{"id":30066,"date":"2026-02-13T12:00:03","date_gmt":"2026-02-13T11:00:03","guid":{"rendered":"https:\/\/66p.pl\/?post_type=wystawa&p=30066"},"modified":"2026-06-02T13:36:54","modified_gmt":"2026-06-02T11:36:54","slug":"what-can-we-not-think-dominika-labadz","status":"publish","type":"wystawa","link":"https:\/\/66p.pl\/en\/wystawa\/what-can-we-not-think-dominika-labadz","title":{"rendered":"What Can We Not Think?<\/b>
Dominika \u0141ab\u0105d\u017a"},"content":{"rendered":"\t\t
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What Can We Not Think?<\/b><\/br>Dominika \u0141ab\u0105d\u017a<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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curator:<\/strong> Joanna Synowiec<\/p>

opening:<\/strong> 5 March (Thursday), 6 p.m.<\/p>

tour led by the artist and curator:<\/strong> 7 March 2026 (Saturday), 3 p.m.<\/p>

exhibition duration:<\/strong> 5 March \u2013 30 April<\/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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What Can We Not Think?<\/em> is an exhibition on sensitivity to the world of capitalist ruins \u2013 both ecological and social. It resembles a ruderal garden: a site where disturbances wrought by human activity give rise to new ecosystems. Here, plants, animals, organisms, and matter coalesce into dynamic networks of relations that operate beyond the limits of human perception.<\/p>

Against the linear narratives of capitalist realism and the oft-invoked crisis of imagination, the artist composes an ecosystem of her own, constructed through words, sounds, bodily gestures, images, and objects. Her stories are populated by multiple beings engaged in reciprocal interaction. The outcome is a heterogeneous assemblage in which the seams remain visible, allowing for a respite from the victors\u2019 linear account \u2013 from the concepts and meanings that have led <\/span><\/span>us to ruin, severing humans from the unnamed constituents of our environment.<\/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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Dominika \u0141ab\u0105d\u017a<\/b>, What Can We Not Think?<\/i>, 2026, film still, courtesy of 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
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Dominika \u0141ab\u0105d\u017a<\/b>, What Can We Not Think?<\/i>, recording session, 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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Known for her conceptual and visual practice, Dominika \u0141ab\u0105d\u017a ventures boldly into a new territory of artistic expression: directing. She does so on her own terms, drawing exclusively on tools and materials already in circulation. Nothing is discarded. As in a metabolic process, what exists is transformed, reconfigured, and reintroduced in altered form. To paraphrase the philosopher Michel Foucault, the artist labours to \u201cthink differently\u201d: to disarm words whose established meanings sanction violence and the exploitation of animals and the environment, and to return them to the sources from which those meanings once emerged. This confrontation is not easy; it lingers like the aftertaste of a false word. It wanders, doubles back, repeats, and persists \u2013 much like the great epics once forged through encounter and collective narration.<\/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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In A History of the World in Seven Cheap Things<\/em>, Raj Patel and Jason W. Moore propose examining how shifts in the meanings of words such as \u201csavage\u201d enabled colonisers not only to seize land but to enslave its indigenous inhabitants. As they note, as late as 1330 the word \u201csavage\u201d signified \u201cfearless, unyielding, fierce\u201d. By the end of the fifteenth century, in the wake of colonial expansion, it had come to denote the peoples of conquered territories \u2013 aligned with nature rather than society. Society, elevated as a superior value, thus legitimised its position as the exploiter of nature.<\/p>

Upon entering the exhibition, the viewer\u2019s gaze is drawn to objects composed of heterogeneous materials. They evoke haystacks, chocho\u0142<\/em>, or the costumes of Kumpo dancers. Kumpo \u2013 a traditional figure in the culture of the Diola people of Senegal and Gambia \u2013 is clad in grass and leaves; he dances during festivals, embodying the spirit of the forest or the community. The dancer himself remains unseen, dissolved within the costume. In Polish tradition, a similar shape appears as chocho\u0142 \u2013 <\/em>the straw cover placed over living plants during the winter vegetation period. In their material presence, such covers harbour a secret: they conceal what continues to live inside them. Kumpo is also a protective spirit \u2013 an emblem of unity and communal support. Within the exhibition, these objects assume the character of hybrid constructions, assembled from disparate materials and emanating the spirits of contemporary hope. They exist in tension between the gesture of the human hand and the autonomy of matter. Mediating between former utilitarian functions and symbolic meanings activated in new contexts, they operate as traces of past practices and possible futures.<\/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<\/b>, What Can We Not Think?<\/i>, 2026, film still, courtesy of 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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A central component of the exhibition \u2013 the two-channel video What Can We Not Think?<\/em> \u2013 takes the form of an experimental television theatre. In an aesthetic inflected by 1990s camp, the artist interweaves objects, words, and meanings. Reinterpreted cultural texts, music by Arnold de Boer, recurring motifs and phrases function as mantras or ritual refrains. They generate the sensation of overlapping circles and gradual transformation. Words \u2013 spoken, repeated, rocked \u2013 acquire material density with its own agency.<\/p>

The viewer is invited into a space that discloses what transpires at the thresholds of perception: within matter, affects, fermentation, the movement of things, and within dreams and bodies that attempt to narrate the world while fully aware of their incapacity to do so.<\/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<\/b>, What Can We Not Think?<\/i>, rehearsals, 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 artist weaves stories of a dense \u201cnow\u201d \u2013 a temporality in which traces of past and future interpenetrate. She seeks a language for new narratives suited to catastrophic times \u2013 a respite from established patterns, genres, and typologies. In such moments, fissures appear, revealing a world that has been patched together. Within these fissures lies the hope that the capitalist order of human productivity is not monolithic.<\/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 world that emerges here resists containment within simple divisions. It is a heterogeneous environment of beings and processes, entangled rhythms and encounters that exceed what can be named, conceived, or clearly classified. The \u201cunthinkable\u201d does not recede; on the contrary, it acts, circulates, binds disparate elements together, and demands attention.<\/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 collaboration with the actresses and actor in the two-channel video was based on a script interwoven with improvisation \u2013 what Dominika \u0141ab\u0105d\u017a termed \u201cexercise scores\u201d: linguistic, auditory, and rhythmic games involving continuous speech, repetition, amplification, and the pursuit of etymological and phonetic affinities. During rehearsals, the script provided a structural core, yet attunement to one another proved equally vital. This demanded collective labour akin to ritual practice which, through repetition, constitutes the fabric of social relations. Such practices resonate with the intuition of researcher Anna Lowenhaupt Tsing, author of The Mushroom at the End of the World<\/em>, who describes them as exercises in \u201cresponse-ability\u201d: a readiness to be transformed through confrontation.<\/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<\/b>, What Can We Not Think?<\/i>, film crew, 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 artist assembles fragments of the world drawn from capitalist ruins \u2013 ecological, social, linguistic \u2013 revealing that although the system appears monolithic, it is in fact provisional, riddled with cracks, discontinuities, and sites of resistance. This logic is mirrored in her video work, narrated by Bo\u017cena Grzyb-Jarodzka: a story of baboons drawn from Fear of the Animal Planet: The Hidden History of Animal Resistance <\/em>by Jason Hribal. Regarded by humans as ridiculous or clownish, these animals nevertheless exhibit loyalty and devotion to their young so fierce that they pursue a train carrying a child abducted by humans. They attack trains in order to reclaim their offspring.<\/p>

It is within such fissures that the possibility of another form of life comes into view. The stories that emerge here offer no facile consolation; instead, they invite endurance within complexity, uncertainty, and ambivalence.<\/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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Film crew<\/b><\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Screenplay and direction<\/strong>: Dominika \u0141ab\u0105d\u017a<\/p>

Cast<\/strong>: Aleksandra Ko\u0142tuniak, Aleksandra Klocek, Viet Anh Do<\/p>

Voice-over<\/strong>: Bo\u017cena Grzyb-Jarodzka<\/p>

Camera<\/strong>: Dominika \u0141ab\u0105d\u017a and Jakub Majchrzak<\/p>

Editing<\/strong>: Dominika \u0141ab\u0105d\u017a and Jakub Majchrzak<\/p>

Sound engineering<\/strong>: Filip Zakrzewski<\/p>

Music<\/strong>: Arnold de Boer<\/p>

Post-production<\/strong>: Jakub Majchrzak<\/p>

Financial support<\/strong>: Academy of Art in Szczecin<\/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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Biographies<\/b><\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Dominika \u0141ab\u0105d\u017a<\/strong> is an artist and Doctor of Visual Arts. She lives and works in Wroc\u0142aw. Her practice is interdisciplinary, situated at the intersection of art and social space. She creates installations, video works, objects, and performative and participatory projects, drawing on the methodologies of documentary theatre and engaging in artistic research. She is particularly interested in the relationships between image, language, and experience, and in their capacity to construct meaning and shared narratives. She often works collaboratively, testing alternative models of cooperative action.<\/p>

She is a co-founder and active participant in numerous collectives and artistic initiatives, including Galeria U (2009\u20132015), 69 sekund na ucieczk\u0119 (69 Seconds to Escape, 2012\u20132013), Cz\u0119\u015b\u0107 wsp\u00f3lna \u2013 Archiwum Spo\u0142eczne (Common Part \u2013 Social Archive, 2016\u20132017), and Galeria ArtBrut (2020\u20132022). Since 2018, together with Joanna Synowiec, she has co-run the Dzikie Przyjemno\u015bci publishing house. She lectures at the Faculty of Media Art, Photography and Experimental Film at the Art Academy in Szczecin, in the Studio of Affective Artistic Practices. She is the author of numerous exhibitions and artistic projects. Her works and activities have been presented, among others, at BWA Awangarda; BWA Zielona G\u00f3ra; CSW Kronika; Galeria Studio; Wroc\u0142aw Contemporary Museum; Zach\u0119ta \u2013 National Gallery of Art; Museu Nacional de Arte Contempor\u00e2nea (Portugal); Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed in Ostrava (Czech Republic); J\u00e1n Koniarka Gallery in Trnava (Slovakia); the National Forum of Music in Wroc\u0142aw; Galeria Entropia in Wroc\u0142aw; Kunsthaus Dresden; CAN Centre d\u2019art Neuch\u00e2tel (Switzerland); Studio BWA; and BWA Dizajn.<\/p>

photo by Jakub Derbisz<\/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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Joanna Synowiec <\/strong>is a curator of exhibitions and public programmes, artist, and editor. She has initiated and co-created collective cultural spaces, including Falanster in Wroc\u0142aw. She previously collaborated with the Nomada Association, an organisation supporting refugees. She currently works at BWA Galerie Sztuki Wsp\u00f3\u0142czesnej in Wroc\u0142aw. Together with Dominika \u0141ab\u0105d\u017a, she runs the studio and publishing house Dzikie Przyjemno\u015bci, where they produce artistic and literary publications. She has collaborated with galleries including BWA Wroc\u0142aw, BWA Tarn\u00f3w, and Wroc\u0142aw Contemporary Museum. She co-curated the exhibition Tajsa<\/em> (with Katarzyna Roj), addressing the situation of Roma communities in Europe, and Cz\u0119\u015b\u0107 Wsp\u00f3lna \u2013 Archiwum Spo\u0142eczne<\/em> (Common Part \u2013 Social Archive<\/em>, with Dominika \u0141ab\u0105d\u017a), devoted to independent cultural initiatives in Wroc\u0142aw over the past two decades. She is a recipient of scholarships from the Ministry of Culture and National Heritage (2015, 2020). She curated the collective exhibition Mother Earth<\/em>, presented at Dizajn BWA Wroc\u0142aw Gallery in 2022, and Atlas of Tangled Stories<\/em>, presented at Studio BWA in 2024.<\/p>

photo by Alicja Kielan<\/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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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, Anna Krukowska, Mirek \u0141ucko\u015b, Mirek Chudy, Patrycja Ucieklak, \u0141ukasz Ba\u0142aci\u0144ski, Marcel Oleszczak, Danuta Krzywicka, Teresa Haj\u0142asz-Golonka, Micha\u0142 Czapli\u0144ski, Katarzyna Ma\u0142olepsza, Kamil Olender, Helena Swirtun<\/p>

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

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

translation<\/strong>: Iuliia Lytsevych, Karol Waniek<\/p>\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":"

What We Can’t Think?<\/i> is an exhibition about being sensitive to a world in which humans are just one being among many. The starting point is the ecological and social destruction of capitalism and an attempt to transcend its logic. The exhibition consists of two-channel video and straw-like objects suspended between the living and the inanimate.<\/p>\n","protected":false},"featured_media":30031,"parent":0,"menu_order":16,"template":"","categories":[28,1],"informacja":[156],"termin":[142],"class_list":["post-30066","wystawa","type-wystawa","status-publish","has-post-thumbnail","hentry","category-exhibitions","category-wystawy","informacja-exhibition","termin-archival"],"uagb_featured_image_src":{"full":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww.png",2250,2250,false],"thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-500x500.png",500,500,true],"medium":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-300x300.png",300,300,true],"medium_large":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-768x768.png",768,768,true],"large":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1024x1024.png",1024,1024,true],"1536x1536":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1536x1536.png",1536,1536,true],"2048x2048":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-2048x2048.png",2048,2048,true],"qi_addons_for_elementor_image_size_square":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-650x650.png",650,650,true],"qi_addons_for_elementor_image_size_landscape":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1300x650.png",1300,650,true],"qi_addons_for_elementor_image_size_portrait":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-650x1300.png",650,1300,true],"qi_addons_for_elementor_image_size_huge-square":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1300x1300.png",1300,1300,true],"woocommerce_thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-760x760.png",760,760,true],"woocommerce_single":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-655x655.png",655,655,true],"woocommerce_gallery_thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-200x200.png",200,200,true],"wpsso-schema-1x1":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1200x1200.png",1200,1200,true],"wpsso-schema-4x3":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1200x900.png",1200,900,true],"wpsso-schema-16x9":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1200x675.png",1200,675,true],"wpsso-thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1200x628.png",1200,628,true],"wpsso-opengraph":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1200x628.png",1200,628,true],"wpsso-tc-summary":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1200x1200.png",1200,1200,true],"wpsso-tc-lrgimg":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/02\/dominika-labadz_kwadrat_ww-1200x628.png",1200,628,true]},"uagb_author_info":{"display_name":"Mirek","author_link":"https:\/\/66p.pl\/en\/author"},"uagb_comment_info":0,"uagb_excerpt":"What We Can't Think? is an exhibition about being sensitive to a world in which humans are just one being among many. The starting point is the ecological and social destruction of capitalism and an attempt to transcend its logic. The exhibition consists of two-channel video and straw-like objects suspended between the living and the…","_links":{"self":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/30066","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":28,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/30066\/revisions"}],"predecessor-version":[{"id":34092,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/30066\/revisions\/34092"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/media\/30031"}],"wp:attachment":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/media?parent=30066"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/categories?post=30066"},{"taxonomy":"informacja","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/informacja?post=30066"},{"taxonomy":"termin","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/termin?post=30066"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}