Akademia Ruchu. City. The Field of Action 18.02

Akademia Ruchu. City. The Field of Action 18.02

Press release Centre for Contemporary Art Ujazdowski Castle, Warsaw
self-presentation: Akademia Ruchu. City. The Field of Action
18.02-29.04.12
Curator: Wojciech Krukowski
Scientific committee: Anda Rottenberg, Ryszard W. Kluszczyński, Łukasz Ronduda
Projects accompanying the exhibition:
Chinese Lesson, spektacle by Akademia Ruchu
CCA Laboratory: Saturday 18 February 2012, Saturday 21 April 2012, 7 p.m.
Lost Banners, performance by Janusz Bałdyga,
CCA Laboratory CSW: Monday 27 February 2012, 7 p.m.
Essay II, action by Akademia Ruchu
CCA Laboratory: Saturday 10 March 2012, 7 p.m.
From the Road, performance by Jolanta Krukowska,
CCA Laboratory: Saturday 24 March 2012, 7 p.m.
Akademia Ruchu, screening ot the film by Andrzej Sapija
Kino.Lab: Monday 20 February 2012, 6.30 p.m.
Individual presentations by the members of Akademia Ruchu
as part of the program of The Akademia Ruchu Studio in M2 gallery at the CCA
1 Introduction
Akademia Ruchu’s presentation in April 1975 of the Bus performance marked the closing of
the first stage of experimentation in the field of visual theatre.
The way the performers were arranged was inspired by Bronisław W. Linke’s painting of the
same title, as was the piece’s message, which expressed a condition of dehumanisation of a
society subjected to various restrictions.
The extreme nature of that stage (or gallery) performance necessitated searching for a new
field of experience by, among other things, taking further the practice, initiated in 1974, of
operating in public space, as a parallel, and often dominant, form of Akademia Ruchu’s
creative and critical activity.
Thus Akademia Ruchu became Poland’s first artistic collective to regularly carry out from July
1975 critically-oriented urban-space actions on a scale incomparable, at least until the mid1980s, with other similar initiatives.
To date, the collective have created over two hundred and fifty urban projects, carrying out
about six hundred performances in Poland and abroad. The exhibition City. The Field of
Action includes filmic and photographic documentation of seventy projects realised in Poland
or (in four cases) of projects realised abroad but referring to Poland’s socio-political situation.
Historical 1970s 16mm recordings have been transferred to video while retaining the original
quality. Akademia’s practices from the era generally did not respect public-order or
censorship regulations and the hidden-camera recordings have retained a ‘frontline’ feel.
Importantly, the documented performances were neither staged for camera nor (as in the
case of most 1970s and 1980s projects) were they publicly pre-announced. Instead, they
blended in with the surrounding reality or emerged significantly from it. Their viewers – and
often also participants and co-authors – were the residents and passers-by of places like
Warsaw, Ciechanów, Łódź, Świnoujście, Olsztyn, Ostróda or Wetlina.
The exhibition, which forms the bulk of Akademia’s presentation, is complemented by a
‘studio’ programme in the M-2 underground space, presenting concise information on the
group’s other forms of activity, such as screenings of filmic documentations of onstage and
gallery-space performances, a reading room of unique 1980s publications, a documentation
of the art centres run by Akademia Ruchu during its career as well as a permanent (from 18
February through 29 April) continuation of the exhibition’s opening reception, overseen by the
AR members running a buffet at the ‘studio’.
Exhibition Plan
The exhibition plan comprises three segments, documenting practices that share the
chronology of the successive historical-political stages (1970s, 1980s, and 1990-2011) and
the specificity of the main issues being addressed.
The exhibition’s first segment, opened by a screening of the documentation of an open-air
version of Bus, covers Akademia Ruchu’s early performances (1975-1976), which were
designed as anonymous interventions alluding to the era’s growing socio-political tensions
(controversial constitutional amendments, the worker protests in Ursus and Radom). These
actions aimed to counter the official, static image of reality, to awaken (animate) its
participants’ awareness, inspiring and provoking an active and critical observation. They
culminated in the Europe performance, which was a clear manifestation of a distinct artistic
attitude, appropriating the regime’s rhetoric of communicating with the public via slogans and
banners in a bid to restore the credibility of social expression.
2 From the late 1970s, these practices, often perceived as a sort of ‘urban guerrilla’, underwent
an evolution from being anonymous to revealing the adopted role to the viewer and achieving
a situation where they become the event’s participant or even co-author. Examples include
projects from the House and City series, the realisation of which required members of those
communities to adopt a position of conscious participation.
The 1970s
The Bus, Warsaw (1975)
Bus II, Wetlina (1975)
Stumble, Ciechanów, Świnoujście, Łódź, Warsaw (1975, 1977)
Stumble II, Warsaw, Łódź (1977)
Europe, Warsaw (1976)
Tower II, Konin, Warsaw, Lublin, Łódź (1976)
Vigil, Ciechanów, Warsaw, Świnoujście (1975, 1976)
Newspapers, Warsaw, Łodź (1977)
Gates, Łódź (1977)
Queues – Meat Shops
Queue going to nowhere, Łódź (1977)
Queue going out of the shop, Świnoujście (1976), Łódź (1977)
Pedestrianism, Świnoujście (1977)
Hope, Oleśnica (1978)
Happy Day, Warsaw (December 1976)
Herbarium, Warsaw (1980)
Terrarium Homine, Świnoujście (1977)
Man and his things, Santarcangelo di Romagna (1978)
Street Theatre, Oleśnica (1978)
Urban Theatre, Łódź (1977)
Collection – Polish faces, Warsaw (1979)
Windows – Buses, Trams, Łódź (1977)
Red and white, Warsaw (1978)
Vigil II, Świnoujście (1977)
House I, Lublin (1978)
Movies on House Walls / Street Cinema I, Łódź (1977)
3 House III, Oleśnica (1978)
House V, Łódź (1979)
The Polish Table, Verucchio (1979)
Table, Quern (1989)
Protective Coloration, Rozalin (1977)
The 1980s.
The exhibition’s second segment presents the moment when Akademia Ruchu adopted a
clear-cut position towards the ongoing confrontation between the regime and the people (the
Solidarity ‘carnival’ of 1980-1981, martial law and its consequences). Since the possibilities
of filmic documentation were highly limited at the time, photographs form the vast majority of
the preserved iconographic material.
Street Cinema IV, Warsaw (1983)
Excursion, Warsaw (1978)
Justice is the Mainstay, Warsaw (1980)
Wreath, Warsaw (1981)
Warszawa Gdańska I, Warsaw (December 1976)
Warszawa Gdańska II, Warsaw (1980)
Street Cinema V, Warsaw (1983)
Seasonal Island/Red Grain, Katowice, Faenza (1986)
O-la, Poznań, Warsaw (1988)
House IV. Foksal, Warsaw (1986)
House VII. Świerczewskiego Street, Warsaw (1987)
Stradosphere I, Santarcangelo di Romagna (1984)
The 1990s – 2011
The third segment is both the result of the introduction of new means of documentation –
video – as well as an attempt to demonstrate how, in the new situation, the previous attitude
of political defiance evolves into a discourse related to the political, economic and cultural
changes taking place in Poland and Europe in the wake of the fall of communism.
The active practice of the period is characterised by a sharp increase in the proportion of preannounced – and often repeatable – events that follow a formula which Elisabeth Jappe,
when she invited Akademia to join Documenta 8 in Kassel in 1987, described as situated
between ‘expanded performance’ and ‘theatrical action’. In this case, the principle of
audience co-participation and co-authorship is treated as an important argument on behalf of
public-space practice.
4 Polish Voices, Poznań (1993)
Spiritual Feasts, Poznań (1993)
Army, Warsaw (1991)
Poetry, Warsaw (MDM), Perigeux, Chicago, Leningrad (1988)
Translation Agency, Warsaw (1999)
Battleship Potemkin, Poznań (Malta), Warsaw (1997)
Will. Advantage. Power, Warsaw, Cracow, Olecko (1999)
Poem, Ostróda (1995)
Thousands of Heands, Warsaw, Bytom, Toruń (2001)
How We dream about having had lived. Only one hour, Poznań (2003)
Dialogue / Signature, Verucchio, Warsaw, Lublin (2008)
Clearly. In Silence, Warsaw, Frankfurt, Słubice, Carrara, Sejny, Targoviste, Szczecin,
Budapest (2006-2011)
Miracle Field, Bytom, Lublin (2010)
Defence, Warsaw (2010)
Living room. Making Peace, Lublin 2010
Walk of Fame, Łódź (2011)
Essay IV, Warsaw (2008)
Essay II, Warsaw (2009)
Centre of Europe, Poznań (2010), Łódź (September 2011), Warsaw (October 2011)
Anda Rottenberg
A Critical View of Reality
The panorama of Polish art of the last two decades has been dominated by all kinds of
artistic interventions in the public sphere. Analysing the phenomenon, we seldom mention
the work of Akademia Ruchu as something that preceded the movement, blazed a difficult
trail and made the public familiar with the subject. Only by looking back to the 1970s can we
appreciate once unobvious ties between the two formations. While Akademia’s practice is
rooted in the theatre tradition and the work of the ‘critical’ generation stems from visual-arts
education, both traditions have often met on the ground of conceptual performative practices.
Let us add that since the early 1990s, such encounters have often taken place at Warsaw’s
5 Centre for Contemporary Art at Ujazdowski Castle, run until recently by Akademia’s founder,
Wojciech Krukowski.
Yet it is not performativity itself that creates a link between the contemporary classics of
critical art and Akademia, but the social vector of their concerns. Focused on the burning
issues of the transformation period, on groups and individuals excluded by the current
system, they failed to notice practices aimed against the previous regime, which plagued the
earlier generation. It is worth noting, however, that Akademia Ruchu’s stage or street
performances, taking place at various cities and venues (Dziekanka, Teatr Studio, Galeria
Współczesna), were often of a similar – interventionist and critical – nature. Some, such as
the famous Bus, inspired by Bronisław W. Linke’s iconic painting, contented themselves with
creating tableaux vivants. Others alluded to highly topical historical facts (Everyday Life After
the French Revolution) or to social rituals unwelcome by the authorities (Night Vigil). The
street interventions were aimed usually at shaking the passers-by out of their daily routine
and pulling them into another, more festive reality by using very simple means of elementary
contrast and colour symbolism: colourfully dressed persons appearing in the midst of the
drab crowd, trays full of exotic foods displayed near shop queues, ‘volunteer workers’ wiping
bus windows. Such ‘festive’ interventions alternated with tautological repetitions of typical
street scenes: the formation of shop queues or silent gateway surveillance. One highly
moving performance was the staging of Anatol Stern’s prewar poem Europe on the night
preceding the Christmas Eve of 1979, in front of the Palace of Culture, with teeming crowds
of shoppers across the street. Warsaw was frost-bound and covered by heaps of snow.
Illuminated by car lights, figures of poorly dressed people appeared holding banners with the
successive words of the Stern poem: ‘We, who eat meat once a month...’ It needs to be
remembered that the commodity’s scarcity meant that ‘meat’ was an unprintable word those
days. Two years later, tanks rolled out onto the streets as martial law was announced.
Expressing civil-disobedience attitudes consistent with the broad social feeling, Akademia
Ruchu’s public-sphere interventions at the time were usually occasional, ephemeral
appearances, viewed by small audiences. The street lived and breathed more spectacular
events: strikes, street demonstrations, skirmishes with the police, arrests. This dramatic
context overshadowed Akademia’s many years of practice in the focus of collective memory.
The dozens of larger or smaller performances weren’t engraved in the viewers’ and critics’
minds to a degree that would justify comparisons with the much better documented, well
publicised (including by the scandal-seeking press) and often non-ephemeral works of the
younger generation. The current survey of Akademia’s forty years of practice should help to
bring it back from near-oblivion and contribute to developing a new research perspective.
Ryszard W. Kluszczyński
Interventions, Provocations, Mise-en-Scenes, Initiations. Akademia Ruchu in Public
Space
Akademia Ruchu is a theatre group that seems never to have been fully satisfied with the
stage as a place of creative work, as an environment in which actors, immersed in their own
reality, build a show for the audience. For an audience that, in conventional theatre at least,
is separated from the actors not only by the way the show space is organised, which usually
clearly confronts the stage and the viewers, but also, more importantly, by a mental barrier
that is extremely hard to challenge, let alone overcome – an aesthetically determined
psychological distance. The spectacle’s audience always remains in its own world, as distinct
and impenetrable from outside as it itself perceives the onstage reality created by the actors.
The relationships between the two are shaped by stage techniques and theatrical
conventions, which create a platform of communication and shared experience, but do not
cancel or even call into question the fundamental distance between the two completely
separate worlds. Political theatre strategies, from Brecht and Piscator through Beck, Malina
6 or Schumann to Polesch, have always, though using completely different means, strove to
problematise the boundary, to pull the audience into a shared discourse, seldom, however,
building a common meeting place in the process. It usually remains just an abstract place of
art. The effort to create a discursive community is thus not accompanied there by a parallel
desire to create the common space of a theatrical event. The latter aspect tells us a lot about
the condition, surprising in its permanence despite its obvious evolution, of the stage in the
contemporary culture of participation.
While I wrote above that the stage does not seem to have been Akademia Ruchu’s preferred
environment, I cannot fail to notice that some of their theatrical works form a peculiar, closed
stage structure, oriented towards its own discourse, sometimes perfectly autotelic. But even
in such cases one can clearly see in the group’s work an effort to move beyond the space of
the onstage sacrum, to locate such spectacles in various non-theatrical spaces. One can see
in this the effect of an intermedia dialogue between theatre and the visual arts, a dialogue
often and rightly identified in Akademia’s strategy, but one can also notice in such practices
the group’s desire to break out of stage conventions, to find a right place for their work in
public spaces, to develop a different kind of relationship with their audience.
Akademia Ruchu’s numerous and extremely interesting actions in non-theatrical and nongallery spaces establish with their recipients contact far more direct than in traditional forms
of theatre. Firstly because they directly reach places of everyday life, streets, human abodes.
Numerous interventions, very often of a provocative, political nature, such as forming
subversive, opposite-direction shop queues, happenings, introducing colourful figures and
events into the drab reality of People’s Poland, unfolded and caused their consequences
precisely there, in the recipients’ world, becoming its temporary, but consequence-rich part.
Secondly, those interventions and provocations were also accompanied by mise-en-scene,
presentational events such as screening footage recorded inside people’s homes on the
walls of the houses they lived in. Such projections transferred private spaces, intimate
environments, and personalised actions into outside, public space. Practices of this kind built
very close relationships between the artists and the recipients, often turning the latter into coparticipants. And finally, something that is particularly important in the context being
discussed here, Akademia Ruchu’s works incorporate also elements of community-engaged
art, as in the case of projects, carried out in several cities in Poland, where the artists
together with the residents of selected apartment buildings built slogans competitive towards
official, ideological messages. In such practices, the AR artists imperceptibly became only
helpers and advisers of their ever more autonomous partners – until recently just viewers,
now the event’s co-participants and co-authors. In doing this, they played an initiating role,
inspiring or triggering off their partners’ desire for creativity activity. The boundaries between
such practices’ artistic, social and political aspects became blurry, the different components
overlapping and interpenetrating, building a forerunner, very contemporary hybrid version of
artistic activism.
All these strategies: interventions, provocations, mise-en-scenes and initiations are present
in Akademia Ruchu’s practice, lending it an extremely interesting and, from today’s point of
view, pioneering quality. We will find there not only public-space happenings and
performance pieces, but also numerous elements of critical art and no less frequent
anticipations of community art. This means that the established visions and hierarchies of
Polish contemporary art will need to be fundamentally rethought.
Łukasz Ronduda
Against the Marginalization of the Art Discourse
The emergence of the artistic formula represented by Akademia Ruchu was related to a
process of the ‘theatricalization of the plastic arts’ taking place in minimalism. Michael Fried,
7 an advocate of modernism, originally diagnosed and described the process with the intention
of repudiating it. Later, however, postmodern critics such as Craig Owens or Hal Foster
adopted Fried’s terminology in order to present the ‘theatricality’ as an important trend for the
development of the visual arts. In their writings, it was the key to understanding the essence
of the revaluation of the modernist artistic paradigm and the emergence of postmodern art
strategies. These strategies included introducing temporal categories to the visual arts, until
then perceived as mainly ‘spatial’, and were based on dynamic, intermedial crossing of
boundaries between artistic disciplines and life, on appreciating the significance of analysing
the process of artistic communication, and on the idea of a conscious artistic strategy rather
then unreflective ‘creative frenzy’.
The Akademia Ruchu artists have been operating at the interface of art and daily life since
the 1970s. Rather than striving to equate one with the other (in keeping with the avantgarde’s radical postulates), they study the specificity of their difference. They are interested
in the problem of translation, of rendering meaning between the two languages. Testing the
language of art and the language of the everyday involves in their case introducing to the
field of theatre ordinary gestures, charged with the connotations of their social applications.
According to the AR artists, this virtually anthropological process is related to the need for
‘noticing the value of the interpenetration of art and life. Not in repeating daily life, but in
appreciating its often unappreciated meaning, in the structures, rhythms and tensions
comprising a model of the activity that fills the space of shared experiences, games,
communication’.[1] For Akademia Ruchu, the simplest gestures often repeated in public
space are natural (independent of politics or ideology) mechanisms of the self-regulation of
social life – its silent binding agent.
Since the very beginning, Akademia’s practice has been marked by a desire to create
specific political metaphors. The collective are aware that even what is supposed to be a
purely formal gesture is never devoid of an ‘order of meaning’. Akademia Ruchu strives to
gain control, as it were, of the process of the inevitable textualization of its own practice, in an
effort to subordinate the creation of formal signs to socio-political commentary. The group’s
Urban Actions show that from the 1970s (and especially when compared with the thendominant apolitical and asocial modernist art), Akademia was one of the first Polish artistic
collectives to consistently pursue the trope of the ‘politicization of aesthetics’. This was and
continues to be manifested to this day in creating unique, aesthetically distinct performative
political allegories, firmly rooted in the artistic tradition, referring directly to Poland’s current
social condition but devoid of any aggressive politicking.
The number of performances and actions carried out by Akademia Ruchu in public space so
far – about six hundred – is amazing. Whereas many Polish artists have contented
themselves with only brief, ephemeral interventions and happenings, AR’s urban actions
reflect a consistent and lasting (the only one on this scale) artistic presence in Poland’s
public space. The collective’s urban actions are geared towards discovering ever new modes
of art’s functioning in society, towards opening ever new fields of artistic communication. The
artistic formula pursued by Akademia is based on confidence in, and respect for, the public,
which the artists collaborate with, on opening themselves towards the different ways in which
people perceive and describe the world, on initiating forms of behaviour that reinforce social
bonds and strengthen the community’s self-representation and self-organisation, and on
building creative social capital, devoid of fear of the Other and outside influence. The
collective have developed an artistic formula that is comprehensible for ordinary people,
inspires their confidence, and yet adheres to high artistic standards. Akademia Ruchu’s
practice strives to overcome the alienation, elitism and, consequently, marginalization of the
art discourse, causing its statements to directly influence ordinary people as well as
satisfying art professionals’ elevated expectations.
8 [1] Wojciech Krukowski, Prace miejskie AR, unpublished text of lecture for the Arka theatre
group (‘Dąbrówka’ Culture Club), 8 April 1988, in the archive of the CCA Information and
Documentation Department.
History
Akademia Ruchu theatre was founded in Warsaw in 1973, with Wojciech Krukowski as
founder and art director. Since the very beginning, it has been known as ‘theatre of
behaviour’ and visual narration. The group’s practice combines the disciplines of theatre,
visual arts, performance and film, focusing on the shared qualities of movement, space, and
social message. This is connected with a sense that artistic radicalism and social meaning do
not have to be mutually exclusive. Akademia Ruchu’s public-space work, pursued
continuously since 1974 (about five hundred performances, events and street actions), is the
first example in Poland of such a systematic creative practice – outside the official
institutional framework – in ‘non-artistic’ space: on the streets, at private homes, in industrial
spaces. On the other hand, transferring elements of the everyday reality in unchanged form
into the ‘holy’ space of art (onto the stage, into the gallery) has served to enrich its
anthropological vision without in any way impoverishing the aesthetic one.
Akademia Ruchu has presented its work in almost all countries of Europe as well as in both
Americas and Japan as part of tours and major theatre festivals. e.g. at the Institute of
Contemporary Art (ICA) in London, documenta 8 in Kassel, NRL Live Art in Glasgow,
Museum PS1/Clocktower Gallery in New York, Ludwig Forum in Aachen, Los Angeles
Contemporary Art Exhibition (LACE), Museum of Modern Art in Yokohama or the Walker Art
Center in Minneapolis.
The group
Akademia Ruchu today comprises eight members who have worked continuously with each
other for over thirty years, participating in all of the collective’s projects.
Artistic director: Wojciech Krukowski
Group: Janusz Bałdyga, Jolanta Krukowska, Cezary Marczak, Zbigniew Olkiewicz,
Krzysztof Żwirblis, Jarosław Żwirblis, Jan Pieniążek.
The ‘historical’ group that pursued the above-described larger-scale actions in the 1970s
included also Andrzej Borkowski, Andrzej Komorowski, Jonasz Konderski, Aleksandra
Lompart, Maria Pieniążek, Grażyna Skibińska, Marta Sutkowska, Hanna Tomaszewska.
Later the ensemble collaborated also for some time with Joanna Krzysztoń, Gabriela
Ligenza, Maciej Skalski, Jerzy Kapuściński, Ryszard Kawalec, Piotr Rypson.
Janusz Bałdyga has graduated from the Warsaw Academy of Fine Arts. Co-author of the
program of the Pracownia Dziekanka culture centre. Member of Akademia Ruchu since
1976. As part of his individual artistic practice, he creates installations and performances,
regularly participating in domestic and international presentations. 1990-1992 curator of the
‘Performance Art’ program at the CCA Ujazdowski Castle in Warsaw. He runs a workshop
called The Conditions of Visual Communication, based on his own, unique method, as well
as pursuing art-school didactic work. Since 2009, chair of the Performance Art Studio at the
University of Fine Arts in Poznań.
Jolanta Krukowska – member of Akademia Ruchu since 1973. She runs workshops on
body awareness and actor physical training in Poland and abroad as well as carrying out
performances presented in Poland and at international theatre festivals.
9 Wojciech Krukowski – art historian, Akademia Ruchu’s founder, artistic director, and
coordinator. Organiser of the Dziekanka Centre of Artistic Communities and co-founder of
Pracownia Dziekanka. Initiator of the art magazine Obieg. Organiser and animator of the
Tęcza Cinema/Theatre (1989-1992). Director and organiser of the Centre for Contemporary
Art Ujazdowski Castle (1990-2010).
Cezary Marczak – member of Akademia Ruchu since 1973. A landscape architect by
profession, he pursues various projects in this field as well as creating biological installations
as part of artistic and promotional projects.
Zbigniew Olkiewicz – member of Akademia Ruchu since 1974. Since 1982 he has also
pursued an individual program of artistic activity in the field of performance art, visual action
as well as theatre and promotional projects in Poland and abroad.
Jan Pieniążek – member of Akademia Ruchu since 1973, responsible for technical support
and, in large part, for the audio material used in the spectacles and actions. Author of
photographic and filmic documentation of AR’s early work. Since 1993, he has pursued his
own program of creating mobile sound-and-image installations.
Jarosław Żwirblis – member of Akademia Ruchu since 1976, responsible for technical
support. 1979-1981 collaborator of the samizdat publishing house Niezależna Oficyna
Wydawnicza NOWA. Animator and coordinator of the program of the Tęcza Cinema/Theatre
(1992-1997). Sound and light producer for various musical and theatre projects.
Krzysztof Żwirblis – art historian, critic, and exhibition curator. Member of Akademia Ruchu
since 1976. Since 1998, he has pursued an individual program of urban-space lectures and
actions that combine visual action with social initiative. 1992-1997 curated the Akademia
Ruchu Gallery at the Tęcza Cinema/Theatre. Curator of Galeria Studio in Warsaw since
2007.
Film documentation: Jan Pieniążek and Janusz Bałdyga, Cezary Chojnowski,Paweł Kwiek,
Władysław Grochowski, Jerzy Karpiński, Jędrzej Jaworski, Andrzej Sapija, Marek Szumski,
Mariusz Szachowski
Photographic documentation: Jan Pieniążek and Stefan Okołowicz, Katarzyna Górna,
Mariusz Michalski
Archival films editing: Cezary Chojnowski
Consultation, graphic nad photographic material elaboration: Kuba Bąkowski
Translation and editing: Marcin Wawrzyńczak
Graphic design: Grzegorz Laszuk
Redaction: Kacha Szaniawska
Exhibition organised by the Centre for Contemporary Art Ujazdowski Castle in co-operation
with teh Friends of Akademia Ruchu
Association due to the kind finantial support of the Ministry od Culture and National Heritage
and the Board of The City of Warsaw
Media patrons: Gazeta Wyborcza, Aktivist, Exklusiv, Stolica, Elle Decoration 10