{"id":32272,"date":"2026-04-21T15:23:13","date_gmt":"2026-04-21T13:23:13","guid":{"rendered":"https:\/\/66p.pl\/?post_type=wystawa&p=32272"},"modified":"2026-06-02T13:38:23","modified_gmt":"2026-06-02T11:38:23","slug":"boom-iza-tarasewicz","status":"publish","type":"wystawa","link":"https:\/\/66p.pl\/en\/wystawa\/boom-iza-tarasewicz","title":{"rendered":"Boom<\/b>
Iza Tarasewicz"},"content":{"rendered":"\t\t
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Boom<\/b><\/br>Iza Tarasewicz<\/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>

opening<\/strong>: 16 May (Saturday), 6.00 PM<\/p>

artist and curator-led tour<\/strong>: 16 May (Saturday), 6.30 PM<\/p>

exhibition dates<\/strong>: 16 May \u2013 4 July<\/p>

opening hours during the Night of Museum 2026<\/strong>: 16 May (Saturday): 4.00 PM\u201311.00 PM<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Iza Tarasewicz<\/b>, Boom<\/i>, 2021, copper, bronze, blue patina, 115 \u00d7 70 \u00d7 3 cm, courtesy of the Artist and Gunia Nowik Gallery <\/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 title of Iza Tarasewicz\u2019s exhibition Boom<\/em> is derived from one of the featured works, itself inspired by a miniature from the fifteenth-century manuscript Miraj Nameh<\/em>, rooted in Persian culture.<\/p>

It portrays an angel encircled by a halo composed of multiple, repeating heads. Tarasewicz abstracts and distils this motif, reconfiguring it into a sign of dynamic, almost explosive form.<\/p>

This \u201cexplosion\u201d may be understood as the release of latent potential \u2013 the activation of energies and possibilities embedded within community, memory and inherited experience. It functions both as the generative impulse that sets the exhibition\u2019s narrative in motion and as the cohesive force that interlaces its constituent elements into a meditation on shared vitality and perpetual transformation.<\/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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Tarasewicz approaches her works as cognitive instruments \u2013 models that not so much represent reality as facilitate the tracing of flows, tensions, and interdependencies that structure both material and biological domains.<\/span><\/p>

Central to her practice is process: the continual transmutation of forms, the metamorphosis of matter, and the disclosure of latent structures that organise what initially appears as chaos. The exhibition thus proposes an interpretation of her oeuvre as a system for mapping the relations between matter, energy and the body.<\/span><\/p>

Simultaneously, it probes the interplay between chaos and order. Drawing upon the notion of cartography \u2013 understood both as a method of map-making and as a philosophical framework for apprehending the world\u2019s structure \u2013 the artist articulates a concept of community not as a static aggregation of individuals, but as a dynamic, pulsating network of relations and flows.<\/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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Iza Tarasewicz<\/b>, On the Construction of Heavens II<\/i>, 2018, brass, variable dimensions, from the collection of Gregor Podnar Gallery <\/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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Tarasewicz challenges the stable categories through which reality is conventionally organized \u2013 such as the individual, the boundary, property or species. Her installations operate as pulsating organisms: assemblages of elements subjected to the rhythms of labour, corrosion, entropy and biological transformation. Within these dense constellations, a logic of interdependence emerges, prompting a reconsideration of the relations between the human and the non-human, the local and the planetary.<\/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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Iza Tarasewicz<\/b>, Equilibrium in Meteors<\/i>, 2018, brass, 21 \u00d7 30 \u00d7 0.3 cm each, from the collection of Gregor Podnar Gallery <\/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 exhibition raises the question of how to re-establish a connection with the surrounding world and how to reformulate the relations between the individual, the collective and the environment. Tarasewicz\u2019s works show the possible trajectories for such reflection, functioning as processual maps that stimulate the imagination of future modes of coexistence.<\/p>

In this context, one might invoke Bruno Latour\u2019s notion of \u201ccartographic philosophy,\u201d wherein the map is no longer treated as a static, mimetic representation of reality but as a tool for navigating complex networks of interdependence. Latour redefines the map\u2019s function by emphasising its orientational capacity: instead of questioning its fidelity to an \u201cexternal\u201d world, he examines how it enables the identification of connections and relational structures within a given system.<\/p>

In an era marked by environmental crises, the conditions of the Anthropocene, and the increasing entanglement of humans, technologies and natural processes, cartographic thinking emerges as a useful tool for understanding the world and a vital interpretative framework for Tarasewicz\u2019s practice.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The artist approaches the creative process as a means of generating, transforming and recirculating knowledge. Drawing on atomistic philosophy, quantum physics, astrology, astronomy and chaos theory, her practice has, from its inception, been grounded in material experimentation.<\/p>

Her early works employed substances such as leather, bones, animal fat, wax, salt dough, and plasticine; over time, this material lexicon has expanded to encompass synthetic media, including silicone, alongside natural materials such as stone, clay, ash, rubber, and plant fibres. Her installations are modular and adaptable, responsive to spatial conditions. They combine elements inspired by natural processes, scientific experimentation and visualisation techniques, including diagrams and charts.<\/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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Iza Tarasewicz<\/b>, That I Am This<\/i>, 2020, copper, brass, green and black patina, brown pigment, courtesy of Croy Nielsen Gallery<\/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<\/div>\n\t\t\t\t
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Within the exhibition, the resulting systems evoke organisms or stellar formations in continuous motion. They resist closure, instead constituting dynamic configurations in which meaning emerges relationally, through the interactions of their components. Tarasewicz proposes an alternative mode of conceptualising community: not as a collection of individuals, but as a \u201ctribe of matter\u201d \u2013 a field of interdependent entities entangled within rhythms and processes that exceed the human scale.<\/span><\/p>

This perspective advances a renewed sensibility that apprehends the world not as a domain fragmented by physical and conceptual boundaries, but as a dynamic, interconnected system of relations.<\/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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<\/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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Iza Tarasewicz<\/strong> (born 1981 in Bia\u0142ystok) graduated from the Faculty of Sculpture and Spatial Arts at the Academy of Fine Arts in Pozna\u0144 in 2008. She lives and works in Kolonia Koplany, a small village near Bia\u0142ystok, where she grew up. Working in sculpture, installation, drawing, and performance, her work has gained recognition both nationally and internationally. She has participated in numerous solo and group exhibitions worldwide.<\/p>

She is a recipient of the Bayerischen Kunstf\u00f6rderpreise for Fine Arts in 2019 and the Deutsche Bank Foundation “Spojrzenia” Award in 2015, the most important award for young art in Poland, co-organized with the Zach\u0119ta National Gallery of Art in Warsaw. In 2016, she participated in the 32nd S\u00e3o Paulo Biennale, the 5th International Young Art Biennale in Moscow, and the 11th Gwangju Biennale. In 2018, she represented Poland at the 16th Venice Architecture Biennale in collaboration with Centrala. She recently participated in the 40th EVA International Biennale of Contemporary Art in Limerick. In 2013, she was nominated for the Polityka Passport Award in the visual arts category. In December 2026, she will be the first Polish artist to present a solo project \u2013 a large-scale installation \u2013 at the prestigious Secession in Vienna.<\/p>

photo by Aleksandra Modrzejewska<\/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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<\/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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Piotr Lisowski<\/strong> is a curator and art historian, author of exhibitions and texts, editor of publications and an independent researcher of contemporary art. From 2023 to 2026, he served as artistic director of 66P Subjective Institution of Culture. He currently holds the position of director of Wroc\u0142aw Contemporary Museum, with which he was affiliated between 2017 and 2022, and which he directed from 2020 to 2021. Previously, from 2007 to 2016, he worked as a curator and collection manager at the Centre of Contemporary Art in Toru\u0144 and was a co-founder of the independent Mi\u0142o\u015b\u0107 Gallery (2014\u20132017). He also lectures on the Art Mediation course at the Academy of Fine Arts in Wroc\u0142aw.<\/p>

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

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

graphic design<\/strong>: Kinga Gralak<\/p>

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

media<\/strong> patrons<\/strong>: Contemporary Lynx, MINT Magazine, Miej Miejsce, Notes na 6 Tygodni<\/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

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Co-financed by the Minister of Culture and National Heritage from the Culture Promotion Fund \u2013 a state earmarked fund.<\/strong><\/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 exhibition raises the question of how to re-establish a connection with the surrounding world and how to reformulate the relations between the individual, the collective and the environment. Tarasewicz\u2019s works show the possible trajectories for such reflection, functioning as processual maps that stimulate the imagination of future modes of coexistence.<\/p>\n","protected":false},"featured_media":32271,"parent":0,"menu_order":16,"template":"","categories":[28],"informacja":[156],"termin":[123,141],"class_list":["post-32272","wystawa","type-wystawa","status-publish","has-post-thumbnail","hentry","category-exhibitions","informacja-exhibition","termin-aktualne","termin-current"],"uagb_featured_image_src":{"full":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1.jpg",1667,1667,false],"thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-500x500.jpg",500,500,true],"medium":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-300x300.jpg",300,300,true],"medium_large":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-768x768.jpg",768,768,true],"large":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1024x1024.jpg",1024,1024,true],"1536x1536":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1536x1536.jpg",1536,1536,true],"2048x2048":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1.jpg",1667,1667,false],"qi_addons_for_elementor_image_size_square":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-650x650.jpg",650,650,true],"qi_addons_for_elementor_image_size_landscape":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1300x650.jpg",1300,650,true],"qi_addons_for_elementor_image_size_portrait":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-650x1300.jpg",650,1300,true],"qi_addons_for_elementor_image_size_huge-square":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1300x1300.jpg",1300,1300,true],"woocommerce_thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-760x760.jpg",760,760,true],"woocommerce_single":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-655x655.jpg",655,655,true],"woocommerce_gallery_thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-200x200.jpg",200,200,true],"wpsso-schema-1x1":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1200x1200.jpg",1200,1200,true],"wpsso-schema-4x3":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1200x900.jpg",1200,900,true],"wpsso-schema-16x9":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1200x675.jpg",1200,675,true],"wpsso-thumbnail":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1200x628.jpg",1200,628,true],"wpsso-opengraph":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1200x628.jpg",1200,628,true],"wpsso-tc-summary":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-1-1200x1200.jpg",1200,1200,true],"wpsso-tc-lrgimg":["https:\/\/66p.pl\/wp-content\/uploads\/2026\/04\/kwadrat-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":"The exhibition raises the question of how to re-establish a connection with the surrounding world and how to reformulate the relations between the individual, the collective and the environment. Tarasewicz\u2019s works show the possible trajectories for such reflection, functioning as processual maps that stimulate the imagination of future modes of coexistence.","_links":{"self":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/32272","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":23,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/32272\/revisions"}],"predecessor-version":[{"id":34096,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/wystawa\/32272\/revisions\/34096"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/media\/32271"}],"wp:attachment":[{"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/media?parent=32272"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/categories?post=32272"},{"taxonomy":"informacja","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/informacja?post=32272"},{"taxonomy":"termin","embeddable":true,"href":"https:\/\/66p.pl\/en\/wp-json\/wp\/v2\/termin?post=32272"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}