{"id":27461,"date":"2025-07-03T13:23:10","date_gmt":"2025-07-03T11:23:10","guid":{"rendered":"https:\/\/66p.pl\/?post_type=wystawa&p=27461"},"modified":"2026-03-08T18:20:19","modified_gmt":"2026-03-08T17:20:19","slug":"liliana-zeic-eng","status":"publish","type":"wystawa","link":"https:\/\/66p.pl\/en\/wystawa\/liliana-zeic-eng","title":{"rendered":"The First Year They Sleep, the Second Year They Creep, the Third Year They Leap<\/b>.
Liliana Zeic<\/br>"},"content":{"rendered":"\t\t
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The First Year They Sleep, the Second Year They Creep, the Third Year They Leap<\/b>.
Liliana Zeic<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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curator:<\/strong> Piotr Lisowski<\/p>

exhibition duration:<\/strong> 3 July \u2013 6 September 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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Liliana Zeic\u2019s exhibition The First Year They Sleep, the Second Year They Creep, the Third Year They Leap<\/em> unfolds as a queer-ecological ballad \u2013 a narrative form that, by its very nature, combines heterogeneous, often contradictory elements into one whole. This syncretism, which defies genre and species boundaries, was emblematic of the Romantic period, offering a vision of the world and of humanity that stood in stark contrast to Enlightenment rationalism. Zeic deliberately uses this form. The narrative\u2019s point of departure is a folk legend surrounding Lake \u015awite\u017a, quoted in Adam Mickiewicz\u2019s 1822 volume Ballads and Romances<\/em>, widely recognised as the first example of Polish Romanticism.<\/p>

According to the legend, Lake \u015awite\u017a conceals the secret of a submerged city. The tale dates back to the 11th<\/sup> century, when the Grand Duchy of Lithuania was attacked by Ruthenia. As the men left to defend the land, the city was left to its women. Upon being besieged, the women of \u015awite\u017a chose death over submission. At that moment, a miracle occurred: the earth opened and engulfed the city, and in its place emerged a lake of extraordinary beauty. Upon its surface bloomed flowers of an unprecedented kind \u2013 the transformed women of \u015awite\u017a. These plants lured the invaders with their intoxicating scent and form, only to cause their demise upon being picked, thus becoming both a symbol of courage and a curse to those who disturbed them. Other variations of the legend suggest that the city\u2019s denizens continue to live beneath the lake, their songs still audible on certain nights.<\/p>

\u00a0<\/div><\/div>
\"\"Liliana Zeic, <\/span>Algae of \u015awite\u017a and a Woman Floating in Water<\/em>, from the series <\/span>\u015awite\u017a<\/em>, 2025, intarsia, poplar burl, steel, 72 x 63 cm (detail)<\/span><\/figure>
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Within the exhibition, Zeic immerses us in this submerged realm, reimagined through queer and ecofeminist sensibilities. In a series of intarsia works, feminine forms intertwine with botanical ones; identities blur, subjectivities coalesce. The dynamic of this entanglement is articulated through gestures of care, sacrifice, and tactile connection. These damp depths widen sensory perception, transcending the visual and ushering viewers into a realm beyond the anthropocentric. In Zeic\u2019s telling, the shared ground between queer and plant ecologies is cultivated by oddities, outcasts, recluses, relict species, natural anomalies, and maladies. It is in these marginal, submerged zones that hybrid life-forms and untamed beauty begin to flourish.<\/p>

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\u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\"\"Liliana Zeic, <\/span>Sun-Eaters II<\/em>, 2024, intarsia, poplar burl, steel, 124 x 94 cm<\/span><\/figure>
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The exhibition\u2019s title alludes to a gardening proverb describing the developmental rhythm of perennial plants. In their first year, they grow imperceptibly, as if asleep. In the second, they invest their energy underground, establishing a foundation. Only in the third year do they flourish above the surface. The care and patience in this cycle lead to a reflection on the corporeal processing of trauma, which may yield not only restoration but also the forging of a more resilient, stronger self. Here, trauma becomes the substrate for a generative reimagining of identity.<\/p>

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\"\"Liliana Zeic, <\/span>Apples Grow on Oak Trees <\/em>2021, object (meadow hay, nettle fiber cord, pins), 115 x 61 x 4 cm (detail)<\/span><\/figure>
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An essential context for this work lies in the artist\u2019s personal history \u2013 her early immersion in craft through her parents\u2019 carpentry workshop, her upbringing in the Polish countryside, and her experience within a co-dependent family structure. The exhibition is thus situated at the intersection of two social orders: the family of origin \u2013 one \u201cnot of choice\u201d \u2013 and the prospective world of \u201cthose yet to come\u201d \u2013 a community forged through human-plant-queer affiliations. In Zeic\u2019s vision, the boundary between these orders is blurred. The folkloric tale is reactivated as a way of building a utopian vision of difference and interdependence. At the same time, the exhibition operates as a queer strategy of reclaiming visibility, processing trauma, honouring memory, and circulation of all life forms.<\/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<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Liliana Zeic<\/strong> (formerly Piskorska, she\/her) \u2013 born in 1988, is a visual artist and holds a PhD in Fine Arts. Her practice is grounded in queer feminist and ecological frameworks. Working across craft, video, photography, objects, and text, she creates intermedia and performative projects driven by artistic research. Since 2020, she has increasingly embraced craft-based methods, primarily developing her own distinctive intarsia technique in wood. Zeic was a finalist in the Forecast Forum at the Haus der Kulturen der Welt in Berlin (2017) and received the Audience Award at Views 2019: Deutsche Bank Award<\/em>. She was also the recipient of the OP YOUNG 2020 award and, in the same year, was nominated for the WARTO Award. Her works have been presented in over 140 group and solo exhibitions in Poland and abroad, and are held in several public collections, including Zach\u0119ta \u2013 National Gallery of Art, Wroc\u0142aw Contemporary Museum, Arsena\u0142 Municipal Gallery, and NOMUS New Art Museum in Gda\u0144sk. She is represented by lokal_30 gallery and has lived and worked in Warsaw since adopting the name Liliana Zeic in February 2021.<\/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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Piotr Lisowski<\/strong> is a curator and art historian, author of critical texts, editor of publications, and an independent researcher of contemporary art. He currently serves as the artistic director of 66P Subjective Institution of Culture. From 2017 to 2022, he was affiliated with Wroc\u0142aw Contemporary Museum, where he held the position of director from 2020 to 2021. Previously, from 2007 to 2016, he worked as a curator and collections supervisor at the Centre of Contemporary Art in Toru\u0144 and was co-founder of the independent GALERIA MI\u0141O\u015a\u0106 (2014\u20132017). He also lectures in Art Mediation at the Eugeniusz Geppert Academy of Fine Arts in Wroc\u0142aw.<\/p>

Photo: Piotr Blajerski<\/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><\/h2>\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>\u00a0Renata 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, Bartosz Gierczak, Micha\u0142 Czapli\u0144ski, Katarzyna Ma\u0142olepsza, Kamil Olender \u00a0\u00a0
Promotion:<\/strong>\u00a0Fest Promo
Graphic design:\u00a0<\/strong>Kinga Gralak
Translations:<\/strong>\u00a0IIuliia Lytsevych, Karol Waniek<\/p>

media patrons:<\/strong> MINT, SZUM, MIEJ MIEJSCE, NN6T
partners: <\/strong>lokal 30, 24th<\/sup> PBN Paribas International Film Festival<\/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\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Liliana Zeic\u2019s exhibition unfolds as a queer-ecological ballad \u2013 a narrative form that, by its very nature, combines heterogeneous, often contradictory elements into one whole. This syncretism, which defies genre and species boundaries, was emblematic of the Romantic period, offering a vision of the world and of humanity that stood in stark contrast to Enlightenment rationalism. Zeic deliberately uses this form. The narrative\u2019s point of departure is a folk legend surrounding Lake \u015awite\u017a, quoted in Adam Mickiewicz\u2019s 1822 volume Ballads and Romances<\/I>, widely recognised as the first example of Polish Romanticism.<\/p>\n","protected":false},"featured_media":24947,"parent":0,"menu_order":16,"template":"","categories":[1],"informacja":[156],"termin":[142],"class_list":["post-27461","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\/06\/kwadrat_maly-2048x2048-1.jpg",2048,2048,false],"thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-500x500.jpg",500,500,true],"medium":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-300x300.jpg",300,300,true],"medium_large":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-768x768.jpg",768,768,true],"large":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1024x1024.jpg",1024,1024,true],"1536x1536":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1536x1536.jpg",1536,1536,true],"2048x2048":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1.jpg",2048,2048,false],"qi_addons_for_elementor_image_size_square":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-650x650.jpg",650,650,true],"qi_addons_for_elementor_image_size_landscape":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1300x650.jpg",1300,650,true],"qi_addons_for_elementor_image_size_portrait":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-650x1300.jpg",650,1300,true],"qi_addons_for_elementor_image_size_huge-square":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1300x1300.jpg",1300,1300,true],"woocommerce_thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-760x760.jpg",760,760,true],"woocommerce_single":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-655x655.jpg",655,655,true],"woocommerce_gallery_thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-200x200.jpg",200,200,true],"wpsso-schema-1x1":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1200x1200.jpg",1200,1200,true],"wpsso-schema-4x3":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1200x900.jpg",1200,900,true],"wpsso-schema-16x9":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1200x675.jpg",1200,675,true],"wpsso-thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1200x628.jpg",1200,628,true],"wpsso-opengraph":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1200x628.jpg",1200,628,true],"wpsso-tc-summary":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1200x1200.jpg",1200,1200,true],"wpsso-tc-lrgimg":["https:\/\/66p.pl\/wp-content\/uploads\/2025\/06\/kwadrat_maly-2048x2048-1-1200x628.jpg",1200,628,true]},"uagb_author_info":{"display_name":"Mirek","author_link":"https:\/\/66p.pl\/en\/author"},"uagb_comment_info":0,"uagb_excerpt":"Liliana Zeic\u2019s exhibition unfolds as a queer-ecological ballad \u2013 a narrative form that, by its very nature, combines heterogeneous, often contradictory elements into one whole. This syncretism, which defies genre and species boundaries, was emblematic of the Romantic period, offering a vision of the world and of humanity that stood in stark contrast to Enlightenment…","_links":{"self":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/27461","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":13,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/27461\/revisions"}],"predecessor-version":[{"id":27595,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/27461\/revisions\/27595"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/media\/24947"}],"wp:attachment":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/media?parent=27461"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/categories?post=27461"},{"taxonomy":"informacja","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/informacja?post=27461"},{"taxonomy":"termin","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/termin?post=27461"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}