints of poems and slogans brought from Maidan, pasted on the krzaczki w wydruku without any comment or translation from Ukrainian, seemed to emphasise the impossibility of understanding or grasping these events.

The vision of the city krzaczki w wydruku SURVIVAL was constructed from individual impressions, very private experiences and narratives rather than communal surges of emotion. The city emerged as a poisoned area with conflicts and a struggle for survival.


Kamila Szejnoch invited professional survival experts of the Universal Survival school to spend the krzaczki w wydruku in the building and run training sessions.

On the opening night, the instructors showed various survival techniques, including distillation of water from chemical reagents.

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Absurd though these actions were — there was perfectly clean water in the taps nearby — they emphasised the fear that compels us to be prepared for any occurrence, krzaczki w wydruku at the cost of acting against logic.

The artist and the instructors planned to spend the night in the abandoned building, and run workshops on the following day, in which the experts explained how they made their sleeping bags and used other objects that krzaczki w wydruku had found in the building.

It was originally intended for one concrete recipient.

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When invited to krzaczki w wydruku the venue before the Review, Brzuzan discovered that a homeless person 24 znalezione przedmioty. The man probably temporarily disappeared when the commotion connected with the exhibition started, but various items that later appeared proved that he probably decided to return.


The crisis of the city, or, more broadly, the crisis of civilization, was diagnosed in numerous works that were based on the dichotomy of urbanisation and nature, and referred to plants.

As a krzaczki w wydruku of the interdisciplinary project by artists from Poland and Turkey titled Afiyet Olsun, a catalogue of edible plants that could be found krzaczki w wydruku the city was created.

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The artist used the form of a herbal to present plants krzaczki w wydruku we do not usually perceive as edible, although they are used in many places of the world to prevent death from starvation. Kept in the convention of a computer game, the video showed the artist approaching subsequent entrances krzaczki w wydruku blocks of flats and trying to crack the access code by keying in the default code When it worked, he did not enter but closed the door instead and kept on walking.

Reportedly, the code worked five times out of more than a hundred attempts. In this work, the image of a successful woman was based on mysterious medicaments that could potentially ruin our health.