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GALERIA PROMOCYJNAPOLANDSEE/SAW

Eat a Tomato (I am a tomato) — Franek Drażba  

Mar 10, 2025Mar 10, 2025
LEA SANDEOPINIONSLOVENIA

How to Compute a Vision: Perspectives on Post–Acquisitive Alternatives and Computer–Mediated Worlding

Mar 3, 2025Mar 3, 2025
FEATURESLOVENIA

Staš Kleindienst

Feb 28, 2025Feb 28, 2025
NORTHERN IRELANDPOLANDSEE/SAWUK

Lament — Zuza Golińska

Feb 27, 2025Feb 27, 2025
AUSTRIABOSNIA HERZEGOVINAKUNSTHAUS GRAZSEE/SAW

Sanctuary — Azra Akšamija

Feb 26, 2025Feb 26, 2025
PGS SOPOTPOLANDSEE/SAW

We Want the Whole Life. Feminisms in Polish Art

Feb 25, 2025Feb 25, 2025
66PPOLANDSEE/SAWUKRAINE

Monuments Will Speak With Our Voices — Marta Romankiv

Feb 6, 2025Feb 6, 2025
OPINIONSERBIATEODORA TALHOS

Teaching Ourselves to Hope – a Review of the 60th October Salon in Belgrade

Feb 5, 2025Feb 5, 2025
ALICJA BIELAWSKADEATH OF MAN GALLERYMAŁGORZATA WIDOMSKAPOLANDSEE/SAW

I Intertwine Your Fingers with Mine — Alicja Bielawska, Małgorzata Widomska

Jan 30, 2025Jan 30, 2025
Hilda Kamdron, “Narva Street” (1941), pencil. Image courtesy of Kumu Art Museum and Tartu City Museum.
EERO EPNERESTONIAHILDA KAMDRONKUMU ART MUSEUMSEE/SAW

Vanishing of a City: Hilda Kamdron’s Drawings as a Trauma Narrative

Jan 29, 2025Jan 29, 2025
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