Address: the former clinic of Psychiatry and Nervous Diseases in Wrocław (Bujwida 44 street)
You are invited to the 24th SURVIVAL Art Review, held under the theme “A Finger in the Heart,” which will take place from June 26 to June 30 at the former Clinic of Psychiatry and Nervous Diseases complex (ul. Bujwida 44, Wrocław).
This time we will reflect on the theme “Finger in the Heart.” The curatorial team—Michał Bieniek, Daniel Brożek, Małgorzata Miśniakiewicz, and Ewa Pluta—write in their curatorial statement: The eponymous Finger in the Heart emerges at the intersection of science, violence, ignorance, and emotion. It directly refers to a plaster cast of the finger of the legendary Wrocław cardiac surgeon Wiktor Bross, whose research and pioneering operations were conducted at the Clinics.
In the historical description of the space, Ewa Pluta writes: From its inception, several renowned psychiatrists and neurologists worked at the clinic, foremost among them Alois Alzheimer, the celebrated researcher of memory degeneration. In 1912, he assumed the chair of the university’s Department of Psychiatry and the position of clinic director. Although his groundbreaking research on the “disease of forgetfulness” had already been published by the time he arrived in Wrocław, it initially had little impact on the scientific community.
About SURVIVAL Art Review
The SURVIVAL Art Review is a festival of contemporary art organised by the Art Transparent Foundation in Wrocław since 2003. It takes place outside exhibition institutions, often in abandoned and inaccessible places, sometimes in public buildings or open spaces. The history of the venue determines the nature of the intervention by inspiring the themes taken up by the artists and the way in which the works are presented. Each year SURVIVAL co-funds and produces dozens of brand new artistic works. An important part of the Review is its rich Public Forum programme.
Our aim is to bring issues raised by young contemporary art into the public debate. During SURVIVAL, art created outside of institutions clashes with a reality annexed by advertising, the economy and current politics. For this reason, the invited artists address fundamental issues that focus reflection on the post-1989 transformation not only in Wrocław, but in many Polish cities, such as neoliberal management, the treatment of architectural and urban heritage, or concepts of public space.
In post-war Polish urban planning, the concept of the Park of Culture and Recreation stands as one of the most striking examples of the collision between utopian planning and the country’s actual capabilities. This new type of park, developed in the Soviet Union during the 1920s and 30s, was intended to be an ideological and functional alternative to traditional public parks. Its purpose was to provide users with a cultural, political, and sports program within a monumental architectural setting. The model assumed the creation of formalized layouts serving not only leisure but, above all, the political and social shaping of the masses.
During the event, we will examine the adaptation of this idea on Polish soil. An analysis of projects from the Socialist Realist period shows how monumental visions clashed with the economic realities of 1950s Poland. This resulted in much humbler realizations, often stripped of their original ideological functions. Comparing theory with practice reveals a distinct rift between the „paper utopia” and its final form. Many of these sites never fully acquired the characteristics of Parks of Culture and Recreation, remaining suspended between the original design and practical execution constraints.
The presentation will showcase the results of interdisciplinary research that combines a critical look at archival materials with artistic research. The study covered projects from Warsaw and major industrial centers of Upper Silesia, including Katowice, Dąbrowa Górnicza, Gliwic, and Sosnowiec. The research process involved an extensive archival query of design documentation as well as field research. The narrative will be accompanied by a presentation of painted sketches created directly within the park spaces, and collages that serve as a creative interpretation of archival plans and visions juxtaposed with their actual realization.
Lecture by Anna Helena Przybyła is a presentation of her research conducted within the Exercising Modernity fellowship project.
Opening: 29/05/2026, 18.00 – 22.00 at Hanzas street 22, Riga.
Artists: Cammisa Buerhaus, Zenta Dzividzinska, Sophia Giovannitti, Evija Krištopane, Reba Maybury, Elza Sīle ⩙ Aly Milk, Mindy Seu, SAGG Napoli, Sylvie Fleury, Sophie Thun, Sabīne Vernere, and Paula Zvane.
Curated by: Zane Onckule.
Venue: Kim? off-site future address: Hanzas street 22, Riga
Exhibition dates: May 30 – July 12, 2026
Opening: May 29, 6-10 pm as part of Riga Art Week (RAW)
Opening evening performances: Paula Zvane, Cammisa Buerhaus, Liudmila
May 30 4 pm: performative-lecture Confession Prototype 1 by Sophia Giovannitti
July 3 7:30 pm: performative-lecture The Sexual History of Internet by Mindy Seu as part of Riga Contemporary 2026
EDEN: Wet Work Over Lap stages desire as labor and sex as one of its most regulated, exhausted, and persistently unfinished forms. The title, EDEN: Wet Work Over Lap, draws on the double meaning of “wet work,” referring both to covert operations and to forms of labor that leave a trace. It is these practices and artworks which expand sexual, emotional, and domestic work into modes of maintenance that accumulate, rather than resolve, into meaning. “Over Lap” signals repetition and spill, where actions do not conclude but instead extend across time, overlapping, leaking, and returning.
Throughout EDEN: Wet Work Over Lap, the notion of sexualized labor-work functions as both obligation and survival tactic, operating simultaneously as an aesthetic and a strategy for artistic emancipation. Exhibition participants—figures of intimate, creative labor—working girls, attention operators, and mediators of intimacy, render desire procedural, scheduled, rehearsed, and reproducible. Their body (of work) is maintained, trained, corrected, and optimized, its value measured in stamina—the capacity to sustain a pose, a mood, and a charge.
The exhibition behaves like both a body and a system: disciplined yet responsive, humid and self-aware, and constantly alert to its own exposure. Here, sex operates less as a discrete event than as an atmosphere—a low pressure zone shaping posture, attention, and endurance over extended durations. Desire becomes a climate to inhabit rather than a moment to complete. It detaches from fixed endings, dispersing into works, surfaces, and treatments of space, in waiting, in looking, in the subtle negotiations of proximity and access, where pleasure accumulates precisely by refusing closure.
With new and existing art works, installations, and performances spanning from analogue processes to “digital wetwares”, EDEN: Wet Work Over Lap sustains the infrastructure of desire through exhibition areas associatively shifting between functional sites: bedroom-after hour zone into auditorium, bathroom-wet room into confessional, gym into club into darkroom – all towards a central hall (“aktu zāle”), carrying the double meaning of “akts”, act and nude, finally climaxing in an exhibitionary attempt to center the concept of exposure as both a performance and condition at once.
In the background of societal-environmental collapse and the widespread resurgence of hatred, prejudice, and bigotry—especially where freedom of erotic and artistic expression is concerned—EDEN: Wet Work Over Lap treats, firstly, censorship—the other oldest profession—not as a prohibition but as an intentional gesture, and, secondly, sin as an age old myth born out of the garden of Eden, less as an origin story than as a management problem.
Reframing perspectives from culturally and societally imposed models of embodied authority and inherited hierarchies that privilege certain modes of looking and consumption, the exhibition is an act itself that acknowledges, centers, and supports women as protagonists and house masters in an attempt to set their own rhythm, manage their own environment, and closely guarding and practice exposure on their own terms.
Control over rhythm, gaze, and terms remains provisional, requiring constant realignment. Power circulates as much through measured concession as it does through overt assertion, and those who appear to accommodate often structure the encounter from within, exposing uneven distributions of attention, entitlement, and reward. Refusal becomes a technique, and strategic abstinence suspends completion and holds energy in reserve. In this way, authority and ownership are relational and a practice of attentiveness, pressure, duration, and resistance, while desire remains ambivalent, seductive, and self-actualized, binding pleasure to labor-work in ways that never fully dry.
Please note that the exhibition contains erotic and sexual themes. The exhibition is not recommended for visitors under 18, and minors may enter only with an adult.
Perfect World is Katarzyna Wyszkowska’s solo exhibition with the character of a multi-element, narrative painting installation, aimed at presenting a post-capitalist world that has the character of a contemporary utopia. Wyszkowska deals with the issue of work and its possible paths of evolution in the near future. The question posed here is whether fantasies that seem unrealistic from today’s perspective are merely naive pipe dreams, or whether they may have some socio-political utility.
After-party following the exhibition, 20.00 – 23.00 at Alina Cafe & Bar.
Curatores: Katarzyna Kołodziej-Podsiadło, Joanna Kordjak and Julia Marchand.
Artists participating in the exhibition and public program: Mohamed Bourouissa; Dasha Chechushkova & fra fra fra (Awgust, Pavlo Chechushkov, Oksana Holovach, Nika Klianchyna, Mikki, Nika Lutsiuk, Téru, Katia Vazhynska, Alisa Yarova); Chiki; Matt Copson; Andro Eradze; fantastic little splash; Aneta Grzeszykowska; Ane Hjort Guttu; Eva Koťátková; Ant Łakomsk; Ania Nowak oraz Stefania Sural, Natasha Trompiz, Helena Wicher; Liselor Perez; Marta Romankiv i Weronika Zalewska oraz Vasyl Buzenko, Marianna Zofia Grabowska, Max Hańderek, Anna Koniak, Tony Koniak, Dominika Shashkun; Anhar Salem; Magda Szpecht; Gisèle Vienne; Jaśmina Wójcik.
Adolescenceis a universal story about vulnerability, shame and the search for meaning in today’s chaotic world, one that both teenagers and adults can relate to.
How does modern art describe the transition from childhood to adulthood, and the problems teenagers face these days? Can artistic tools help them build relationships and create alternative means of communication in the chaotic world, overwhelmed by a barrage of images and information? Can they offer actual support in the emotional crises those people face, and restore their sense of agency?
A common motif in the videos, installations and other works presented at the exhibition is the experience of adolescence in the reality of today’s world. There is the close proximity of the ongoing war, and the climate disaster that reinforces the sense of uncertainty about the future. Another aspect is the violence experienced at the hands of peers and the system – one of the major causes of the mental health crisis. And finally, there is the chaos created by the onslaught of images, fake news, and the constant social media pressure.
The artists invited to contribute to the exhibition explore the line between childhood and adulthood. Matt Copson’s laser opera, Age of Coming, talks about adolescence as a process, and the existential anxiety that comes with it. Other works tackle problems such as the struggle to accept one’s corporeality, or the search for one’s sexual identity, accompanied by shame and the fear of judgement and rejection. Loneliness and withdrawal are recurring themes, alongside with the yearning for a sense of belonging. Gisèle Vienne and Mohamed Bourouissa draw our attention to the tools of systemic violence used in family and social settings, which deprive teenagers of their voice and agency; at the same time, they highlight the vast political potential of this marginalised social group. Anhar Salem takes on the topic of cyberbullying. Magda Szpecht with her interactive installation, and the fantastic little splash collective with the workshop they are going to hold during the exhibition, focus on modern threats such as political manipulation through social media; at the same time, they show how the digital tools can be used in intentional and creative ways.
The starting point for the exhibition was the question about the role of cultural institutions and artistic tools as a means of providing actual support to teenagers. The backdrop here is the serious mental health crisis that affects this age group, facilitated by a crisis in education and the dramatic failure of the psychiatric and psychological health care system. The goal was to create a space where teenagers’ voices could resound in various ways. That is why the exhibition spotlights the works they created collectively in cooperation with artists such as Marta Romankiv and Weronika Zalewska or Ania Nowak. One of the highlights in the exposition is the installation designed by Dasha Chechushkova, which presents the works of over a dozen young people from the Ukrainian fra fra fra collective.
The exhibition was designed to offer a space for experimentation that encourages discovering the opportunities offered by the film camera, poetry, performative actions, or theatrical practices – from enhancing critical thinking skills and social awareness, to offering support in handling emotional crises.
More than just an age category or a biological phenomenon, the works showcased here treat adolescence also as a state of mind. Thus, they weave a universal story about shame, vulnerability, and the search for meaning, which may resonate with both teenagers and adults.
Photo: Aneta Grzeszykowska, Daughter #04, 2025, created with support from the D’ARC Foundation in Rome
Screening of the film “Rebellinnen” directed by Pamela Meyer-Arndt in Gorkow near Löcknitz.
Where? – 𝐆𝐨𝐫𝐤𝐨𝐰 𝟏𝟖, 𝐋𝐨̈𝐜𝐤𝐧𝐢𝐭𝐳, 𝐆𝐞𝐫𝐦𝐚𝐧𝐲, 𝟏𝟕𝟑𝟐𝟏 Departure of the transport from Trafo: 𝟏𝟕:𝟎𝟎 Return from Gorkow: 𝟐𝟏:𝟎𝟎
Tina Bara, Cornelia Schleime, and Gabriele Stötzer are rebellious artists. As young women living and working in the GDR in the 1970s and 1980s, they used art to express opposition to an oppressive system and to assert their own freedom. Their uncompromising photographs recount the experience of living under the pressure of a state that suppresses creative voices and individual expression.
The film showcases not only the artistic power of their work but also the personal consequences of their resistance. As the conflict with the Stasi escalates, they face a stark choice: to stay or to leave. It is a powerful documentary about female resistance, courage, and art as a form of defiance.
The event is part of the public program of the exhibition “Women’s Dreams / Frauenträume” at TRAFO – Trafostacja Sztuki in Szczecin.
The film will be presented in German with Polish subtitles. Admission is free.
The film screening will take place at the headquarters of our German partner, the Grenzland e.V. association. Transportation will be arranged from TRAFO’s headquarters in Szczecin for those wishing to attend. Seating is limited to 20 people, and registration is required. Please reserve your seats via the following link: https://tiny.pl/9_r0xszr6
OPENING: 05/05/2026, 18.00 | free event within the Public House
Within a space of unsettled freedoms and competing parties, movements, and cults, a speculative infrastructure has long been operating in secrecy: OKKULTEK – a fictional agency dedicated to the research of paranormal and parapsychological phenomena. Functioning at the intersection of occultism and technology, it is now opening to new agents.
The exhibition sustains a moment of possession. It stages once again the manifestation of an entity codenamed MIKE, which escaped from the Cosmic Girl music video and has settled between the symbols of the car and uranium. A space unfolds where the illusion of speed and the myth of control merge with messages from other dimensions. The wedge form defies the functionality of the vehicle, transforming it into a symbol of desire. The piercing eyes of Ferat warn car lovers, even as they lure them toward a perilous spin. The summoning may last only an instant. An entity from other spheres arrives. She is cosmic.
“The Borsos Lőrinc artist-duo’s key area of focus is researching the constructed nature of artist identities. Their question, asked through a range of media, methods and motifs, is how art can become a programmable composite entity. In their case, hybridity – as a concept of multiplicity and iterability – relates critically to tendencies which are committed to maintaining the artist-artwork-oeuvre triad as an organic unity. Borsos Lőrinc create at once a private mythology and a critique of mythology in general. They fabricate a face for themselves, and by so doing reveal the emptiness of the face’s „place.” The artworks, installations and events they create are the prosthetic media of their (anti)mythology. (…) Borsos Lőrinc are neither one, nor two, neither husband nor wife, neither art nor anti-art. Rather, this name denotes the place where all of these movements and convulsions converge. We cannot know how many are inside the seething cauldron. They are legion.” – Mário Nemes Z.
Curators: Tereza Havelková and Kateřina Pencová Production: Nikol Hoangová
Installation: Ondřej Konrád, Tereza Kontúrová, Lukáš Procházka, Prokop Václavík, Kateřina Vachová, Šimon Vlach, Jakub Záliš, Antonín Závodný. Technical assistance: Martin Koniar
The project was developed during the residency of Borsos Lőrinc within the Deconstructing Myths program.
Jídlo jako rituál (Food as Ritual) is an exhibition grounded in the experience of gathering around food, coffee, or wine—moments that transform the everyday into a shared ritual. The project approaches food not merely as a means of sustenance, but as a cultural, social, and personal phenomenon. It traces its many forms, from sensory pleasure and daily habits to intimate rituals, as well as the social norms and pressures that are often expressed through food. Alongside the positive associations of memory, care, and sharing, it also opens up questions of judgment, control, and stigmatization.
The collective Polévka na Baru emerged from a renewed encounter between friends who studied together at the Ladislav Sutnar Faculty of Design and Art in Plzeň. What began as a reconnection after ten years developed into an ongoing collaboration reflecting both their divergent artistic paths and their shared background. The artists approach the theme through personal experience and a range of media, creating a multilayered whole that explores the significance of food in both individual and collective life. A characteristic feature of the collective’s presentation is a participatory happening—cooking soup for the audience, who thereby become part of the ritual.
It’s something between a drama, stand-up comedy, and a radio play. Piniak and Sandra discuss the artistic and romantic failures of Agata, the “monster from Łazarz.” Mr. Mucha is tormented by erotic dreams. The Pope prints screenshots from Dowbor. Non-women in tight tracksuits turn heads, only to break up via text message later. The characters mimic, transform, and merge with one another, constantly reminding us of the conventionality of the situation. They gossip about puffed rice cones and sculptures made of meatless kabanos sausages, so that sadness doesn’t consume them. In Poznań’s Łazarz district and in a meadow, in Watyk’n and on the sugary surface of Planet Much—they keep searching for love, over and over. They don’t give up. “They suffer, but they dance.”
The people with whom Piniak created films, plays, performances, and other artistic projects will jointly interpret a text written by the artist in 2020. The event takes the form of a performative reading with elements of singing and choreography, as well as music composed especially for this occasion.
Performers: Małgorzat Mycek, Vron, Idzi Śćśk
Text: Piniak Przemysław
Music: Miki Tkacz
Voice: Grażyna Monika Olszewska
Directed by: Maja Demska
The event may contain content unsuitable for minors.
On 23 April at 18:00, the Latvian Centre for Contemporary Art (LCCA) will host a discussion workshop titled “Contemporary Archival Practices” at its archive and library at 13 Alberta Street, Riga. The workshop will explore the role of formal and informal archives in shaping cultural memory and artistic narratives in the Baltics and Eastern Europe — a region marked by colonial legacies, geopolitical instability and ongoing change.
The event continues the interdisciplinary series “Safety Zones and Shifting Timelines,” which explores the fragile relationships between the archives and collections of art institutions, collective memory, and the shifting political landscape in the Baltic region. Project curator – Andra Silapētere.
The series is structured around three discussion workshops with participants from the Baltic states, the Czech Republic, and Poland, complemented by interventions in the LCCA archive and library by artists Luīze Rukšāne, Rūdolfs Štamers and Sabīne Šnē. Each subsequent artist’s intervention builds upon the previous one and the body of work will be on view until 30 September, 2026. The exhibition is open Wednesday through Friday, 12:00 –18:00. Admission is free.
The discussion, “Contemporary Archival Practices”, will explore how archives can challenge inherited power structures and bring decolonial narratives to the fore. It will also consider how their diverse forms can help us to envision the future of the region’s art and culture. The discussion will also explore how archives can be used as tools to encourage critical reflection, preserve memory, and foster new forms of collaboration in uncertain conditions. Finally, the discussion participants will address the challenges and opportunities involved in adapting archives to the contemporary context, including the use of language and the role of digital and physical formats.
Participants: Eglė Juocevičiūtė (LT)—art historian, critic, and curator at the Lithuanian National Gallery of Art in Vilnius — and the editors-in-chief of the online contemporary art magazine MOST—Ewa Borysiewicz, Vera Zalutskaya, and Katie Zazenski (PL). The discussion will be moderated by LCCA curator Andra Silapētere.
Project context
At the heart of the “Safety Zones and Shifting Timelines” series is the archive of the Latvian Centre for Contemporary Art, which has its roots in the Soros Center for Contemporary Art – Riga, established in 1993. One of its core missions was to collect and disseminate information about contemporary art in Latvia. Following the cessation of SCCA-Riga’s operations in 1999, the LCCA took over its functions, significantly supplementing, reviewing and expanding the accumulated information. Today, the LCCA archive is one of the most important resources for documenting contemporary art processes in Latvia dating back to the 1960s.
Over the past decade, the LCCA has concentrated its efforts on contextualising the archive, exploring themes such as gender, minorities, individual and cultural memory, and environmental issues. One approach to examining the past is to involve contemporary artistic strategies and collaborate with researchers and artists from the Baltic region and former socialist bloc countries. However, the question of the possibilities for sustainable and critical analysis remains important in these processes. Therefore, “Safety Zones and Shifting Timelines” will explore how diverse and alternative research, creative, and institutional practices can transform our thinking about knowledge-making in culture and art, and how these processes are actualised.
On participants and presentations
Eglė Juocevičiūtė as a curator at the Information Centre of the National Gallery of Art in Vilnius, the heir to the archive of the Soros Contemporary Art Centre, will discuss it as both a time capsule and a resource for research that takes place today. An important part of this archive is the so-called artist monographs: dossiers comprising overviews of artists’ oeuvre, press clippings, black-and-white photos, color slides, and short accounts of selected artworks.
The dossiers were – and in some cases still are – an invaluable resource for both local and foreign researchers and curators. The earliest ones, compiled between 1993 and 1996, were intended to pay tribute to the artists and artworks that had been marginalized during the Soviet era. The texts produced during this period serve as compelling examples of discursive experimentation amidst a rapidly shifting system of values.
Eglė Juocevičiūtė is an art historian, art critic, and curator at the National Gallery of Art in Vilnius. In her curated exhibitions, she interrogates the visual and conceptual continuities across different art fields within the context of Lithuanian art of the last 100 years. Her academic research focuses on semantic transformations within discourse on visual art.
Ewa Borysiewicz, Vera Zalutskaya, Katie Zazenski
The co-editors-in-chief of MOST magazine will speak about the ethos and practices that define the platform, and will reflect on its role as an informal archive, shaping the narrative of a Central and Eastern Europe region historically defined by imperial influences and currently facing geopolitical and also in many cases, institutional instability.
The panel will explore the editors’ approach to English as a situated and adaptable language, and MOST as a space for highlighting solidarity practices and independent initiatives across the region that are not market-oriented, tracing artistic and critical connections across diverse and uneven contexts.
Their presentation will also explore how conditions of instability and transition can inspire new modes of collaboration and resilience.
MOST Magazine is an online, English language contemporary art journal that focuses on the region known as Central and Eastern Europe. Defining this term broadly, MOST is interested in tracing artistic and cultural practices, mapping local identities, and highlighting both commonalities and diversities.
MOST is a resource for both a regional and international audience and presents art writing, exhibitions, and projects in the visual arts (primarily but not exclusively), with a special focus on regions that face underrepresentation. MOST is oriented towards both emerging and established writers and readers who are interested in broadening their understanding of this region, as well as making the region more accessible to an international audience who might not have the proximity or connection to contextualize such works and subjects.
MOST is an independent initiative, formally established in 2023 by Vera Zalutskaya, Ewa Borysiewicz, and Katie Zazenski, who work non-hierarchically as a co-editor-in-chief team. The goal for MOST is to create a critical cultural platform that is sustainable for its editors, authors, and readers in terms of both professional and affective labor.
Ewa Borysiewicz is an art historian, writer, curator, and researcher based in Warsaw. Her work focuses on theories of consciousness, epistemology, and the history of science, as well as digital art practices, particularly the use of video game aesthetics and mechanics in contemporary art. She is the author of “Kinetic Vertigo”, a study of the political and emancipatory dimensions of camera-less animation through the work of Julian Józef Antonisz. She previously worked at the Adam Mickiewicz Institute (2012–2019) and co-organized the gallery-share initiative “Friend of a Friend” (2018–2022). In 2024, she was awarded a curatorial residency by the Igor Zabel Association in Ljubljana. Her writing has appeared in Flash Art, e-flux Criticism, Camera Austria, SPIKE, Texte zur Kunst, Art Basel Stories, and others. She has curated exhibitions at Zachęta National Gallery in Warsaw, M HKA in Antwerp, and Manggha Museum in Kraków. She is co-founder and co-editor-in-chief of MOST Magazine.
Vera Zalutskaya is contemporary art curator, writer, cultural manager, and editor. Her research focuses on how decolonial and post-socialist thought can map shifting regimes of representation—attending to fluid identities, contested visibility, and the subtle image-operations through which subjectivity, belonging, and agency are produced and negotiated. She is a co-founder of MOST magazine and of the Identity Crisis Network. She serves as President of the GESSEL Foundations for the National Museum in Warsaw and for Zachęta—National Gallery of Art. Since 2014, she has curated exhibitions and projects in Belarus, Belgium, Denmark, Poland, Serbia, Slovenia and Croatia, including at the Museum of Modern Art in Warsaw (MSN), the Museum of Contemporary Art in Zagreb (MSU), Copenhagen Photo Festival, CPH:DOX, and M HKA Antwerp.
Katie Zazenski is an artist, curator, writer, editor and lecturer whose practice is centered around cultural production and community building in independent, artist-led communities. From 2018-2026 she directed the Warsaw-based independent art space Stroboskop. From 2020-2024, Zazenski was a writer and editor for BLOK magazine. In 2022, Zazenski initiated FRINGE Warszawa and currently serves as a co-organizer. In 2024, she co-founded MOST Magazine where she currently serves as co-editor-in-chief. In 2025, she co-founded MUD LAB. Zazenski received her MFA in Sculpture from Cranbrook Academy of Art and is a two-time Fulbright scholar in Poland where she has lived since 2015.
Organized and supported by
“Safety Zones and Shifting Timelines” is organized by the Latvian Centre for Contemporary Art. Project curator: Andra Silapētere.
