Kobiety–Anteny is an artistic duo formed by Agata Lankamer (b. 1994) and Agata Konarska (b. 1995), active since 2021. Their collaborative practice brings together interests in posthumanism, new technologies, science fiction, and esotericism. Working primarily within digital art, they create video installations, immersive environments, and game-based experiences that frequently incorporate elements of performance and narrative. Both artists graduated from the Media Art Department at the Academy of Fine Arts in Warsaw in 2023.

The duo has presented their work, among others, at Jak zapomnieć gallery in Kraków (2025), the Ujazdowski Castle Centre for Contemporary Art in Warsaw (2024), G99 gallery in Brno (2024), Rondo Sztuki in Katowice (2024), and Studio BWA Wrocław (2023). In 2023 they also realised the curatorial project Pursue the Sandy Tails as part of a residency at A&O Kunsthalle in Warsaw. LoRa—the title of the project currently being developed by Kobiety Anteny and presented in the exhibition Cruel Choreographies—refers to a technique used in artificial intelligence that enables the efficient fine-tuning of large generative models without the need to train them from scratch, while at the same time evocatively recalling the names of women from pornographic films.

Chloé Arrouy (b. 1993, France) explores themes of revolt and rebellion in her practice, navigating between beauty and pain, sensuality and rawness. Through sculpture, she examines the emotional power of objects, forms, and symbols, drawing inspiration from bondage, adolescence, and at times from obsolete or outdated worlds that no longer command attention. She employs an experimental approach to traditional metalworking techniques, using materials largely sourced from recycling, sometimes directly from obsolete household objects. Her works address life, love, culture, and the experience of being a young woman today—or entirely different matters, depending on context. In this space “in between,” her works oscillate between sedation and tension, the sacred and the trivial. They question the value of what remains residual and the peculiar beauty of that which is fading, yet refuses to disappear. For the exhibition at KAF, Arrouy develops her inspirations drawn from cinema, camp interiors, and the culture of her formative years at the turn of the millennium, combining them with scenographic gestures that operate at the intersection of visual and performing arts.

Tadeusz Kantor (1915, Wielopole Skrzyńskie – 1990, Kraków) was one of the most important figures of the twentieth-century avant-garde: a painter, draughtsman, art theorist, scenographer and theatre director, author of happenings, and a major reformer of theatre. He studied at the Academy of Fine Arts in Kraków (1934–1939). During the Nazi occupation, he co-founded the Underground Independent Theatre, staging, among others, Balladyna by Juliusz Słowacki (1943) and The Return of Odysseus by Stanisław Wyspiański (1944). He was a co-founder of the Young Visual Artists Group and a co-organiser of the First Exhibition of Modern Art in Kraków (1948).

From the mid-1940s onward, Kantor designed sets and costumes for professional theatres, and between 1950 and 1954 withdrew from official artistic life in protest against Socialist Realism. His painting evolved in dialogue with Art Informel, Dadaism, and conceptual art. In the early 1960s, he abandoned the traditional painting format to create emballages—among the most recognisable of his works, including the famous “umbrellas.”

From 1965, he realised happenings and artistic actions in collaboration with Foksal Gallery. In 1975, he announced the manifesto of the Theatre of Death, culminating in one of his most iconic productions, The Dead Class. Kantorian motifs are also present in Wrocław, notably through the well-known giant Chair in public space. The collection of Sylwia and Piotr Krupa includes works from the emballage series, the costume design Mannequin Man (related to the production of In a Small Manor House by Witkacy at the Cricot 2 Theatre), as well as numerous gouaches and sketches connected to Kantor’s performative practice