The TOP CHARITY 2024 Auction, which was held June 8th by the Omenaa Foundation Polska, was a resounding success, raising $11.5 million, the highest amount for a charity event in Europe. The event featured prominent figures from the art and business worlds, including Anda Rottenberg and Phyllis Newhouse, Anja Rubik. The funds will support young talents and educational needs of children from care and education establishments across Poland, street children in Africa and organisations providing psychological aid to Ukrainian women refugees and their children.
We meet Omenaa Mensah two months before she begins her course at the prestigious Royal College of Art in London and Sotheby’s Institute of Art. She tells me about the TOP CHARITY auction’s goals, her dedication to charity work, her passion for art, and her future plans.
Julia Gorlewska: This year marks the 10th anniversary of Omenaa Foundation. How has your vision of charity work changed and evolved over the years? What was the most memorable moment? What surprised you the most? How did you envision your work ten years ago, and have you managed to bring that vision to life?
Omenaa Mensah: We’ve travelled a long and bumpy road, so I’m happy with where we are now. I always stress that running a Foundation is not different from running a business, except for one key thing: instead of maximising profits, we aim to improve lives of those in need. This is the most rewarding aspect for me. We’ve helped 30,000 people so far, so one could say we made a small town, one like Swarzędz, where I spent part of my childhood, happy. I must admit that the first stage of running the Foundation was a challenging period for me. I thought that being a public figure and wanting to help would be enough, but it was a lesson of humility. I realised that all important things in life need time and cannot be rushed, no matter our efforts. It’s similar to artists creating their work. If they take it seriously, use quality materials, and take the necessary time, they are likely to create something spectacular. If not, their chances of success are slim.
J.G.: The TOP CHARITY 2024 Auction, held on June 8th, was an outstanding success. You invited Ewa Juszkiewicz, one of the most renowned artists of the new generation, and iconic curator and art historian Anda Rottenberg to collaborate with you. Both are very selective about their collaboration offers. What attracts such distinguished figures to your projects?
O.M.: I have one simple rule in my life – if I commit to a project, it is always hundred percent and with utmost respect. From the outset of Omenaa Foundation’s operations, I understood that achieving my objectives required a focus on top quality and professionals. I am not afraid to ask questions, always aiming high, without limitations. I believe that unless I put forward initiatives and fight for my vision beliefs, I will have regrets. As for the TOP CHARITY Auction, my mission was to ensure premium quality in our works for donors and guests, making them a sound business investment on top of their aesthetic value. I want our stakeholders to feel valued and respected, qualities often lacking in the Polish art market in my opinion. That led us to establish the Artistic Council, tasked with selecting works. In our initial two editions, we collaborated with the current Minister of Culture and National Heritage, Hanna Wróblewska, and Prof. Adam Myjak, sculptor and Rector of the Academy of Fine Arts in Warsaw.
J.G.: Kindness draws kind people, is that the essence?
O.M.: Exactly. Helping and art are my passions, and I’m thrilled to have merged them. I strive for continuous growth, seeking inspiration through travel. I hold Ewa Juszkiewicz in high regard and longed to add one of her paintings to my collection. At Art Basel, we got her Louis Vuitton bag for auction, using it as a conversation starter. She agreed for a meeting during which I shared the Foundation’s mission and its significance to me. Ewa came forward to join the project, and a face-to-face meeting with her became one of the highlights on the auction agenda. As we became acquainted, her painting from our collection was showcased as part of the “Locks With Leaves and Swelling Buds” exhibition organised at Venice Biennale by ABA Fundación Almine y Bernard Ruiz-Picasso (Picasso’s grandson). I had a chance to meet wonderful, inspiring people there. I must admit that it was a bit more difficult with Anda Rottenberg, who is more selective in her cooperation proposals and critical. To be honest, our beginnings were not easy, but we eventually found common ground. She told me something beautiful: she said that my passion made it impossible to say no to me. I believe there’s truth in that!
J.G.: The pre-auction exhibition was organised at the Orangery of the Palace at Wilanów. Additionally, each year, you erect an art installation in the courtyard where the charity ball takes place. Could you elaborate on the inception of this project? Why did you decide to collaborate with this institution?
O.M.: It’s quite straightforward. It is a beautiful place that deserves promotion and encouragement for everyone to visit. Both the Palace itself and the Orangery hold sentimental value for me, and like the beneficiaries of my Foundation, they require support and care. By hosting our auction and exhibition there, we wanted to show how historic venues create a fantastic atmosphere for contemporary art and cultural events. In 2023, we welcomed nearly 50 thousand visitors, and this year saw an increase to 70 thousand. I’ve always believed in making art accessible to everyone, not just the privileged few, and achieving this goal has been incredibly fulfiling. I always say that preserving cultural heritage is a cornerstone of the OmenaArt Foundation. Therefore, a portion of the funds raised during the TOP CHARITY Auction is dedicated to the restoration of heritage sites. Thanks to these efforts, we’ve renovated a wing of the Northern Gallery of the Palace at Wilanów, soon to open to visitors.
J.G.: Let’s revisit the TOP CHARITY 2024 Auction. You achieved a $11.5 million, making it the most successful auction of artworks in the Great Emotions category in Europe. Could you tell me more about the ideas behind the auction?
O.M.: As I mentioned earlier, we established Artistic Council responsible for selecting works for the auction. It features Iwona Büchner-Grzesiak, President of Polswiss Art Auction House; Kama Zboralska, Art Director of the Warsaw Art Fair and creator of such art rankings like the Young Art Compass; Boris Kudlička, curator of the Space & Time exhibition and educational programme at LuginsLand of Art; Rafał Kamecki, President of Artinfo.pl; and myself. Our criteria focused on the aesthetic value, technical skill, and market position of a given artist, as well as their international experience. Anda Rottenberg’s contribution was distinct; she selected five artists who represented Poland at the Venice Biennale of Architecture and Art between 1990 and 2022. The auction of those works alone raised 256 000 $. These funds will be donated toward scholarships for young creatives from eight art universities in Poland and the art faculty in Kumasi, West Africa, one of the oldest in the region. Polish artists, together with Anda and myself, will determine how these funds are distributed.
J.G.: What works did you curate for the main exhibition at the Orangery titled “The Window to the World”?
O.M.: The exhibition features a blend of classics and new generations artists. We acquired works by Wojciech Fangor, Magdalena Abakanowicz, and Igor Mitoraj, whose sculpture was auctioned off for a remarkable nearly 1.8 million $. The most expensive work by a living artist was a relief from Igor Dobrowolski’s “Tyrranical Side” series, purchased by a foreign collector for a record-breaking 217,000 $. I’m an admirer of Igor’s especially this particular piece. It is unique not only for aesthetic or technical reasons but primarily for its thematic depth. The relief refers to social inequality between the worlds of the poor and the wealthy, which naturally resonates with the philosophy of our Foundation. This is precisely why Igor’s work was displayed at the heart of the exhibition. It also symbolically reflects the generational shift in both art and business circles. Young entrepreneurs today wish to share their wealth, support the vulnerable, and step outside their social spheres. The works by Bartek Kokosiński, Marcin Maciejowski or Maurycy Gomulicki were also exhibited at the auction, offering an interpretation of the latest trends in Polish contemporary art. In this regard, our initiative also serve an educational purpose, aiming to promote these artists not only within Poland but also abroad.
J.G.: However, this art is not always easily understandable, particularly for international audiences.
O.M.: That’s right. Contemporary art, especially conceptual, often requires curatorial insight to clarify specific contexts, which makes it seem challenging. I recall discussing the purchase of Monika Sosnowska’s work for our collection with my husband. In my view, she stands out as one of the most significant artists of the new generation whose sculptures and spatial installations explore themes intertwines with architecture and urban planning. Art is acquired for many reasons, often driven by aesthetic appeal. Appetite comes with eating, and as one delves deeper, we expect more. I search for storytelling that prompts reflection in art. This is why I invest in educators who talk about our collections, share insights, discuss key issues and dispel misconceptions. We want art to be accessible to all. An example of this was our invitation for Ida Karkoszka to Malta for our residency, LuginsLand of Art. Over three months, she crafted a sculpture from local stone. It was extraordinary to observe her work. She made me realise how extremely resilient stone is, and how much artistic skill and perseverance it requires. Respect for labour and conscientious approach to the world are evident in every aspect of our endeavours. For instance, 40% of the stage design in our art installation for the TOP CHARITY Auction incorporated materials recycled from previous editions. This demonstrates our commitment to environmental stewardship.
J.G.: Since you’ve mentioned the art installation at the Palace, could you elaborate on the origins of the project?
O.M.: The exhibition at the Orangery was curated by Boris Kudlička, a stage designer, architect and a longtime collaborator of ours. The exhibition was conceived in conjuction to our art space, LuginsLand of Art in Malta. The stage design for the TOP CHARITY Auction, which earned the Luxury Lifestyle Award for Best Luxury Auction Event, was crafted by Art Direction & Set Design Katarzyna Konkowska over eight months. Last year’s TOP CHARITY Auction drew inspiration from Italian Baroque gardens, whereas this year’s theme focused on the Orient in the Baroque style. This choice was influenced by Jan III Sobieski’s admiration for oriental art; he was the one to initiate the construction of the Palace at Wilanów. Concurrently with the launch of the construction projects, we began strategizing the communication and promotion of the event. Our aim for the auction was to bring the undervalued history of the Orient closer to the audience.
J.G.: Can you say a bit about where the funds will be allocated?
O.M.: Primarily, they will support education and aid for children in institutional care in Poland, our beneficiaries from Ukraine, and a construction of a sports complex for street children in Ghana, adjacent to our Kids Haven School. Funds will be also be allocated to the maintenance of RiO Edu Centrum. As already announced, 30% will be directed to the Philanthropic Consortium, which has backed over 30 projects by various foundations, primarily focused on education and health. In 2023, we donated nearly 1,5 million $ to numerous organisations, and this year, we plan to double that. Our priority for this edition is to support children’s mental health through interactive camps, trips, summer camps, and by providing psychological counselling. We are also planning to launch a health and sex education project in collaboration with Anja Rubik and the Sexed.pl Foundation. Our reach is expanding across Europe; last year, we partnered with Andrea Bocelli’s Foundation, and we are now planning a project with Rafael Nadal’s Foundation.
J.G. And your plans don’t end there, do they?
O.M.: It’s only the beginning (laughter), and we’re not slowing down. We’ve been doing charity work in Africa since the foundation was established: in addition to the sports complex in Ghana, we plan to build an art residency there to give more Polish and foreign artists the opportunity to visit this beautiful country and immerse themselves in its incredibly inspiring culture.
J.G.: You’ve mentioned Malta. During this year’s Maltabiennale.art 2024, visitors had the opportunity to explore your exhibition pavilion, prepared by OmenaArt Foundation. How do you remember the event?
O.M.: I usually immerse myself fully in every project, but in this case, I left everything to the professionals. Hanna Wróblewska authored the curatorial vision, brought to life and completed by Natalia Bradbury, the head of our art department. My involvement was limited to hiring the magnificent Ida Karkoszka, to whom I offered the art residency. She spent three months in Malta, working on her sculpture, which will be moved from Fort St Elmo to another spectacular location on the island. Our objective is to promote Polish art abroad, and participating in the Malta Biennale was a perfect opportunity. It’s worth mentioning how we got there in the first place. When I found out about the competition as part of the Malta Biennale, I immediately had my team submit an application. It was a bit confusing to them because I asked them not only to apply for the theme-specific Pavilion, but also for the accompanying exhibition. Ultimately, we succeeded and were qualified for both events. I’m very proud of that, as our application was selected from over two thousand submissions.
J.G.: The exhibition titled “Other Geographies, Other Stories” featured works by five distinct women who managed to weave a coherent narrative through their art. What were the visitors’ reactions to these Polish artists’ work?
O.M.: I’m very pleased that our pavilion focused solely on female artists’ works. For me, it was also a great opportunity to explore the art of Barbara Falender, Iza Jagiełło, Aleksandra Karpowicz, Ida Karkoszka and Ukrainian artist Lia Dostlieva. There is no single way to interpret her works, because she touches on complex themes rooted in trauma and postmemory. Our pavilion evoked a wide range of emotions, including extreme ones. The fact that we juxtaposed works by generationally-dissonant might seem controversial, but they all got along really well. Despite their differences, their art shares common threads, such as history and social circumstances. Our decision to participate in the Biennale came from a desire to promote Polish art on the international stage, exchange experiences, and break down social or cultural barriers. And we succeeded!
J.G.: Alongside the exhibition at the Biennale, you launched another large-scale project called LuginsLand of Art. What’s the story behind this name?
O.M.: In Old German, Luginsland translates to “look at this beautiful land”. It is a historical building undergoing a revival process. Initially intended for leisure, we decided to establish an art residency within part of the space. The first artists, Monika Falkus among them, are set to arrive there in September. Malta holds significant personal importance for me, so I’d like to forge a close partnership with the Maltese Ministry of Culture. Interestingly, there’s a Maltese cross statue at Wilanów Palace, revealing our numerous cultural ties.
J.G.: How did you come up with the idea of merging charity work and art?
O.M.: They say that if you do what you love, you never work a day in your life. This holds true for me. Charity and art are my passions, which is why I’m always fully committed. I can be uncompromising and perhaps overly optimistic at times, but I believe these traits have brought me to where I am today. TOP CHARITY is the greatest charity auction in Europe and it’s still surreal to think we achieved such success in just three years. It demanded hard work and wasn’t always fun, but we did it, and it’s a success shared by every team member whose dedication has consistently brought my vision to fruition. I understand that a lot of people criticise the publicity surrounding my work, but the reality is, without it, we wouldn’t have raised even half of the funds we have today. It’s inconsequential to me anyway. What truly matters is our ability to make a difference, to positively impact a lot of lives, and to influence the European art market. The results speak for themselves.
J.G.: Why is helping openly worthwhile?
O.M.: As I’ve mentioned before, there has been a generational shift, with young entrepreneurs eager to help and share their profits. They need guidance on how to do this effectively, and that’s exactly what we do. Similar principles apply to other large-scale charity initiatives, such as the Great Orchestra of Christmas Charity or amfAR Gala. Note that Jerzy Owsiak’s success lies in his vocal advocacy for his initiative, inspiring countless Polish citizens to take action. While supporting others quietly is commendable, aiming high requires widespread support for our projects. I always say that quality demonstrates respect, and this principle guides everything I undertake. This approach has shaped every aspect of the TOP CHARITY Auction, allowing us to create an exceptional event that merges art and commerce not only in Poland but across Europe.
