BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Contemporary Lynx - magazine on art & visual culture - ECPv6.17.5//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://contemporarylynx.co.uk X-WR-CALDESC:Events for Contemporary Lynx - magazine on art & visual culture REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Warsaw BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20241027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20251026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20260329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20261025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20270328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20271031T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20280326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20281029T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20251017T000000 DTEND;TZID=Europe/Warsaw:20261231T235959 DTSTAMP:20251107T140556Z CREATED:20251017T125310Z LAST-MODIFIED:20251107T140556Z UID:10003751-1760659200-1798761599@contemporarylynx.co.uk SUMMARY:Ways of Seeing. Collection of Muzeum Sztuki in Łódź DESCRIPTION:Ways of Seeing is the new permanent exhibition of the Muzeum Sztuki in Łódź – a multifaceted narrative about 20th- and 21st-century art and about the museum itself as an institution of artistic experimentation\, avant-garde thought\, and solidarity. The exhibition opens on 17 October 2025 at ms². \n\n\n\nThe exhibiotion focuses on the phenomenon of seeing – both as a biological function and as a cultural and political act. Divided into several thematic chapters\, it presents art as a tool of inquiry\, posing questions about how and why we look. Among the issues explored are: the relationship between vision and memory\, the social contexts of looking\, perception as a form of knowledge and a tool of resistance\, as well as questions of identity\, corporeality\, and the sensorial experience of reality. \n\n\n\nThe title of the exhibition refers to John Berger’s celebrated series Ways of Seeing and Władysław Strzemiński’s Theory of Seeing. Both serve as points of reference grounded in the conviction that looking is never neutral – it is always culturally\, historically\, and emotionally conditioned. \n\n\n\nThe exhibition features works by\, among others\, Katarzyna Kobro\, Maria Jarema\, Franciszka and Stefan Themerson\, Zofia Rydet\, Alina Szapocznikow\, R.H. Quaytman\, Katja Novitskova\, Marysia Lewandowska\, Frank Bowling\, and Zbigniew Libera. The works are not arranged chronologically. Instead\, the exhibition guides visitors through chapters titled after selected works on view\, such as Description of a Photograph\, Multiple Portrait\, Wheel of Acceleration\, Superobjects\, or A Gaze is a Bridge. \n\n\n\nAn important context for the exhibition is Gifts of Friendship – nearly one hundred works donated to the Muzeum Sztuki by artists from around the world. This act of solidarity recalls the avant-garde roots of the institution\, which in 1931 initiated the International Collection of Modern Art through artists’ donations. The 2025 contributions include works by Liam Gillick\, Sharon Lockhart\, Nikita Kadan\, Ghislaine Leung\, Kateryna Lysovenko\, Goshka Macuga\, Wilhelm Sasnal\, Jasmina Cibic\, IRWIN\, and Zuzanna Janin. A selection of these will be on view from October as part of the new permanent exhibition. \n\n\n\nThe exhibition is accompanied by two publications: an illustrated catalogue with essays by Mieke Bal and Łukasz Zaremba\, and an anthology of texts by artists reflecting on vision\, perception\, and the co-creation of meaning. Like the exhibition itself\, these books treat art as a mode of thinking and as a dialogue with reality. \n\n\n\nThe exhibition Ways of Seeing. Collection of Muzeum Sztuki in Łódź is under the honorary patronage of Marta Cienkowska \, the Ministry of Culture and National Heritage\, and Joanna Skrzydlewska\, the Marshal of the Łódź Voivodeship. \n\n\n\nMore \n\n\n\n\n \n \n \n \n \n \n \n \n Stanisław Ignacy Witkiewicz\, Portret wielokrotny (Miltiple self-portrait in mirrors)\, 1917. Courtesy of Muzeum Sztuki in Łódź \n \n \n \n \n \n Sanja Iveković\, Osobiste cięcia (Personal cuts)\, 1982. Courtesy of Muzeum Sztuki in Łódź \n \n \n \n \n \n \n \n \n \n \n \n Katalin Ladik\, Zachód słońca z cyklu Partytury (Sunset from the Score series)\, 1975. Courtesy of Muzeum Sztuki in Łódź \n \n \n \n \n \n Birgit Jürgenssen\, Gniazdo (Nest)\, 1979. Courtesy of Muzeum Sztuki in Łódź \n \n \n \n \n \n Andrzej Adam Sadowski\, Piotrkowska II\, 1976\, Courtesy of Muzeum Sztuki in Łódź URL:https://contemporarylynx.co.uk/event/ways-of-seeing-collection-of-muzeum-sztuki-in-lodz LOCATION:ms2\, Ogrodowa 19\, Łódź CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2025/10/Sanja-Ivekovic-Osobiste-ciecia-Personal-cuts-1982.-Courtesy-of-Muzeum-Sztuki-in-Lodz.jpg GEO:51.7788116;19.4465074 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=ms2 Ogrodowa 19 Łódź;X-APPLE-RADIUS=500;X-TITLE=Ogrodowa 19:geo:19.4465074,51.7788116 END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20260314T000000 DTEND;TZID=Europe/Warsaw:20270314T235959 DTSTAMP:20260416T084053Z CREATED:20260416T083836Z LAST-MODIFIED:20260416T084053Z UID:10003772-1773446400-1805068799@contemporarylynx.co.uk SUMMARY:Polish Posters: The Collection DESCRIPTION:The Poster Museum in Wilanów is back! From Young Poland era posters to contemporary graphic design\, the Polish poster collection comprises nearly 36\,000 objects. For the first time in the history of the world’s first poster museum\, these works will be presented as part of a permanent exhibition. \n\n\n\nDue to the fragile nature of paper\, the display will rotate every three months. However\, the core narrative remains: a history of the social\, cultural and political transformations that have left their mark on poster art. \n\n\n\nThe exhibition is divided into five chapters: The Young Poland movement\, the artistic advertising of the interwar period\, post-war propaganda\, the artistic phenomenon of the Polish School of Posters\, and modern graphic design \n\n\n\nThe museum is returning to the Warsaw cultural map after a multi-year hiatus following a thorough modernisation process. The new exhibition layout was designed by Syfon Studio.The exhibition is accompanied by a richly illustrated publication prepared by Kuba Sowiński. It serves as a comprehensive guide to the Polish poster and the history of the Poster Museum in Wilanów. \n\n\n\nMore \n\n\n\n\n \n \n \n \n \n \n \n \n Photo: Bartosz Bajerski\, Muzeum Narodowe w Warszawie \n \n \n \n \n \n Photo: Bartosz Bajerski\, Muzeum Narodowe w Warszawie \n \n \n \n \n \n Photo: Bartosz Bajerski\, Muzeum Narodowe w Warszawie \n \n \n \n \n \n Photo: Bartosz Bajerski\, Muzeum Narodowe w Warszawie \n \n \n \n \n \n Photo: Bartosz Bajerski\, Muzeum Narodowe w Warszawie URL:https://contemporarylynx.co.uk/event/polish-posters-the-collection LOCATION:Muzeum Plakatu w Wilanowie\, Stanisława Kostki Potockiego 10/16\, Warszawa\, 02-958 CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/04/Unknown-5-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20260515T000000 DTEND;TZID=Europe/Warsaw:20270515T235959 DTSTAMP:20260515T141155Z CREATED:20260515T141155Z LAST-MODIFIED:20260515T141155Z UID:10003780-1778803200-1810425599@contemporarylynx.co.uk SUMMARY:"Gifts of Friendship" exhibition DESCRIPTION:Gifts of Friendship presents nearly 150 works donated to the Muzeum Sztuki in Łódź collection in 2024–26 by eighty artists from dozens of countries. Their gesture allows us to reflect on the significance of artist solidarity in the modern world and the relations between the art scene and the public museum. It emphasizes the role of trust\, friendship\, and community based on long-term collaboration as forces shaping the institutional collection. \n\n\n\nThe “gift economy” builds human relationships\, but is also an obligation. It is giving\, receiving\, and reciprocating. These three categories are inextricably linked. The Gifts of Friendship creates a multidimensional portrait of the museum\, conceived not as a neutral repository of objects\, but as a living network of art exchange. \n\n\n\nEver since its creation\, the Muzeum Sztuki in Łódź has developed its collection through close cooperation with artists. Its foundation was the International Collection of Modern Art\, made up of donations and initiated by Władysław Strzemiński\, Katarzyna Kobro\, and the other members of the “a.r.” group\, first exhibited in 1931. The main aim of the historical avant-garde was to bring together art\, life\, and social change\, with the “gift economy” being among its tools. \n\n\n\nToday\, in a world of geopolitical instability and uncertainty\, it is the utopian formula of the gift that lets us cross national\, political\, and linguistic boundaries. Gifts of Friendship pays tribute to a new generation of artists working in the spirit of shared responsibility for the public role of art. This long-term project reanalyses and updates the historical model\, showing how acts of solidarity and donations still shape the museum’s identity. \n\n\n\nThis exhibition presents work by artists tied to the Muzeum Sztuki for many decades\, including Liam Gillick\, K.ari.n Schneider\, and R.H. Quaytman\, as well as those whose work strikes up a dialog with the program of recent years\, such as Jasmina Cibic\, Veronika Hapchenko\, Agata Ingarden\, Nikita Kadan\, wendelien van oldenborgh\, Paulina Ołowska\, Agnieszka Polska\, Mykola Ridnyi\, Julita Wójcik\, and Anton Vidokle. Among those presenting their works at the museum for the first time are: Yane Calovski\, Andrea Fraser\, Josiah McElheny\, and Jeff Preiss. \n\n\n\nCovering both of our headquarters\, ms¹ and ms²\, Gifts of Friendship is an exercise in institutional imagination. This exhibition examines the gift as a relational practice\, exploring connections between artists\, the museum\, and the public. It consists of three poetic and political parts. The exhibition at ms¹ is focused on interpreting the avant-garde legacy with respect to the Neoplastic Room (on the 3rd floor); as well as collecting and reciprocity as holders of memory and identity\, in response to the once-palatial museum interiors (6th floor). The works gathered in ms² (ground floor) display visions of the present and future with regard to the museum’s permanent collection: the Ways of Seeing exhibition. \n\n\n\nMore \n\n\n\n\n \n \n \n \n \n \n \n \n Wilhelm Sasnal\, Koreks\, 2015\, HD 1544 x 1080 – 300dpi\, movie still \n \n \n \n \n \n Paulina Ołowska\, Spread Fashion – Etiuda Plastyczna\, 2004\, © Muzeum Sztuki\, Łódź \n \n \n \n \n \n Dóra Maurer\, Drawing from the IXEK series\, 2023 \n \n \n \n \n \n Gabriele Stötzer\, A Handful of Soil \n \n \n \n \n \n Nikita Kadan\, The Project with Postponed Implementation\, documentation of exhibition The Fire and the Ashes\, Nikita Kadan \, 07.10.2022 – 12.03.2023\, photo by Anna Zagrodzka\, Archive of the Muzeum Sztuki\, Łódź \n \n \n \n \n \n Ghislaine Leung\, Parents\, 2019\, courtesy of the artist and Maxwell Graham Gallery in New York\, exhibition view CONSTITUTION\, Chisenhale Gallery in London\, photo by Andy Keate URL:https://contemporarylynx.co.uk/event/gifts-of-friendship-exhibition LOCATION:ms1\, Gdańska 43 St.\, Łódź CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/05/Wilhelm-Sasnal-Koreks-2015-HD-1544-x-1080-300dpi-movie-still.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20260626T000000 DTEND;TZID=Europe/Warsaw:20261108T235959 DTSTAMP:20260614T185031Z CREATED:20260614T184938Z LAST-MODIFIED:20260614T185031Z UID:10003792-1782432000-1794182399@contemporarylynx.co.uk SUMMARY:Embodied Word exhibition DESCRIPTION:Embodied Word is an international exhibition bringing together contemporary artists whose practices challenge the traditional understanding of language as abstract\, rational\, and detached from lived experience. Presented at the Centre of Contemporary Art Znaki Czasu in Toruń\, the exhibition explores language as something bodily\, sensory\, political\, and deeply entangled with experience. \n\n\n\nRather than treating words as neutral carriers of meaning\, the participating artists approach language as material – something spoken\, whispered\, embroidered\, projected\, performed\, or shouted. Here\, language emerges from emotions\, gestures\, memories\, and acts of resistance. It becomes a form of action. \n\n\n\nWorking across textiles\, embroidery\, installation\, video\, neon\, drawing\, performance\, and interactive media\, the artists reveal language as a physical and affective force capable of shaping social relations and public space. Words appear not only as signs but as gestures and experiences rooted in the body. \n\n\n\nAt the centre of the exhibition lies a feminist perspective on language and representation. The artists reclaim linguistic space as a site of visibility and agency\, examining how words shape identities\, reinforce power structures\, and create possibilities for resistance. Their works address questions of gender\, bodily autonomy\, labour\, memory\, and political participation\, often moving between personal testimony and collective experience. \n\n\n\nEmbodied Word brings together internationally recognised figures such as Barbara Kruger\, Jenny Holzer\, Alexandra Grant\, Sylvie Fleury\, and Ewa Partum alongside artists from Poland and across Europe. Together\, they create a polyphonic dialogue between generations\, geographies\, and artistic positions. \n\n\n\nRather than offering a single narrative\, the exhibition unfolds as a chorus of voices – poetic\, intimate\, activist\, and confrontational – inviting audiences to experience language not only as communication\, but as presence\, action\, and embodied experience. \n\n\n\nMore URL:https://contemporarylynx.co.uk/event/embodied-word-exhibition LOCATION:Centre of Contemporary Art Znaki Czasu\, Wały gen. Sikorskiego 13\, Toruń\, 87-100 CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/06/Oversharing-75x63-1-820x510-1.jpg GEO:53.0120722;18.600583 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Centre of Contemporary Art Znaki Czasu Wały gen. Sikorskiego 13 Toruń 87-100;X-APPLE-RADIUS=500;X-TITLE=Wały gen. Sikorskiego 13:geo:18.600583,53.0120722 END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20260626T000000 DTEND;TZID=Europe/Warsaw:20270110T235959 DTSTAMP:20260614T190047Z CREATED:20260614T190047Z LAST-MODIFIED:20260614T190047Z UID:10003793-1782432000-1799625599@contemporarylynx.co.uk SUMMARY:Surrealism And Antifascism DESCRIPTION:As an artistic and political movement\, Surrealism had an international reach and internationalist beliefs. Rooted in art and literature\, it cherished much wider ambitions: to revolutionize society and redefine life itself. “‘Transform the world\,’ said Marx; ‘change life\,’ said Rimbaud: these two goals make only one for us\,” André Breton declared in 1935. \n\n\n\nSince their emergence in the 1920s\, Surrealists have confronted a number of political programs that contradicted the ideals of equality and freedom. They would condemn Europe’s colonial projects\, organize themselves against fascists\, fight in the Spanish Civil War\, join the resistance during World War II—to be denounced as “degenerate” by the Nazi\, face internment or persecution\, ultimately flee Europe or die on the battlefields or in camps. Their resistance was art itself. Through poetry\, painting\, photography\, collage\, and exhibition-making they strived to expose flaws in the supposedly rational message of the supposedly rational civilization of the West. \n\n\n\nAs fascism gained ground in Europe\, as Nazification of Germany progressed\, as World Wars and colonial wars broke out—Surrealists wouldn’t budge; protagonists of Surrealism remained radical in their ideological and political choices. At the same time\, these upheavals resulted in extraordinary encounters and a truly global solidarity: Prague would stand with Coyoacán\, Mexico; Cairo\, with the Spanish Republic; Marseille\, with Martinique’s Fort-de-France; Puerto Rico and Paris\, with Chicago; and London\, with New York. Surrealist thought and action have had an all-encompassing simultaneousness to them. Accordingly\, the show unfolds as if on a map rather than a timeline. The intent here is to present Surrealism as an international movement invested heavily in society and politics—in line with how its members perceived it. \n\n\n\nARTISTS \n\n\n\nJankiel Adler\, Eileen Agar\, Manuel Álvarez Bravo\, Hans Arp\, John Banting\, Ezekiel Barouk\, Hans Bellmer\, Erwin Blumenfeld\, Marian Bogusz\, Vladimír Boudník\, Victor Brauner\, André Breton\, Emmy Bridgewater\, Luis Buñuel\, Claude Cahun (Lucy Schwob)\, Leonora Carrington\, Zbigniew Dłubak\, Óscar Domínguez\, Inji Efflatoun\, Max Ernst\, Merlyn Evans\, Emil Filla\, Leonor Fini\, František Foltýn\, Esteban Francés\, Wolfgang Frankenstein\, Eugenio Fernández Granell\, Thomas Samuel Haile\, Stanley William Hayter\, John Heartfield (Helmut Herzfeld)\, Jindřich Heisler\, Werner Heldt\, Georges Henein\, Jacques Hérold (Herold Blumer)\, Karol Hiller\, Hannah Höch\, Kati Horna\, František Janoušek\, Ted Joans (Theodore Jones)\, Marion Kalter\, Fouad Kamel\, Tadeusz Kantor\, Ida Kar\, Katarzyna Kobro\, Aleksander Krzywobłocki\, Jerzy Kujawski\, Wifredo Lam\, Alfred Lenica\, Jean Lurçat\, Dora Maar (Henriette Théodora Markovitch)\, Conroy Maddox\, René Magritte\, Jeanne Mammen\, André Masson\, Roberto Matta\, Leonore Mau\, Willy Maywald\, Jadwiga Maziarska\, F.E. McWilliam\, Mikuláš Medek\, Katja Meirowsky\, Kazimierz Mikulski\, Lee Miller\, Joan Miró\, Marcel Moore (Suzanne Malherbe)\, Arturo Nathan\, Amy Nimr\, Wolfgang Paalen\, Roland Penrose\, Pablo Picasso\, Pere Portabella\, Alice Rahon (Paalen)\, Vilém Reichmann\, Alain Resnais\, Edith Rimmington\, Erna Rosenstein\, Alberto Sánchez\, Hans Rudolf Schiess\, Kurt Seligmann\, Jerzy Skarżyński\, Humphrey Spender\, Jonasz Stern\, Władysław Strzemiński\, Jindřich Štyrský\, Eva Sulzer\, Marian Szulc\, Bogusław Szwacz\, Yves Tanguy\, Karel Teige\, Hervé Télémaque\, Franciszka Themerson\, Stefan Themerson\, Václav Tikal\, Toyen (Marie Čermínová)\, Heinz Trökes\, Raoul Ubac\, Remedios Varo\, Alois Wachsman\, Wols (Alfred Otto Wolfgang Schulze)\, WoTi (Kati Horna\, Wolf Hamburger)\, Ramses Younan\, Enrique Zañartu\, Unica Zürn\, Teresa Żarnower \n\n\n\nMore \n\n\n\n\n \n \n Victor Brauner\, La Rencontre Du 2 Bis Rue Perrel [the Encounter Of 2 Bis Rue Perrel]\, 1946\, Oil On Canvas. Museum Of Modern Art In Paris © Adagp\, Paris / Zaiks\, Warsaw URL:https://contemporarylynx.co.uk/event/surrealism-and-antifascism LOCATION:Museum of Modern Art in Warsaw\, 103 Marszałkowska St.\, Warsaw\, 00-110 CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/06/6a1d93fb033ae712806025.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20260918T000000 DTEND;TZID=Europe/Warsaw:20270131T235959 DTSTAMP:20261007T195100Z CREATED:20261007T195059Z LAST-MODIFIED:20261007T195100Z UID:10003826-1789689600-1801439999@contemporarylynx.co.uk SUMMARY:Erika Giovanna Klien\, "All is Movement" exhibition DESCRIPTION:A comprehensive solo show reveals the full range of the Austrian American artist’s oeuvre\, extending far beyond her early work in Kineticism. \n\n\n\nAs an outstanding representative of Viennese Kineticism\, Erika Giovanna Klien (1900–1957) soon shot to international fame. Her passion for the theater and dance led to innovative stage designs and complex depictions of bodies in motion. From 1929 Klien lived in New York\, which resulted in an increased focus on urban spaces and social issues. The exhibition at the Lower Belvedere shines a spotlight on every facet of the painter\, graphic designer\, and art educator’s oeuvre and presents the latest research on her life and work. \n\n\n\nGeneral Director Stella Rollig: Some forty years since Erika Giovanna Klien’s first solo exhibition in a museum\, this show presents a contemporary perspective on the artist and invites visitors to learn about new facets of her creative output. In the University of Applied Arts Vienna—Collection and Archive and the Istituto Italiano di Studi Germanici in Rome\, we found two very competent partner institutions for this exhibition project.  \n\n\n\nKlien is considered the most important representative of Kineticism\, an abstract art movement developed in the first half of the 1920s at the Vienna School of Arts and Crafts that focused on the “rhythmic existence of things.” Under Klien’s analytic gaze\, complex sequences of movement showing flying birds\, rotating machines\, or dancing bodies were transformed into masterly Simultanistic compositions. In 1929 the artist moved to New York\, where she earned a living as a progressive art educator. It was then at the latest that she proved herself to be a precise observer of technological progress and the machine-driven dynamism of the modern metropolis\, while the economic crisis and world war heightened her awareness of social issues. \n\n\n\nThe exhibition does not present Klien’s oeuvre according to the chapters of her biography but reflects the central themes in her work and illustrates how the artist created such a compelling and diverse\, at times also interdisciplinary\, body of work over the course of almost four decades\, the full extent of which deserves our attention and greater visibility\, according to the curator Verena Gamper. \n\n\n\nThe solo show reveals continuities where her biography might lead us to expect breaks. For instance\, Klien was interested in the theater and dance throughout her life\, and her study of children’s creative expression was another constant in her oeuvre. Consistent in her choice of subjects but open to inspiration from various disciplines and cultures\, Klien developed a rich and diverse body of work—even beyond Kineticism. \n\n\n\nAn exhibition of the Belvedere\, Vienna\, in collaboration with the University of Applied Arts—Collection and Archive\, Vienna\, and the Istituto Italiano di Studi Germanici\, Rome. \n\n\n\nMore \n\n\n\n\n \n \n \n \n \n \n \n \n Installation view “Erika Giovanna Klien. All Is Movement”\, Lower Belvedere\nPhoto: Johannes Stoll / Belvedere\, Vienna \n \n \n \n \n \n Installation view “Erika Giovanna Klien. All Is Movement”\, Lower Belvedere\nPhoto: Johannes Stoll / Belvedere\, Vienna \n \n \n \n \n \n Installation view “Erika Giovanna Klien. All Is Movement”\, Lower Belvedere\nPhoto: Johannes Stoll / Belvedere\, Vienna \n \n \n \n \n \n Installation view “Erika Giovanna Klien. All Is Movement”\, Lower Belvedere\nPhoto: Johannes Stoll / Belvedere\, Vienna \n \n \n \n \n \n Installation view “Erika Giovanna Klien. All Is Movement”\, Lower Belvedere\nPhoto: Johannes Stoll / Belvedere\, Vienna URL:https://contemporarylynx.co.uk/event/erika-giovanna-klien-all-is-movement-exhibition LOCATION:Belvedere Museum Vienna\, Prinz-Eugen-Straße 27\, Vienna\, 1030 CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/10/Ausstellungsansicht_UB_Erika-Giovanna-Klien_PR-02.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20261001T000000 DTEND;TZID=Europe/Warsaw:20261130T235959 DTSTAMP:20261012T093749Z CREATED:20261012T093746Z LAST-MODIFIED:20261012T093749Z UID:10003828-1790812800-1796083199@contemporarylynx.co.uk SUMMARY:"The Belly of the City" exhibition DESCRIPTION:The Belly of the City is an exhibition unfolding across Brussels\, embedded in the city’s polyphonic\, ethnically diverse fabric and in the places that nourish it: markets\, street stalls\, migrant grocery stores\, community gardens\, compost heaps and herb gardens\, canteens\, bars\, and delivery vans.  \n\n\n\nThe Belly of the City is an exhibition unfolding across Brussels\, embedded in the city’s polyphonic\, ethnically diverse fabric and in the places that nourish it: markets\, street stalls\, migrant grocery stores\, community gardens\, compost heaps and herb gardens\, canteens\, bars\, and delivery vans. \n\n\n\nThrough this exhibition\, artists investigate the systems and infrastructures of food supply—its supply chains and waste streams—but above all approach food as a cultural and geopolitical issue. The exhibition explores these questions through the perspective of the Polish diaspora: its flavours\, culinary traditions\, and the choices that accompany them. \n\n\n\nHow does the everyday infrastructure of food—together with the largely invisible systems of food policy\, production\, trade\, and distribution—influence our health\, our identities\, and the places we inhabit? Who decides what this system looks like? Who bears its hidden costs? And what might a more equitable food system look like? \n\n\n\nGeopolitics unfolds on our plates before it ever reaches the corridors of power. Food is political long before it becomes a question of calories. Wars over territory are also wars over soil\, water\, and microorganisms. Cargo ships traversing the oceans are the floating arteries of the global food system. Who has the right to cultivate the land\, and under what conditions? Where are the battles over natural resources\, farmland\, monocultures\, and crop diversity being fought? How can we cultivate the soil without depleting or destroying it? Whose stomach will remain empty? These questions ultimately determine where borders are drawn\, how people migrate\, and what future awaits entire communities and species. Power over food is power over others. \n\n\n\nThe destruction of crops and the blockade of food transport have become instruments of political pressure in some parts of the world\, while elsewhere hunger has given way to its structural counterpart: obesity and food waste. Whether full or empty\, our stomachs continue to tell the same story—that of inequality. \n\n\n\nAs Maciej Jakubowiak observes in Historie ludowe: Brzuch (People’s History: The Belly)\, the history of humanity may be told as a history of exploitation\, but equally as a history of social movements\, colonialism\, serfdom\, and migration. “Ultimately\, however\, it is about hunger. Ultimately\, it is about food. Ultimately\, it is about the belly.” \n\n\n\nThe challenge of feeding ten billion people places cities at the centre of this struggle. They are becoming key arenas in the fight for food justice and equitable access to food. Food functions simultaneously as a weapon\, a means of exchange\, and an infrastructure of survival. It is also a marker of taste and social status\, a mechanism for reinforcing class divisions\, and a driver of the planetary crisis. For every calorie of food produced in the field\, approximately two calories of fossil fuel are used\, with a further eight to twelve calories required for processing\, packaging\, transport\, and storage. A profound transformation of the food system towards agroecology and food justice is therefore essential: reducing food waste\, lowering agricultural emissions\, shortening supply chains\, and improving access to fresh\, minimally processed food. \n\n\n\nThe Belly of the City approaches food as infrastructure: a network of material\, emotional\, and political relationships that shape our bodies\, our memories\, and urban space. Its point of departure is the food landscape of the Polish diaspora in Brussels—a constellation of flavours\, forms of hospitality\, hybrid species\, and culinary traditions that have migrated with people and continue to evolve within their new environment. \n\n\n\nEvery movement of a food ingredient is an act of translation—from one soil to another\, from one language to another—and every translation produces something new: a hybrid economy\, a hybrid ecosystem\, and an identity that can no longer be traced back to a single place of origin. \n\n\n\nMore URL:https://contemporarylynx.co.uk/event/the-belly-of-the-city-exhibition LOCATION:Brussels\, Brussels CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/10/BRZUCH-MIASTA-10.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20261002T000000 DTEND;TZID=Europe/Warsaw:20270101T235959 DTSTAMP:20261013T092710Z CREATED:20261013T092708Z LAST-MODIFIED:20261013T092710Z UID:10003833-1790899200-1798847999@contemporarylynx.co.uk SUMMARY:"Tymczasowa pława" exhibition DESCRIPTION:On 2 October 2026\, Norbert Delman will present a sculptural installation as part of his project Temporary Buoy at the State Art Gallery in Sopot. The project is curated by Jarosław Lubiak. \n\n\n\nThe central element of the exhibition is a seven-metre fishing boat — a tangible fragment of human civilisation that becomes a site for the emergence of new\, imagined life forms. Temporary Buoy invites viewers to encounter forms of life that might emerge among the waste and remnants of human civilisation. The boat acquired by the artist is an element of reality\, juxtaposed with the outcome of an artistic struggle with the form\, materiality and meaning of the wreck. What “grows over” the boat creates an abstract composition whose individual elements can and should evoke a variety of associations. \n\n\n\nThe installation offers a sculptural interpretation of processes of disintegration and transformation. In doing so\, it engages with the context of ecological disasters caused by human activity\, the uncontrolled growth in the volume of waste\, and the spread of pollutants throughout all spheres of the environment. \n\n\n\nDelman examines processes in which destruction becomes the beginning of creation. In this project\, the artist makes a metaphorical shift: the disintegration of one world opens up the possibility for another to emerge — one that is unknown and difficult to name. \n\n\n\nAs the curator writes: \n\n\n\n“Art is the life of the inorganic and\, at the same time\, the transformation of the organic into a still life. Its agency emerges from the constant tension between these states. Norbert Delman allows us to immerse ourselves in this struggle.” \n\n\n\n\n \n \n “Tymczasowa Pława” exhibition\, photo: Marcin Kucewicz \n \n\n\n\n\n\n\n \n \n “Tymczasowa Pława” exhibition\, photo: Marcin Kucewicz \n \n \n \n “Tymczasowa Pława” exhibition\, photo: Marcin Kucewicz URL:https://contemporarylynx.co.uk/event/tymczasowa-plawa-exhibition LOCATION:The State Art Gallery in Sopot\, Plac Zdrojowy 2\, Sopot\, 81-720 CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/10/834223187_1586763240131492_1830508679253963147_n.jpg GEO:54.4454174;18.5696669 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The State Art Gallery in Sopot Plac Zdrojowy 2 Sopot 81-720;X-APPLE-RADIUS=500;X-TITLE=Plac Zdrojowy 2:geo:18.5696669,54.4454174 END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20261009T000000 DTEND;TZID=Europe/Warsaw:20270107T235959 DTSTAMP:20261105T141539Z CREATED:20261105T141539Z LAST-MODIFIED:20261105T141539Z UID:10003836-1791504000-1799366399@contemporarylynx.co.uk SUMMARY:"ATTRACTIONS / DESTINIES" - group exhibition DESCRIPTION:L.I.N.K. Gallery presents ATTRACTIONS / DESTINIES\, a group exhibition curated by Kathy Alliou\, bringing together Bulgarian and international artists in a reflection on the connections\, encounters\, and forces that shape our individual and collective trajectories. \n\n\n\nAs the inaugural exhibition of L.I.N.K. Gallery\, ATTRACTIONS / DESTINIES introduces the gallery’s commitment to fostering dialogue across artistic positions\, cultures\, and generations. Through diverse artistic practices\, the exhibition explores the relationships that emerge between people\, ideas\, histories\, and places\, inviting visitors to consider how attraction\, chance\, and destiny influence the ways we experience the world. \n\n\n\nParticipating artists: \n\n\n\nApolonia Sokol\, Boryana Petkova\, Christo and Jeanne-Claude\, Dimitar Solakov\, Iskra Blagoeva & Mihail Novakov\, Kalin Serapionov\, Mariana Vasileva\, Maryn Varbanov\, Nadezhda Oleg Lyahova\, Nedko Solakov\, Plamen Dejanoff\, and Šejla Kamerić. \n\n\n\nMore \n\n\n\n\n \n \n \n \n \n \n \n \n “ATTRACTIONS / DESTINIES”\, exhibition view\, photo by Kalin Serapionov \n \n \n \n \n \n “ATTRACTIONS / DESTINIES”\, exhibition view\, photo by Kalin Serapionov \n \n \n \n \n \n “ATTRACTIONS / DESTINIES”\, exhibition view\, photo by Kalin Serapionov \n \n \n \n \n \n “ATTRACTIONS / DESTINIES”\, exhibition view\, photo by Kalin Serapionov \n \n \n \n \n \n “ATTRACTIONS / DESTINIES”\, exhibition view\, photo by Kalin Serapionov URL:https://contemporarylynx.co.uk/event/attractions-destinies-group-exhibition LOCATION:L.I.N.K. Gallery\, 1 Yanko Sakazov Blvd\, Sofia\, 1504\, Bulgaria CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/11/KSE01080.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20261016T000000 DTEND;TZID=Europe/Warsaw:20270110T235959 DTSTAMP:20261012T100100Z CREATED:20261012T100059Z LAST-MODIFIED:20261012T100100Z UID:10003830-1792108800-1799625599@contemporarylynx.co.uk SUMMARY:Out of The Box – Action Bodies DESCRIPTION:“Action Bodies” continues the artistic-curatorial exploration of the ifa art collection with a focus on how spaces and bodies are perceived and shaped through movement and collective action. Selected artworks from the ifa collection are presented alongside contemporary perspectives\, illuminating social orders and opening up possibilities for resistance. In this space of co-existence\, textile objects\, hybrid bodies and social choreographies gradually unfold. \n\n\n\nFranz Erhard Walther has been creating interactive textile sculptures since the early 1960s\, declaring action an art form in itself and turning viewers into key actors. An important source of inspiration for this exhibition is his “action bodies”\, which intertwine object and process. The hand thinks and the body responds. \n\n\n\nIn her cinematic homage to dancer\, choreographer and artist Noa Eshkol\, Sharon Lockhart explores movement as a form of language\, and how dance emerges from within it. \n\n\n\nHana Miletić’s hand-woven textiles are interpretations of repairs the artist encounters in public spaces. Her methodology contrasts the fast-paced standardisation of the present with a material and care-based form of labour. \n\n\n\nTogether with a group of schoolchildren\, Eglė Budvytytė explores the act of communal shaking with the aim of disrupting established structures in the school system and helping students perceive their bodies as spaces of agency. \n\n\n\nIn Silvi Naçi’s Handfilm\, invisible pain becomes an archive of gestures and bodies with a gravity of their own. It evolves from an experience of personal limitation towards action and togetherness. \n\n\n\nTales Frey’s performance unfolds between dance\, sculpture and clothing\, combining closeness and distance\, freedom and limitation\, balance and transformation into a shared body that explores and reimagines liminal spaces. \n\n\n\nThe body is a house\, and it is home to the soul. Wolfgang Laib’s beeswax Haus (House) opens up such interior worlds. \n\n\n\nMore URL:https://contemporarylynx.co.uk/event/out-of-the-box-action-bodies LOCATION:ifa-Galerie Berlin\, Linienstr. 139 - 140\, Berlin\, 10115 CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/10/csm_ifa-2026-_berlin-out-of-the-box-handlungskoerper1_1cbe3942d1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Warsaw:20261022T000000 DTEND;TZID=Europe/Warsaw:20270204T235959 DTSTAMP:20261105T105345Z CREATED:20261105T105343Z LAST-MODIFIED:20261105T105345Z UID:10003835-1792627200-1801785599@contemporarylynx.co.uk SUMMARY:"White Noise" exhibition DESCRIPTION:White Noise takes the enclosed architecture of the contemporary office space as an organizing structure\, extending Anna Uddenberg’s ongoing interest in functionality as a means of control. Comprising her largest body of work to date\, the exhibition becomes a Koolhaasian Junkspace: a compressed administrative interior of suspended ceilings\, fluorescent light\, partitions\, ventilation systems\, and Herman Miller office chairs. Uddenberg’s fragmented and increasingly disembodied figures lose their corporeal autonomy\, becoming extensions of the furniture and systems that contain them; the body itself becomes part of the infrastructure. \n\n\n\nThe office in White Noise is deliberately generic. Gray wall-to-wall carpet\, modular partitions\, artificial light\, and standardized furniture produce an environment without obvious geographical or temporal specificity\, one that could be reproduced almost anywhere. A lowered ceiling compresses the gallery into a gridded administrative interior\, altering the viewer’s physical relation to the space\, while the absence of natural light makes the passage of time increasingly difficult to register. Above the ceiling\, cables\, ventilation\, lighting\, and technical systems normally kept out of view remain exposed. The environment is immediately recognizable\, yet difficult to locate: familiar enough to require little conscious attention\, but sufficiently displaced to produce a persistent sense of unease. \n\n\n\nThis contradiction is central to Uddenberg’s engagement with Rem Koolhaas’s concept of Junkspace: an architecture accumulated through systems intended to facilitate contemporary life\, yet increasingly detached from the bodies inhabiting it. The exhibition’s psychological tension lies in the gap between an environment designed to accommodate the body and the conditions to which that body must nevertheless adapt. Sound requires management; exposure requires partitions; prolonged sitting requires ergonomic correction; the disappearance of natural time requires artificial illumination. Each accommodation seems to disclose another problem. \n\n\n\nH-shaped panels divide the gallery into individual workstations without fully enclosing them\, offering the appearance of privacy while preserving the visibility of the larger grid. Each figure occupies its own designated space but remains exposed to the environment surrounding it. Privacy becomes yet another spatial condition through which behaviour is organized. \n\n\n\nUddenberg’s figures appear suspended within these partitioned spaces\, their bodies increasingly difficult to separate from the structures that support them. Reduced to torsos\, or pairs of legs\, fragmented anatomical forms are stretched across and folded into Herman Miller Aeron chairs\, whose mesh surfaces and rigid frames contour the body while remaining almost transparent around it. Designed to adapt to the individual body\, the Aeron appears here to produce the opposite relation.  \n\n\n\nUddenberg’s office-like environment is structured by repetition\, self-regulation\, and the abstraction of labour. After moving to Berlin in 2015\, Uddenberg worked in customer support for a car-sharing company\, occupying what she has described as the position of a “human buffer” between the company and its customers. Calls were measured in time\, actions registered through predetermined codes\, and workers made responsible for tracking their own activity. This repetition eventually produced a peculiar temporal detachment in which one working day became difficult to distinguish from the next. \n\n\n\nA new sound work extends the installation into the auditory field. Responding to the existing sounds of the building\, its ambient frequencies—the hum of ventilation\, electrical systems\, and fluorescent lighting—are amplified and synthesized until the sound becomes almost indistinguishable from the infrastructure surrounding it. It has no obvious relation to an exterior world\, belonging instead to an interior engineered to maintain its own continuous atmosphere. White noise occupies a peculiar threshold of perception: continuously present yet capable of receding from conscious awareness. \n\n\n\nAdministrative logic emerges in White Noise as a low-level\, continuous form of aggression\, dispersed throughout the environment rather than exercised by any singular authority. Nothing in the space appears overtly hostile. Its light\, furniture\, partitions\, and sound all ostensibly exist to make the body more comfortable\, productive\, private\, and autonomous. Yet every solution requires another adjustment\, another support\, another system through which the body must learn to move. Like the white noise itself\, these conditions exert their pressure most effectively when they cease to be consciously perceived. \n\n\n\nText: Samuel Staples \n\n\n\nMore URL:https://contemporarylynx.co.uk/event/white-noise-exhibition LOCATION:Telegraph Gallery\, Jungmannova 3\, Olomouc 9-Hodolany\, 779 00 CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://contemporarylynx.co.uk/wp-content/uploads/2026/11/tlgrph_anna_uddenberg_page-0001-scaled.jpg END:VEVENT END:VCALENDAR