The greatest boom in the Warsaw art scene took place in 2021, when, as a result of political changes and restrictions, private galleries and institutions, taking on the role of guardians of ethics and social sensitivity, became one of the main vehicles for socially engaged art. However, what initially appeared to be a breakthrough turned out to be a rather ephemeral gesture. But then, in 2022, in response to the marginalisation of artists working outside the mainstream, the independent platform FRINGE Warszawa was created, becoming a space for all such forms of artistic activity.
What does it mean to be “fringe”? What does it mean to be “independent”? How can grassroots activism be combined with functioning in a space that is supposed to be open to everyone, but at the same time operates within limited time and financial constraints? We pondered these questions together with Marta Matysiak and Lena Pierga, co-founders of the FRINGE Warszawa initiative.
Our conversation took place a few days before the start of the fourth edition. Unlike other exhibition initiatives, their programme stands out primarily for its inclusivity. Some of the planned events will be accessible to people with visual and hearing impairments, while others will be conducted in English or with Ukrainian and Belarusian participants in mind. Fringe also takes place in surprising locations, such as pastry shops and abandoned beauty salons, which have proven to be ideal spaces for presenting art.
Julia Gorlewska: Let’s start from the beginning. FRINGE Warszawa was created in relation to a Scottish initiative, which focuses on multidisciplinary, unconventional artistic activities. The concept was born in 1947 in Edinburgh and is now global (several hundred Fringe festivals have been established since then). Tell us about the origins of the Warsaw initiative – why was it created? What are its main objectives? How does it differ from foreign editions?
Marta Matysiak: The idea of FRINGE Warszawa was never approached as a festival. The first edition in 2022 was very spontaneous; we worked in a small group in response to the commercial events that were dominant at the time. We wanted to create a space where creative people could operate from the bottom up and on their own terms, without institutional constraints. We are inspired by the Fringe movement, but more symbolically. Our vision is adapted to local conditions, and we operate in our own way.
Lena Pierga: Our idea was to create a support network for artists working outside the mainstream. The commercial and institutional scenes are closely linked, governed by certain calculations and trends that are primarily profit-oriented. FRINGE Warszawa is a place where art can be free, where it can develop on its own terms. From the very beginning of our activity, we tried to set certain guidelines for ourselves. At the same time, we realised that we had to be open to change and act flexibly. Strictly defined boundaries conflict with the idea of independence and diversity, which is most important to us.
J.G.: The upcoming edition of FRINGE is already the fourth meeting of the Warsaw independent art scene. Looking back, how has the original vision of the project evolved? How were you received on the local market? What was FRINGE Warszawa, and what is it now?
M.M.: The grants we received played a key role. The first and second editions were organised on a drop-in basis – we all contributed to the graphics and promotion. From the beginning, we operated “horizontally”. In our team, everyone has their own area and tasks, but we make all important decisions together and everyone’s voice is valued the same. When grants and new opportunities appeared (because there is no denying that money changes the way such events are organised), we began to develop more and more. We established cooperation with Galeria Promocyjna and Staromiejski Dom Kultury, thanks to which funding was possible in the first place. In Poland, funds for the promotion of culture or similar activities must usually go through an institution or company. SDK’s contribution to the organisation of FRINGE Warszawa is invaluable today, and we are very grateful for that. We have managed to obtain financial support that does not limit but rather enhances our grassroots nature.
L.P.: I think that over the years, a truly enormous change has taken place. Initially, we approached everything with uncertainty, treating the project rather symbolically – a joint contribution for graphics, a map of events, and that was it. The positive reception surprised us and made us realise that it was worth continuing. With each edition, new questions and challenges arose: how can grassroots initiatives function in the long term, how to support the community, and how to maintain integrity despite the lack of stable support systems. We treat FRINGE as a space for testing various forms of cooperation and relationships with institutions, while remembering to preserve our values and independence.
“We treat FRINGE as a space for testing various forms of cooperation and relationships with institutions, while remembering to preserve our values and independence.”
J.G.: What about the programme and the artists who come to you? How does it look now, and how has it looked over the years?
M.M.: Every year, the programme is different and richer. In this year’s edition, for example, we will be collaborating with collector Anna Pawelak, which opens up new opportunities and can really support people who have not had the clout to break through so far. This is important to us because, as FRINGE, we want to strengthen our community. Our ethics map (a list of values that determine how we operate), which we have been using since the second edition, is also vital. Every project and every person joining FRINGE should identify with them. The map is a practical reference point for us, which we regularly return to when organising and reviewing various situations.
J.G. So what are your limitations?
M.M: Very flexible, we openly move within them. This year, we adopted a slightly different approach – participation in community meetings was a prerequisite for participation. There were several of them, both online and in person. These meetings exceeded our expectations. About 30 people showed up at the first meeting, and over time, that number began to grow. It was very encouraging for us because we were able to talk together about boundaries — about what grassroots and off-beat art is in contemporary art. It turned out that even with a hundred people, no one was able to define it clearly, and I think that’s what FRINGE is all about. If someone feels part of this community, i.e., independent and grassroots artists, then they actually belong to it. We don’t set conditions or requirements; we don’t impose anything.
L.P.: At first, terms such as grassroots and non-commercial seemed paradoxically less problematic to us than they turned out to be later. The first edition of FRINGE was simply a gathering of initiatives that felt like they had something in common. However, as we began to develop and expand it, the question arose more and more often: what exactly is grassroots? We quickly realised that it has no clear boundaries and that different spaces in the art world are often interconnected. Many of us work simultaneously in different roles: creative, curatorial, or institutional – this experience is very common in the artistic community. As a result, the boundaries between what is grassroots and what is institutional turn out to be fluid. This is a topic that recurs with each edition and forms the basis of our discussions.
J.G.: Exactly, what does it mean to you to be “independent”? What does it mean to be “fringe”? And how do you combine this with functioning in a space that is supposed to be open to everyone, but at the same time operates within limited time and financial constraints?
L.P.: From the second edition onwards, this issue became especially apparent as the project ceased to be just a few days’ initiative by a specific group of people. The emergence of external institutions confronted us with the question of how to maintain transparency and integrity. Even when funding became available, a significant part of the work was still voluntary, because we operate primarily out of a conviction that what we do is meaningful. That is why every new partnership or collaboration requires caution and reflection on our part, so as not to lose sight of what is really important.
M.M.: Yes, “caution” is the right word. Transparency and honesty towards the community and towards the ideas from which our activity grew are extremely important to us. That is why we carefully analyse every collaboration. We want it to be carried out according to our principles, so that the interests of the grassroots creative community are adequately protected. This is crucial for us because we also treat this activity as a form of activism.
“We want it to be carried out according to our principles, so that the interests of the grassroots creative community are adequately protected. This is crucial for us because we also treat this activity as a form of activism.”
J.G.: As you mentioned, it is particularly difficult for grassroots initiatives to break through. However, you have succeeded in doing so, and on a large scale. In your opinion, is this primarily the result of greater openness on the part of the audience to art that goes beyond the commercial canon? Or are there other factors behind it?
L.P.: When FRINGE Warszawa was established, the situation in Poland was difficult. Cultural institutions operated under censorship, and contemporary art had to find new spaces for itself. Commercial galleries were an alternative, but as we know, their main goal is to sell. This is an important element of the entire art circuit, but at the same time, very limiting, because it promotes only selected forms of creativity.
M.M.: From the beginning, our intention was not to oppose the private sector, but to create a complement to it and give a voice to people who, at that time, just after the pandemic, were less accessible. We wanted to show that the world of art is broader, though not always “well lit”. When we organised one large event, we saw a huge demand: artists and audiences wanted something fresh, and this part of contemporary art, which had been marginalised until then, began to break through. The whole city was filled with exhibitions in unexpected places. This showed that grassroots initiatives have an energy and freshness that attracts people. Thanks to this, FRINGE became a platform connecting the audience with artists, giving independent art greater visibility.
J.G.: Let’s talk about this year’s edition. As you said, this year you invited not only artists but also private collectors, including Anna Pawelak. What else have you planned? What works, performances, and accompanying events can we expect?
M.M.: This year, FRINGE will take place a week after the Warsaw Gallery Weekend, and the programme includes as many as 97 projects. Although after last year’s 80 events we wanted to focus on deepening relationships rather than further growth, the interest has exceeded our expectations and gives us a sense of enormous agency.
A new feature is the separate Performance Program at the Warsaw Culture Observatory – two performances will take place every day for four days. We invited external curators to participate in the selection process: Alka Nauman, Grzegorz Borkowski, and Wojciech Gilewicz, who chose eight diverse proposals, ranging from socio-political topics to atmospheric and personal ones.
We are also launching a project with Anna Pawelak’s collection, who has offered her support for a selected initiative. We are delighted with her openness to less obvious forms of art, such as installations and objects. We see this collaboration as an opportunity to develop new models for supporting independent artists while maintaining our grassroots character.
L.P.: This year, we have expanded our guided tour programme to include walks through galleries and cultural events prepared by students from the Faculty of Curatorial and Artistic Research at the Academy of Fine Arts in Warsaw. This adds diversity to the programme and gives young people the opportunity to shape their own narratives and gain curatorial experience.
As always, spaces are important to us. We use temporary venues, but every year we also discover new locations. This time, the exhibitions will be held, among others, in the Family Allotment Gardens (ROD) in Mokotów, in the basement of the Ratusz Arsenał metro station, in city display cases, and in an abandoned spa complex. The public will also be able to visit artists’ private studios and apartments, which is a unique opportunity to experience exhibitions outside the traditional white cube.
J.G.: You have been co-creating the Warsaw art scene since 2021. What distinguishes this city from other art centres in Central and Eastern Europe? What trends and tendencies have you noticed in recent years?
M.M.: I think that where we live and the socio-political system we grow up in has a huge impact on the art of the younger generation. Just look at Polish art from the 1970s, 1980s, and 1990s – the themes varied, but the common denominator was opposition to reality. Today, we see a similar phenomenon: artists are rebelling against the system in which they live. This art is bold, critical, and tackles difficult social and political issues. It is not easy, but that is precisely why it is so interesting: it allows us to see the world through the eyes of the younger generation and becomes their voice. Even in the commercial art scene, we can see a certain kind of engagement today.
L.P.: I agree. Polish contemporary art is created in the midst of the enormous tension of the surrounding reality, which is why it is often ambiguous and difficult to capture in a coherent form. As a grassroots initiative, we had the opportunity to talk to people from similar initiatives in other countries, and the differences are clear. In Poland and more broadly in Central and Eastern Europe, artists often have to fight for visibility because there is a lack of systemic support. This struggle takes various forms: sometimes it is complete opposition to institutions, and sometimes it is an attempt to enter into dialogue with them.
M.M.: Exactly, unlike in Western Europe, we don’t have a strong institutional base that would support artists. You have to fight for visibility and a place in the system.
L.P.: In conversations with people from Germany, Austria, or Greece, it is clear that the situation is completely different. There is an institutional framework that facilitates functioning in culture. Here, it is still a struggle for the basics, for recognition, and this also shapes art – it makes it more intense and critical. This fatigue with the system and the need for constant struggle are strongly present in the work, although I hope that something is slowly beginning to change.
“This art is bold, critical, and tackles difficult social and political issues. It is not easy, but that is precisely why it is so interesting: it allows us to see the world through the eyes of the younger generation and becomes their voice.”
J.G.: Have you considered international collaborations?
M.M.: To be honest, it’s a topic that scares us a little, and that’s why we shy away from it. There are already some great grassroots initiatives in Poland – in Wrocław, Gdańsk, and other cities. I don’t think there’s a need for FRINGE to exist everywhere. Our strength lies in our locality.
L.P.: Yes, we are more interested in strengthening what is local. It makes more sense than trying to cover everything. However, we are open to exchanging experiences and cooperating with similar initiatives in Poland and abroad. It is always interesting to see how others operate. Participating in events such as the Supermarket Art Fair in Stockholm or a panel discussion in Berlin has allowed us to meet groups operating in completely different conditions, yet facing similar challenges. This shows that our work is part of a larger, international ecosystem of independent initiatives.
M.M.: So, to sum up: we operate locally, but we are open to cooperation and exchange. Discussions about how to deal with difficulties are extremely supportive and bring a lot of value to both sides.
L.P.: And they give us the feeling that what we are doing is not isolated, but part of a broader movement of independence in culture. It is worth paying attention to, because it shows that it is possible to think about alternative ways of operating and shaping a system that is more friendly to its participants.
FRINGE Warszawa
September 24 – 28, 2025
