{"id":26142,"date":"2025-09-18T14:35:01","date_gmt":"2025-09-18T12:35:01","guid":{"rendered":"https:\/\/66p.pl\/?post_type=wystawa&p=26142"},"modified":"2026-05-06T13:54:10","modified_gmt":"2026-05-06T11:54:10","slug":"war-garden","status":"publish","type":"wystawa","link":"https:\/\/66p.pl\/en\/wystawa\/war-garden","title":{"rendered":"War Garden: Plants in Times of Conflict<\/b>
Mira Boczniowicz, Anna Bujak, Natalia Kopytko, Dominika \u0141ab\u0105d\u017a, Karina Marusi\u0144ska
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War Garden: Plants in Times of Conflict<\/b>
Mira Boczniowicz, Anna Bujak, Natalia Kopytko, Dominika \u0141ab\u0105d\u017a, Karina Marusi\u0144ska<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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artists<\/strong>: Mira Boczniowicz, Anna Bujak, Natalia Kopytko, Dominika \u0141ab\u0105d\u017a, Karina Marusi\u0144ska\u00a0
soundtrack for the exhibition<\/strong>: Czarny Latawiec (in collaboration with Agnieszka K\u0142os)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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curator<\/strong>:\u00a0Agnieszka K\u0142os
opening:\u00a018 September (Thursday), 6 p.m
tour with the artists and curator: 19 September (Friday), 6 p.m
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The exhibition is presented simultaneously in two spaces of PIEKARNIA Living Culture: Galeria Geppart ASP Wroc\u0142aw and 66P Subjective Institution of Culture\u00a0<\/strong>
Galeria Geppart: 4\u201327 September 2025\u00a0
66P: 18 September\u201322 November 2025<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Ecological Imagination at the Geppart Gallery and 66P<\/b><\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The exhibition War Garden: Plants in Times of Conflict<\/em> presents a microhistory in which plants are not only silent witnesses, but active participants in the events of the Second World War. They accompanied people both on the front lines and in daily life \u2013 as sources of hope, food, and medicine, and as symbols of survival in the face of catastrophe.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The works by contemporary female artists explore women\u2019s relationships with specific plant species \u2013 such as tomatoes, nettles, and flax \u2013 whose importance grew as hostilities escalated. The exhibition encourages reflection on how women engaged with these plants, also in the daily reality of concentration camps and ghettos, as they fought to survive in inhumane conditions.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Beyond their practical uses, the exhibition reveals the deep symbolism of plants \u2013 signs of resistance, hope, and memory. It tells the story of a green legacy that endures 80 years after the end of the war.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Karina Marusi\u0144ska, Peelings<\/I> (process), 2025, photo: Ma\u0142gorzata Kujda, courtesy of the Artist<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Plant as Subject of Stories<\/b><\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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After the Second World War, the concept of ecological imagination <\/em>emerged within the new humanities as an alternative way of understanding the relationship between humans and the natural world. Rooted in reflections on history, memory, and ethics, it challenges anthropocentric paradigms and offers new interpretative frameworks.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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This exhibition does not tell a story in the traditional sense. It is not about people seen through human eyes, but about trying to show the experience of war from the perspective of those who usually remain silent \u2013 plants. It asks whether nature can be seen as a witness to history: can plants carry traces of violence, hunger, and forced adaptation?\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A key curatorial context of the exhibition is precisely this concept of ecological imagination \u2013 a way of thinking that moves beyond anthropocentrism and acknowledges the role of non-human life in shaping and preserving memory.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Anna Bujak, Roots<\/I>, 2025, installation, aluminium, courtesy of the Artist<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Plant as Witness and Living Archive<\/b><\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In the part of the exhibition devoted to destruction, violence, and cruelty, the plant appears as a material witness. Using examples of species that survived bombings or grew around concentration camps, it shows that testimony does not need to be verbal. As Susan Schuppli writes, we live in an era of the \u201cmaterial witness\u201d \u2013 any entity whose body bears traces of the past can carry memory. A plant rooted in a ghetto did not simply \u201cexist\u201d there; its tissues, reactions, and presence have preserved the history of that place.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The next part of the exhibition, devoted to adaptation and melancholy, casts plants as a medium of memory. Nature does not need marble to remember \u2013 a cycle is enough. A plant is not a monument, but a living archive that persists despite change, ages, and is reborn. The exhibition draws on the voices of artists who believe plants remember better than stone: they never forget, even though they do not communicate directly. Following this intuition, it tells stories through plants that have survived, endured death, and now carry their histories in silence.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dominika \u0141ab\u0105d\u017a, Heat!<\/I>, 2025, three-channel full HD video installation, courtesy of the Artist<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Plants as Participants in Communication and a Substantial Part of History<\/b><\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The question of non-human communication is central to this narrative. Is it possible to understand a plant? Can we enter into a narrative-based relationship with it? Here we draw on Eduardo Kohn\u2019s view that all living things \u2013 not just humans \u2013 use signs, communicate, and respond to the world. His well-known question, \u201cWhat might it mean to say that forests think?\u201d captures the potential of the entire exhibition. We ask not only what plants have experienced, but also how they talk to us: through scent, presence, and persistence in hostile environments.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In War Garden<\/em>, history and nature are shown as materially inseparable. We include the testimony of a Brzezinka resident who recalls that birch trees grew there \u201con human ashes.\u201d This is not a metaphor but biological reality. The birch is not just a witness \u2013 it becomes a substantial part of history, having literally absorbed it. This perspective demands a new ethic of memory: respect for what lives in places of death and recognition that history can be held in the bodies, roots, and sap of plants.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mira Boczniowicz, Scrolls and the Shroud. The Essence of Life<\/i>, 2025, installation (fragment), cyanotype, biomedia, courtesy of the Artist<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Plant as a Subject of Survival<\/b><\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The exhibition challenges the instrumental treatment of nature \u2013 as raw material, backdrop, or tool. The act of transplanting trees, shown in documentary footage, is shown as a form of violence: imposing new conditions on plants against their rhythms and biological needs. It is both an image of human power over the defenceless and a subtle affirmation of plant resistance \u2013 their ability to endure despite violence.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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War Garden<\/em> is not a nostalgic account of gardening in hard times. It is a radical attempt to tell the story of the Second World War through the prism of plants \u2013 not as decorative elements, but as beings that have seen, survived, preserved memory, and perhaps even think. It is about a more-than-human world, existing alongside and before us, which \u2013 though it does not speak our language \u2013 may express the truth about what happened.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Natalia Kopytko, Landscape II<\/i>, 2025, bas-relief, ceramics, courtesy of the Artist<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Situating the Exhibition in the Context of Survival <\/b><\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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War Garden: Plants in Times of Conflict<\/em> stands between two ideas \u2013 plants as supportive entities and plants as survivors, carriers of life in times of destruction. This perspective transforms flora from a neutral backdrop into figures of resistance, presence, and biological memory in wartime.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Marking the 80th<\/sup> anniversary of the end of the Second World War in 2025, the exhibition invites viewers to explore the microhistories of everyday survival recorded in the bodies of plants. While war destroyed human worlds, flora endured \u2013 in shadows, on the margins, in hiding \u2013 offering shelter, nourishment, and meaning.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Plants were not passive elements of the landscape. Tomatoes, nettles, flax, herbs, and flowers \u2013 each played a specific role in the lives of camps, ghettos, and refugees. They became not only means of survival but also markers of presence and silent witnesses to events.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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As Elfriede Jelinek writes, \u201cThe war left the forest full of shadows.\u201d The shadow of war falls on greenery, but also the reverse: greenery preserves something of humanity. This tension between destruction and endurance is where the exhibition\u2019s essence lies.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Plants in the Face of Violence and in the Rhythm of Melancholy<\/b><\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Part of the exhibition addresses aggression, destruction, and violence \u2013 the explosive moment that brutally interrupts the continuity of life. In The Hunger Angel<\/em>, Herta M\u00fcller writes: \u201cHunger is not a bunker or a bed frame (\u2026). Hunger is not an object.\u201d This captures the invisibility of suffering while pointing to its material surroundings \u2013 a world in which nature, sometimes the only source of food, becomes both witness and participant. Plants present in landscapes of violence gain significance here \u2013 not as background, but as bodies marked by history.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The second part of the exhibition focuses on melancholy and adaptation \u2013 emotions and biological rhythms shaped by life in the shadow of violence. M\u00fcller observes: \u201cThe earth is paper-thin\u201d \u2013 a fragile yet evocative image. The earth, as a surface of memory, is open to recording trauma, yet it can also regenerate. Plants growing in this earth adapt to the conditions, storing traces of the past in their biology \u2013 quietly but tellingly. It is a story of life that continues \u2013 not in spite of history, but carrying its full weight.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Biographical note<\/b><\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Mira Boczniowicz <\/strong>alias<\/em> MiRART.73<\/strong> is a visual and video artist. She identifies with the Spanish word mira<\/em>, which means \u201clook!\u201d. MiRART.73<\/em> is an acronym referring to Article 73, Chapter II of the Constitution of the Republic of Poland. She describes her work as follows: In artistic imaging, my experience revolves around visual sociology, performance studies, gender optics, social corsets, subversion, somatic actions, visual sequentiality, and the phenomenon of perception as a case of here-and-now illusion. I am also interested in transhumanism, quantum theory, strange shapes, and the eleventh dimension<\/em>. Mira is a member of the WRO Media Art Center and THE SELF PRESERVATION SOCIETY<\/em>. A professor at the Eugeniusz Geppert Academy of Art and Design in Wroc\u0142aw, she teaches in the areas of inventics, structural knowledge, and methods of imaging in design and art. She serves as vice-chair of the eUterus programme. In the last decade, in cooperation with art foundations, she has been involved in building a film collection\/archive devoted to art.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Anna Bujak<\/strong> is a sculptor, visual artist, and creator of installations. She graduated from the Eugeniusz Geppert Academy of Art and Design in Wroc\u0142aw, Faculty of Sculpture and Painting (2011), and from the Faculty of Humanities, Institute of History at Akademia \u015awi\u0119tokrzyska (2008; today: Jan Kochanowski University) in Kielce. She is the recipient of numerous scholarships and artistic awards, including: the Scholarship of the Minister of Culture and National Heritage (2024, 2011); the Scholarship of the Mayor of Wroc\u0142aw (2023); the Jerzy Grotowski Scholarship for doctoral students in the field of art (2014); and the Emocje<\/em> Award of Radio Wroc\u0142aw Kultura in the field of visual arts (2025). She was nominated for Gazeta Wyborcza<\/em>\u2019s WARTO cultural award (2015) and was the winner of Digital Residency II<\/em> at OP ENHEIM Gallery, Wroc\u0142aw (2021). Her works are held in the collection of the Lower Silesian Society for the Encouragement of Fine Arts at the Wroc\u0142aw Contemporary Museum. She lives and works in Wroc\u0142aw. She writes: I am interested in contradictions; I navigate between order and destruction. I want the created object to have an attractive force, yet it must also contain a repelling element. The objects I construct reflect my private experiences as well as historical traumas and global events that affect us all<\/em>.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Natalia Kopytko<\/strong> has graduated from the Faculty of Sculpture at the Academy of Fine Arts in Krak\u00f3w. In 2007 she obtained her master\u2019s degree with distinction. In 2005 she studied at the Universidad Polit\u00e9cnica de Valencia<\/em>, Faculty of Fine Arts. In 2019 she defended her doctoral thesis entitled Droga prowadzi przez szaf\u0119<\/em> [The Path Leads Through the Wardrobe<\/em>] at the Faculty of Art of the University of the National Education Commission in Krak\u00f3w (UKEN). She has worked there as an assistant since 2016, and since 2019 as an adjunct professor in the Institute of Art and Design, where she runs the Ceramics Studio. In 2016 she received a scholarship from the Minister of Culture and National Heritage under the \u201cYoung Poland\u201d programme for the project \u0141ysa G\u00f3ra. Ludzie i ceramika<\/em> [\u0141ysa G\u00f3ra: People and Ceramics<\/em>]. She also received a City of Krak\u00f3w Scholarship (2018) and, in 2020, a scholarship under the Resilient Culture programme. She works primarily in sculpture and installation, most often using ceramics. In her artistic practice she addresses themes related to memory, seeking out traces, exploring reflections of non-existent things, and evoking what has been forgotten. She is interested in what she calls the archaeology of childhood: exploring places, objects, and events with unique significance, whose image is distorted and blurred, difficult to grasp directly. She often draws inspiration from the home, where intricate, multilayered, and magical relationships exist between people, objects, and space \u2013 including space linked to nature. She has had numerous solo and group exhibitions in Poland and abroad. She is a member of the artistic collective O.W.L. She lives and works in Krak\u00f3w.
www.nataliakopytko.com<\/a>
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Agnieszka K\u0142os<\/strong> is an art critic, curator, and writer. Member of the International Association of Art Critics (AICA<\/em>) since 2012. She works as an adjunct professor at the Eugeniusz Geppert Academy of Art and Design in Wroc\u0142aw, where she co-founded the Department of Art Mediation and ran postgraduate studies in contemporary art mediation. She holds a PhD in the humanities, specialising in the study of the relationship between Holocaust history, cultural memory, and contemporary art. Her literary and curatorial work focuses on exploring the landscape as a space of memory, sites of trauma, and their impact on individual and collective identity. A co-founder of the Mieszkanie Gepperta Gallery, where, between 2006 and 2008, she ran curatorial projects including Czytelnia Gepperta<\/em> [Geppert\u2019s Reading Room<\/em>] and Wolna Amerykanka<\/em> [Free-for-all<\/em>]. Between 2001 and 2016 she was the editor of the Rita Baum<\/em> magazine, and since 2004 has served as vice-president of the Rita Baum Cultural and Artistic Association. She is the recipient of numerous literary scholarships and awards. Her books have been nominated for, among others, the Witold Gombrowicz Literary Prize, the Angelus Central European Literary Award, and PolitykaPassport<\/em>Awards. She has twice received scholarships from the Mayor of Wroc\u0142aw, the Wis\u0142awa Szymborska Foundation, and the Wroc\u0142aw House of Literature. She is the author of the books Ca\u0142kowity koszt wszystkiego<\/em> [The Total Cost of Everything<\/em>] (2008), Gry w Birkenau<\/em> [Games of Birkenau<\/em>] (2015), Wy\u017csza czu\u0142o\u015b\u0107<\/em> [Higher Sensitivity<\/em>] (2020), Cia\u0142o poetyckie<\/em>[The Poetic Body<\/em>] (2022), Las zaginionych ludzi<\/em> [The Forest of Lost People<\/em>] (2023), and Przestrzenie Birkenau<\/em> [The Spaces of Birkenau<\/em>] (2024). In 2004, she initiated Ksi\u0105\u017cka za kraty<\/em> [A Book Behind Bars<\/em>] \u2013 Poland\u2019s first nationwide book donation campaign for people in correctional facilities, which created a new model of social engagement in reading culture.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Karina Marusi\u0144ska<\/strong>\u00a0\u2013 urodzi\u0142a si\u0119 w Piotrkowie Trybunalskim (1983). Mieszka we Wroc\u0142awiu, gdzie uko\u0144czy\u0142a Akademi\u0119 Sztuk Pi\u0119knych \u2013 Wzornictwo, Projektowanie Ceramiki (2003-2008). Studiowa\u0142a tak\u017ce w ramach program\u00f3w stypendialnych na hiszpa\u0144skim Uniwersytecie Kraju Bask\u00f3w w Bilbao (2007) i we francuskim Instytucie Ceramiki w Guebwiller (2008). Odby\u0142a studia podyplomowe Design Management prowadzone przez Instytut Wzornictwa Przemys\u0142owego i Kolegium Gospodarki \u015awiatowej Szko\u0142y G\u0142\u00f3wnej Handlowej w Warszawie (2009-2010) oraz mi\u0119dzynarodowe studia podyplomowe \u201eKaolin\u201d na kierunku sztuka i design we wsp\u00f3\u0142czesnej ceramice w ENSA Limoges we Francji i Chinach (2013-2014). Pracuje na wroc\u0142awskiej ASP jako adiunktka w Pracowni Ceramiki Kontekstualnej, prowadzonej wraz z prof. Miros\u0142awem Koci\u0144skim (od 2010). Jest artystk\u0105 interdyscyplinarn\u0105, nauczycielk\u0105 akademick\u0105 z tytu\u0142em doktory habilitowanej, animatork\u0105 spo\u0142eczno-kulturaln\u0105. Wsp\u00f3\u0142tworzy\u0142a\u00a0grup\u0119 projektow\u0105\u00a0Wzorowo (2008-2014). Nale\u017cy do\u00a0kolektywu\u00a0Food Think Tank<\/a>\u00a0(od 2014) i grupy performerskiej\u00a0\u0141uhuu!<\/a>\u00a0(od 2005). Jest wielokrotn\u0105 stypendystk\u0105 (m. in.\u00a0Ministra Nauki i Szkolnictwa Wy\u017cszego, Ministra Kultury i Dziedzictwa Narodowego, Marsza\u0142ka Wojew\u00f3dztwa Dolno\u015bl\u0105skiego, Marsza\u0142ka Wojew\u00f3dztwa \u0141\u00f3dzkiego, Prezydenta Wroc\u0142awia), laureatk\u0105 nagr\u00f3d (m. in.\u00a0\u201eTalent Tr\u00f3jki\u201d Polskiego Radia, \u201eWarto\u201d Gazety Wyborczej, \u201eMake me!\u201d \u0141\u00f3d\u017a Design, Przegl\u0105du Sztuki \u201eSurvival 14\u201d, Nagrody Rektora ASP Wroc\u0142aw), rezydentk\u0105 (Francja, Chiny, S\u0142owacja, Austria, Wielka Brytania), uczestniczk\u0105 licznych krajowych i mi\u0119dzynarodowych wystaw, festiwali, sympozj\u00f3w, plener\u00f3w. Jej prace znajduj\u0105 si\u0119 w zbiorach\u00a0Krehky Gallery w Pradze,\u00a0Muzeum Narodowego w Warszawie,\u00a0Muzeum Narodowego w Krakowie, Muzeum Narodowego we Wroc\u0142awiu, Muzeum Regionalnego w Stalowej Woli oraz kolekcjach prywatnych.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Agnieszka K\u0142os<\/strong>\u00a0\u2013 krytyczka sztuki, kuratorka, pisarka. Cz\u0142onkini Mi\u0119dzynarodowego Stowarzyszenia Krytyk\u00f3w Sztuki AICA od 2012 roku. Pracuje jako adiunktka na Akademii Sztuk Pi\u0119knych im. Eugeniusza Gepperta we Wroc\u0142awiu, gdzie wsp\u00f3\u0142tworzy\u0142a Katedr\u0119 Mediacji Sztuki i prowadzi\u0142a studia podyplomowe z mediacji sztuki wsp\u00f3\u0142czesnej. Doktor nauk humanistycznych, specjalizuj\u0105ca si\u0119 w badaniu relacji mi\u0119dzy histori\u0105 Zag\u0142ady, pami\u0119ci\u0105 kulturow\u0105 a sztuk\u0105 wsp\u00f3\u0142czesn\u0105. Jej tw\u00f3rczo\u015b\u0107 literacka i kuratorska koncentruje si\u0119 na eksplorowaniu krajobrazu jako przestrzeni pami\u0119ci, traumatycznych miejsc oraz ich wp\u0142ywu na to\u017csamo\u015b\u0107 jednostki i wsp\u00f3lnoty. Wsp\u00f3\u0142tw\u00f3rczyni Galerii Mieszkania Gepperta, w kt\u00f3rej w latach 2006 \u2013 2008, prowadzi\u0142a projekty kuratorskie, m.in., \u201eCzytelni\u0119 Gepperta\u201d oraz \u201eWoln\u0105 Amerykank\u0119\u201d. W latach 2001\u20132016 redaktorka magazynu \u201eRita Baum\u201d, od 2004 roku wiceprezeska Stowarzyszenia Kulturalno\u2013Artystycznego \u201eRita Baum\u201d. Laureatka licznych stypendi\u00f3w i nagr\u00f3d literackich. Jej ksi\u0105\u017cki by\u0142y nominowane m.in., do Nagrody Literackiej im. Witolda Gombrowicza, Nagrody Angelus oraz Paszport\u00f3w Polityki. Dwukrotna stypendystka Prezydenta Wroc\u0142awia, Fundacji Wis\u0142awy Szymborskiej i Wroc\u0142awskiego Domu Literatury. Autorka ksi\u0105\u017cek:\u00a0Ca\u0142kowity koszt wszystkiego<\/em>\u00a0(2008),\u00a0Gry w Birkenau<\/em>\u00a0(2015),\u00a0Wy\u017csza czu\u0142o\u015b\u0107<\/em>\u00a0(2020),\u00a0Cia\u0142o poetyckie<\/em>\u00a0(2022),\u00a0Las zaginionych ludzi<\/em>\u00a0(2023),\u00a0Przestrzenie Birkenau<\/em>\u00a0(2024). Pomys\u0142odawczyni pierwszej w Polsce og\u00f3lnokrajowej zbi\u00f3rki ksi\u0105\u017cek dla os\u00f3b osadzonych w zak\u0142adach karnych \u2013 \u201eKsi\u0105\u017cka za kraty\u201d (2004), kt\u00f3ra zainicjowa\u0142a nowy model spo\u0142ecznego zaanga\u017cowania w kultur\u0119 czytelnicz\u0105.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The 66P team and collaborators<\/b><\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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organisation, production and implementation:<\/strong> Renata Jarodzka, Rafa\u0142 Jarodzki, Piotr Lisowski, Mirek \u0141ucko\u015b, Anna Krukowska, Mirek Chudy, Patrycja Ucieklak, \u0141ukasz Ba\u0142aci\u0144ski, Danuta Krzywicka, Teresa Haj\u0142asz-Golonka, Micha\u0142 Czapli\u0144ski, Katarzyna Ma\u0142olepsza, Kamil Olender \u00a0<\/p>

promotion<\/strong>: Fest Promo\u00a0<\/span><\/p>

graphic design<\/strong>: Ewa G\u0142owacka<\/span><\/p>

translation<\/strong>: Iuliia Lytsevych, Karol Waniek\u00a0\u00a0<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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media patrons<\/strong>: MINT, SZUM, MIEJ MIEJSCE, NN6T, Format, Radio Wroc\u0142aw, Radio RAM\u00a0<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

The exhibition War Garden: Plants in Times of Conflict<\/i> presents a microhistory in which plants are not only silent witnesses, but active participants in the events of the Second World War. They accompanied people both on the front lines and in daily life \u2013 as sources of hope, food, and medicine, and as symbols of survival in the face of catastrophe. Beyond their practical uses, the exhibition reveals the deep symbolism of plants \u2013 signs of resistance, hope, and memory. It tells the story of a green legacy that endures 80 years after the end of the war.<\/p>\n","protected":false},"featured_media":26071,"parent":0,"menu_order":16,"template":"","categories":[1],"informacja":[156],"termin":[142],"class_list":["post-26142","wystawa","type-wystawa","status-publish","has-post-thumbnail","hentry","category-wystawy","informacja-exhibition","termin-archival"],"uagb_featured_image_src":{"full":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1.jpg",2048,2048,false],"thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-500x500.jpg",500,500,true],"medium":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-300x300.jpg",300,300,true],"medium_large":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-768x768.jpg",768,768,true],"large":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1024x1024.jpg",1024,1024,true],"1536x1536":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1536x1536.jpg",1536,1536,true],"2048x2048":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1.jpg",2048,2048,false],"qi_addons_for_elementor_image_size_square":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-650x650.jpg",650,650,true],"qi_addons_for_elementor_image_size_landscape":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1300x650.jpg",1300,650,true],"qi_addons_for_elementor_image_size_portrait":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-650x1300.jpg",650,1300,true],"qi_addons_for_elementor_image_size_huge-square":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1300x1300.jpg",1300,1300,true],"woocommerce_thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-760x760.jpg",760,760,true],"woocommerce_single":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-655x655.jpg",655,655,true],"woocommerce_gallery_thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-200x200.jpg",200,200,true],"wpsso-schema-1x1":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1200x1200.jpg",1200,1200,true],"wpsso-schema-4x3":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1200x900.jpg",1200,900,true],"wpsso-schema-16x9":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1200x675.jpg",1200,675,true],"wpsso-thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1200x628.jpg",1200,628,true],"wpsso-opengraph":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1200x628-cropped.jpg",1200,628,true],"wpsso-tc-summary":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1200x1200.jpg",1200,1200,true],"wpsso-tc-lrgimg":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/08\/ogrod_ig-2048x2048-1-1200x628-cropped.jpg",1200,628,true]},"uagb_author_info":{"display_name":"Mirek","author_link":"https:\/\/66p.pl\/en\/author"},"uagb_comment_info":0,"uagb_excerpt":"The exhibition War Garden: Plants in Times of Conflict presents a microhistory in which plants are not only silent witnesses, but active participants in the events of the Second World War. They accompanied people both on the front lines and in daily life \u2013 as sources of hope, food, and medicine, and as symbols of…","_links":{"self":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/26142","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa"}],"about":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/types\/wystawa"}],"version-history":[{"count":18,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/26142\/revisions"}],"predecessor-version":[{"id":33157,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/26142\/revisions\/33157"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/media\/26071"}],"wp:attachment":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/media?parent=26142"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/categories?post=26142"},{"taxonomy":"informacja","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/informacja?post=26142"},{"taxonomy":"termin","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/termin?post=26142"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}