As we read the news daily, whether on websites or social media, we find a long list of competitions, residencies, and other opportunities for artistic development across various fields. Navigating through the abundance of information, it can be challenging to pinpoint the best suited opportunities That is why we’re turning attention to a competition that bridges the worlds of business and art, offering contestants a unique chance to showcase their work in the esteemed MOCAK (Museum of Contemporary Art) in Krakow. The OKNOPLAST FOR ART competition is open for submissions until March 4. On this occasion, we present an interview with Mateusz Sak, the winner of last year’s edition, and Magdalena Cedro-Czubaj, Marketing Director at OKNOPLAST. Discover the opportunities awaiting you and consider submitting your application.
Dobromiła Błaszczyk: Your artistic practice is very extensive. Your creative work spans various domains — dance, interior design, and graphic art. Is this broad spectrum of activities a result of continuous search for your path, or is it an intentional choice of ‘areas,’ with these individual domains being unified by a specific element?
Mateusz Sak: In my artistic operations, there is no hierarchy between the passion for dance or exploring the world of design — I treat them as equal. Shifting between them comes naturally to me. In each of these domains, I can notice a lot of common factors, and each contributes a unique character. The central element for me is the possibility to express myself without words. In dance, I can tell a story through choreography, emotions, or appropriate music, inviting the audience to participate. Similarly, in interior design, I create a certain narrative using various forms and objects, creating an ambiance, where recipients are invited to experience my creative work. It is a conscious choice to act on multiple levels and find joint connections in order to create an interdisciplinary viewer experience.
DB: As I reflect on your interior design projects and dance/performance, I can’t help but think that the common thread connecting them is the physical need to experience space through your body. It revolves around creating, exploring, and defining space. Am I on the right track? And what role do recipients and their immediate reactions to/ interactions with art play in your works?
MS: Yes, that is correct. The notion of space is a vital aspect of my creative work. I have always been curious about the way humans can shape and affect a given space through appropriate means. In my interior design projects, the audience not only contributes to the physical aspect but also plays a pivotal role. Their experience enhances and complements the project. It is similar to my approach to dance. Here, space is crafted through movement, body dynamics, and the dancer’s interaction with the surroundings. Viewers are active participants, adding to the dance narrative by witnessing u unique event. Whether in interior design or performance art, it is always my priority to evoke emotions in the audience, making them an integral part of the story being created.
DB: What are you working on at the moment?
MS: I’m currently working on several projects. One of them is a film project that I hope to showcase at an exhibition hosted by the Magdalena Abakanowicz University of the Arts in Poznań, where I also perform as a dancer. It is an interpretation of lost memories from the world of enclosed dance rivalry. It directly draws from my experience in ballroom dancing competitions. In addition to the film, I’m working on designing the exhibition space so that visitors have a chance to truly feel like dancers.
DB: When artists begin their education, they are often advised to participate in competitions. Do you believe that competitions may influence someone’s practice or way of thinking?
MS: Competitions, mostly announced by large institutions or companies, provide young artists with an opportunity to gain the first experience in direct contact with today’s art market. They expose them to a completely new perspective on certain issues or topics compared to what is discussed in school. I believe that every occasion to submit one’s works for assessment by others is valuable and crucial for building self-esteem as an artist, especially in the initial stages when artists are still searching for ways to convey their message. As a young artist myself, I try to draw conclusions by observing which works are awarded, the elements the jury emphasises, or the different approaches artists take to a given issue In my experience, I can say that the multitude of projects or tasks assigned by schools can lead artists to confine themselves within certain circles, limiting their exposure to competitive challenges. Competitions are a perfect opportunity to promote one’s creative work, at the same time facing internal struggles and competing against other artists.
DB: Magdalena, as the Marketing Director at OKNOPLAST, could you please share why participating in competitions is worthwhile and explain why you’ve decided to organise OKNOPLAST FOR ART?
Magdalena Cedro-Czubaj, Marketing Director, OKNOPLAST: We welcome both experienced artists and those who are taking their first steps in the art world. We are organising the second edition of the competition because we see space for unrestrained development and for putting bold and unconventional ideas into action. As a brand with 30 years of history, OKNOPLAST is recognised in the industry as a company that sets trends, setting standards followed by the competition.
The art circles are known for their creativity and original ideas, often presenting surprising solutions. The window serves as a ‘canvas,’ a challenge that no artist has dared exploring outside OKNOPLAST FOR ART. By taking part in the competition, artists can test their skills in an unfamiliar sphere. They may also receive financial prizes and a reimbursement of the costs incurred in preparing their works. In addition to addressing their financial needs, we aim to fulfil their ambitions. This includes a several-month-long exhibition at the MOCAK Museum of Contemporary Art in Krakow, a renowned institution within international art circles.
As a brand, we also take care of promoting the artists’ names for many years. They become ambassadors for the next edition of the competition. We plan to invite the media for interviews, and their profiles are visible across all our information channels, etc. Even now you are not just talking to me but also to Mateusz Sak, the previous winner, who was still a university student at the time.
DB: Mateusz, was that your first competition? Was it worth participating?
MS: I took part in my first art competition a year before the announcement of OKNOPLAST FOR ART. Although I didn’t receive any awards, they allowed me to draw new conclusions. I believe that it is worth participating because there is always a chance of making it to the top three. They may create an opportunity to initiate new collaborations with other artists or companies, opening up multiple development paths.
DB: OKNOPLAST is not an art organisation; your primary focus lies in another area. How did the idea to venture into the realm of art come about, and what does entering the art world mean to you? What opportunities do you see in art branding for your company?
MCC: It may not seem so, but OKNOPLAST and the art world share a lot in common. We prioritise unique design and have the courage to set trends, believing that our work should evoke emotions, entice, and surprise people. Supporting art was a conscious and well-thought-out decision, and we plan to continue doing so in the years to come. The works from each edition of the competition will be added to the OKNOPLAST art collection and presented as the outcome of a model cooperation between business and culture. I am convinced that the clash between the mechanical and harsh world of industrial production and the ambiguous and sensitive world of art will contribute to creating excellent works.
DB: The artists reading our interview would surely like to learn about who can apply and how the selection process, jury meetings, and the choice of prize winners look like.
MCC: Any artist who is a citizen of an EU Member State may apply, no matter if they have a documented artistic track record or if they are beginning their adventure in the art circles, for example, as students or graduates of an art degree programme.
Anyone wishing to enter the competition should visit the dedicated website, art.oknoplast.com. Here, they will find the Competition Rules, the technical projection of the window, and works from previous years. Projects may be submitted in any form, including visualisations, drawings, animations, etc. It is vital that the concept is submitted in anonymised form, without initials, water marks, or any other elements that would allow the jury to identify the author. This is important because the winners of OKNOPLAST FOR ART should be the most interesting works, not the most popular names.
The works may be submitted by March 4th. After that, jury discussions begin, resulting in the selection of top three works. The authors receive a cash prize, and OKNOPLAST windows will be delivered to their studios. We also allow the possibility of awarding honourable mentions. In such an event we deliver windows and pay for the materials needed to create the work that will be showcased at the MOCAK Museum of Contemporary Art in Krakow.
After all the formal arrangements with the artists are completed and their works are collected, it is time for the grand finale — the opening night at MOCAK. It is an exciting event that was attended by 300 guests during the first edition of OKNOPLAST FOR ART. It is a time to admire the works and, importantly, to talk to their authors.
DB: What do you search for in applications? What do you pay attention to?
MCC: This question is directed to the jury, whose task is to select winners. Before we deliver the work concepts, we ensure they meet formal requirements. It is the jury that then decides which work will win. I wouldn’t want to suggest any specific directions for artists to follow or dictate the methods they should use. We do not limit their creative freedom — there are no bad ideas or directions. Let the artists show what they have in their souls. It is also worth looking at the works from the first edition.
DB: In addition to the main prize, what support can the artists submitting their works count on? I’m asking because MOCAK, a public institution with a wide range of collaboration opportunities, is the partner of the competition.
MCC: During the competition, we offer a refund of costs incurred to create the works, delivery of the OKNOPLAST window to a given artist’s studio, and the transfer of the artwork to MOCAK. We also deal with any formal issues, agreements, consents, etc. The rest is up to the artists themselves. Thanks to this advertising creation, OKNOPLAST is willing to initiate publicity cooperation with the winners, presenting their profiles and works on social media, inviting them to participate in activities promoting the competition, and inviting the media to interview the artists.
Of course, we do not force anyone, but our experience tells us that artists want the widest audience possible to admire their works. Our goals are compatible in this respect, and we can see that the winners of the first edition of OKNOPLAST FOR ART have become greatly engaged in their role as ambassadors of the challenge.
DB: Mateusz, what opportunities did the competition give you? Are there any new projects in sight after last year’s edition?
MS: First of all, the possibility of preparing my work. I was the only prize winner invited to Oknoplast headquarters to implement my project in collaboration with technologists. Besides, exhibiting my creative work at the MOCAK Museum of Contemporary Art in Krakow was a groundbreaking experience for me. The post-competition exhibition has been the only one outside the university so far. During the opening night, I met other artists and people representing the contemporary art market. This facilitated considerable publicity for me as an artist, and I believe that I can inspire young creators to take part in various competitions.
DB: What would you recommend to artists making their submissions to “OKNOPLAST FOR ART”?
MS: The works should tell a certain story using solutions to issues that have not been encountered before. There are no limitations as to the topics. With over 200 entries and more than 200 hundred diverse ideas, I think that “OKNOPLAST FOR ART” is a great chance to let your imagination run wild.
