A New Season at Krupa Art Foundation: from Abakanowicz to Women Antenas - Krupa Art Foundation Krupa Art Foundation

In the new season, Krupa Art Foundation presents two major projects: the third edition of the collection exhibition drawn from the Sylwia and Piotr Krupa Collection – FOCUS on the Collection – and the intimate yet conceptually powerful exhibition Choreographies of Cruelty. Despite their different scales, both exhibitions are united by a shared concern: a close and critical examination of contemporary experiences of relationships in their many forms, and of the ways in which we relate to the world around us.

FOCUS on the Collection

FOCUS offers a broad overview of the most recent works acquired for the Sylwia and Piotr Krupa Collection in recent years. The exhibition concentrates on art created here and now—in a world that is constantly accelerating, transforming, and often resisting clear-cut diagnoses. Contemporary artistic practice unfolds in multiple directions, and the diversity of themes and approaches makes it impossible to identify a single dominant current. For this reason, as the curators emphasize, the exhibition becomes an attempt to “sharpen the lens”: to look attentively at a fragment of a much larger whole.

The works presented reflect both current political phenomena and deeply personal, intimate experiences of artists. While the exhibition is rooted in the most recent artistic tendencies, it also opens a dialogue with key figures of the second half of the twentieth century, such as Magdalena Abakanowicz and Maria Pinińska-Bereś, revealing the lasting relevance of certain gestures and ideas. Featured artists include, among others, Kateryna Aliinyk, Anouk Lamm Anouk, Pola Dwurnik, Bartłomiej Flis, Mihai Grecu, Anne Imhof, Adéla Janská, Aurora Király, Eliška Konečná, Barbara Kruger, Magdalena Lazar, Małgorzata Mirga-Tas, Anna Myszkowiak, Øleg & Kaśka, Yoshi Sodeoka, Liliana Zeic, as well as other artists of the younger generation whose works have enriched the contemporary art scene in recent years.

This third presentation of the collection also marks another stage in the ongoing process of interpreting the holdings. Following the dialogue between historical and contemporary works curated by Stach Szabłowski (2023), and the unique, child-curated edition (2024), the curatorial role is now assumed by the Foundation’s curatorial team together with collector Sylwia Krupa. FOCUS concentrates on relationships—between the institution and the collection, between the collector and the artwork, and between the individual and the community. The exhibition asks how perspective operates in this context, and what it means to focus in a world of dispersed meanings and languages.

FOCUS is an attempt to bring clarity to our fragmented attention by directing it toward significant fragments of reality that art places within our field of vision—inviting interpretation and the search for new meanings.

FOCUS on the Collection
3rd presentation of the Sylwia and Piotr Krupa Collection
30 January 2026 – 3 May 2026
Curators: Sylwia Krupa, Monika Łuszpak-Skiba, Natalia Barczyńska

Media partners: Mint Magazine

Barbara Kruger Untitled (WAR TIME, WAR CRIME), 2025 | Courtesy the artist and Sprüth Magers Photo: Timo Ohler.

Adéla Janská - „I'm watching, you can play”, 2022.

Anne Imhof - „Untitled (11am)”, 2024 Oil on canvas, 280 x 420 cm.

Eliza Wagener - „Untitled (Hold on, Lean Against)”, 2025.

Agata Kus - „Routine” z cyklu BEST WISHES, 2023.

Pola Dwurnik - „Wielki nokturn”, 2022.

Øleg&Kaśka - „Skeletons no.3 and no.4”, 2025 - tryptyk.

Mihai Grecu - „Digital Desert”, 2024.

Magdalena Lazar - "Hey, hi, hello, yo, what's up, 1” 2024 fot. Jacek Kucharczyk.

Luana Closca - „Natural Conclusion”, 2025, fot. Alicja Kielan.

Barłomiej Flis - „Jagody”, 2025.

Ala Savashevich - „Pose. Position. Way”, 2019.

Choreographies of Cruelty

The exhibition Choreographies of Cruelty brings together works by three representatives of the younger generation—the French artist Chloé Arrouy and the duo Women Antenas (Agata Konarska and Agata Lankamer)—with historical objects by Tadeusz Kantor. The project forms an intense narrative about the body as a site of violence, memory, and performance; about everyday rituals that seemingly promise well-being while concealing destructive mechanisms.

This is a choreography of hybrid forms—sculptures, installations, and digital works—that expose contemporary tools of pressure: algorithmic control, cyberviolence, and social expectations placed on bodies, particularly female bodies. Kantor’s Family Machine, reread as a metaphor of objectification, resonates with Chloé Arrouy’s fetishistic, metallic, quasi-utilitarian objects, as well as with the cyber-spatial “tools of torture” generated by Women Antenas.

The exhibition deepens this narrative by combining references to the aesthetics of early 2000s cinema, the visual codes of medieval instruments of torture, and their futuristic transformations. The result is a multilayered interpretation of cruelty, stretched across multiple temporal axes, in which past, present, and imagined futures intersect in a dynamic play of forms.

The exhibition recalls Kantor’s assertion that life is a kind of theatre, and that our emotions, traumas, and identities are constantly performed—both through material objects and within digital simulations.

Choreographies of Cruelty
30 January 2026 – 3 May 2026
Curator: Natalia Barczyńska

Media partners: Mint Magazine
Partners: National Galleries of Scotland, Demarco Digital Archive, Ośrodek Dokumentacji Sztuki Tadeusza Kantora Cricoteka