Gunia Nowik Gallery

12/04/2026

Diane Severin Nguyen
× Linda Lach
guest gallery: Molitor, Berlin
Apr 10 — May 23, 2026

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Tensions become perceptible in space, emerging from an indefinite elsewhere beyond images and objects, echoing like barely audible voiceovers. In-betweenness lingers, thickening into a suspension at the threshold where rhythm begins to shift: a surface to pierce, a depth that pierces back.

— Matteo Giovanelli

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Diane Severin Nguyen, Linda Lach, Constellations 2026, Gunia Nowik Gallery hosting Galerie Molitor (Berlin), Warsaw, Poland, exhibition views

Diane Severin Nguyen, Workers Bouquet, 2025, LightJet C-print, custom velvet frame, 60.9 × 81.3 cm. Courtesy of the artist and Galerie Molitor

Linda Lach, morning greetings will bear fruit, 2026, MDF veneered with oak, oiled, 118 x 482 x 49 cm
 
Linda Lach, Aw-chucks!, 2026, cut crystal (Violetta glassworks), textile

Diane Severin Nguyen, Victory, 2025, LightJet C-print, custom velvet frame, 60.9 × 81.3 cm. Courtesy of the artist and Galerie Molitor

Diane Severin Nguyen, Shining like videotape, 2025, LightJet C-print, custom velvet frame, 60.9 × 81.3 cm. Courtesy of the artist and Galerie Molitor

Linda Lach, I started living in a shoebox recently, 2026, textile, button, metal spring

Diane Severin Nguyen, Drain the Whole Sea, 2025, LightJet C-print, custom velvet frame, 60.9 × 81.3 cm. Courtesy of the artist and Galerie Molitor

Linda Lach, Let’s get over the bonus situation, 2025, silicon, wood, butcher’s curtain, rice paper, plastic, human milk, latex, cotton, 144 x 52 x 21 cm

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07/04/2026

Diane Severin Nguyen
× Linda Lach
guest gallery: Molitor, Berlin
Apr 10 — May 23, 2026

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Constellations 2026
gallery-share initiative

April 10 | Preview
4 — 7 pm

April 11 — 12
12 — 6 pm

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We're pleased to take part in this year's Constellations gallery-sharing initiative with a duo-show in collaboration with Galerie Molitor (Berlin), presenting works by Diane Severin Nguyen and Linda Lach.

The exhibition sets Nguyen’s photographic practice—treating images as materially unstable and shaped by transformation—alongside Lach’s sculptural and performative works, which foreground the body as both medium and site of negotiation. In both practices, surfaces register a heightened tactility—images and materials alike seem to hold a physical charge, as if their textures could be felt under the skin.

Constellations returns to Warsaw for its third edition from 10 to 12 April 2026, bringing together thirteen of the city’s leading contemporary art galleries in a collaborative international format. Built on the gallery-share model, Constellations brings together local and international artists, curators, and cultural professionals. By temporarily sharing spaces and audiences, the participating galleries create a platform for dialogue and cross-cultural collaboration, reinforcing Warsaw’s presence within the global contemporary art network.

A text by Matteo Giovanelli, writer and curator, will accompany the show.

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31/03/2026

Coco Fusco, Agata Ingarden, Agnė Jokšė, Alina Kleytman, Luiz Roque, Diane Severin Nguyen, Marianna Simnett, Anastasia Sosunova, Jala Wahid, Ada Zielińska
𝗞𝗜𝗡𝗢
Mar 20 — Apr 1, 2026

𝗞𝗜𝗡𝗢 is now on view — a group exhibition of video works exploring “after the end” as an ongoing condition of erosion and reorganization. Landscapes shaped by technological excess, environmental damage, and political upheaval become sites of transformation where power persists. The works unsettle familiar narratives, opening space for other ways of relating — to history, responsibility, and the more-than-human world.

The program brings together 10 films (1h 58 min), shown on a continuous loop during opening hours. Tomorrow we stay open until 8 pm — two extra hours to watch.

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27/03/2026

22/03/2026

The days grow longer, the light regains ground, and we arrive at the spring equinox—a measured shift rather than a sudden breakthrough, but a welcome one nonetheless. We made it through winter.

Marking this shift, we return to WŚCIEKŁE STWORZE, Iza Tarasewicz’s intervention in the forest of Solniki 44. Initiated in January not as an opening but as a ritual, the project now coincides with seasonal rites of transition rather than mirroring them. Where traditions like the burning of Marzanna symbolically expel winter and death, Tarasewicz’s work stays with what resists removal—the devil as something persistent, embedded, and unresolved.

Installed among trees, the “angry sculptures” suspend the logic of banishment. Drawing on folk demonologies and vernacular forms, they reflect back systems shaped by fear, scarcity, and inherited belief—implicating the viewer in what cannot simply be cast out.

WŚCIEKŁE STWORZE remains on view in the forest of Solniki 44 through September 2027.

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Iza Tarasewicz, Joanna Łępicka, WŚCIEKŁE STWORZE, 2026, installation view, Siedlisko Kultury Solniki 44, photos: Joanna Krukowska and Jarosław Stepaniuk

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19/03/2026

Coco Fusco, Agata Ingarden, Agnė Jokšė, Alina Kleytman, Luiz Roque, Diane Severin Nguyen, Marianna Simnett, Anastasia Sosunova, Jala Wahid, Ada Zielińska
𝗞𝗜𝗡𝗢
Mar 20 — Apr 1, 2026

Opening:
Friday, March 20
5 — 8 pm

We are delighted to invite you to the upcoming group exhibition 𝗞𝗜𝗡𝗢, which brings together video works that explore “after the end” as an ongoing condition of erosion and reorganization. Landscapes marked by technological excess, environmental damage, and political upheaval become stages for suspended transformation, while systems of power persist in altered forms. Moving between affect and analysis, the artists often employ seductive imagery, drawing viewers in through atmosphere, while subtly unsettling familiar narratives. Rather than offering clear redemption or finality, the works reflect a liminal present in which established orders lose their authority and other ways of relating—to history, responsibility, and the more-than-human world—begin to take shape.

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Courtesy eastcontemporary (Anastasia Sosunova); Mendes Wood DM (Coco Fusco, Luiz Roque); Galerie Molitor (Diane Severin Nguyen); Société (Marianna Simnett); SOPHIE TAPPEINER (Jala Wahid); and the artists Agata Ingarden, Agnė Jokšė, Alina Kleytman, and Ada Zielińska.

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.jokse .sosunova .tappeiner

04/03/2026

Iza Tarasewicz
𝘛𝘩𝘢𝘯𝘬 𝘺𝘰𝘶 𝘧𝘰𝘳 𝘮𝘺 𝘸𝘰𝘳𝘬
group show curated by Zofia Małysa-Janczy
Galeria Bunkier Sztuki Gallery of Contemporary Art
Kraków, Poland
Jan 28 – Apr 26, 2026

𝘼𝙧𝙩𝙞𝙨𝙩𝙞𝙘 𝙬𝙤𝙧𝙠 𝙞𝙨 𝙬𝙤𝙧𝙠 — a claim long voiced within the art field — has only recently begun to translate into concrete structural change. Within this broader context, the group exhibition 𝘛𝘩𝘢𝘯𝘬 𝘺𝘰𝘶 𝘧𝘰𝘳 𝘮𝘺 𝘸𝘰𝘳𝘬 reflects on the conceptualization and conditions of artistic labor, foregrounding issues such as unregulated working time, overwork, and the fragile balance between professional and private life.

Within this framework, Iza Tarasewicz approaches these questions through an abstract, sculptural language. Her monumental yet minimalist composition ‘Eternal Machine’ meditates on the accelerated tempo of contemporary life, divided between what the artist calls labor hours and leisure hours. Rather than moralizing, the work materializes rhythm—cycles of effort and pause. The ‘machine suggests a system that never fully stops, even at rest, turning the sculpture into a spatial diagram of circulating energy and a reflection on whether rest today offers true recuperation or merely sustains ongoing productivity.

A publication accompanying the exhibition is available both on site and online. The show runs through Sunday, April 26.

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27/02/2026

𝑻𝒉𝒆 𝑹𝒂𝒑𝒕𝒖𝒓𝒆 is a trilingual (English–Polish–Ukrainian) catalogue published on the occasion of the exhibition of the same title, presented at MOCAK – Museum of Contemporary Art in Kraków at the turn of 2025 and 2026. The show marked the artist’s first institutional solo exhibition in Poland.

At its centre was a newly created ten-part painting installation shown in the Alfa Gallery — a panoramic frieze tracing the fluidity of identity and the bonds between people and the earth. Memory, myth and lived experience intertwined into a meditation on belonging and quiet resilience. Additional works were presented in the Beta Gallery, extending the narrative across the museum’s spaces.

The publication carries this spatial experience into book form. Its central foldouts reproduce the Alfa Gallery frieze in its full horizontal sweep, translating the rhythm of the installation into the tactile logic of unfolding pages. Alongside the paintings, the catalogue includes the artist’s photographs and texts — key to understanding her oneiric language shaped by intergenerational trauma, biblical archetypes of creation and apocalypse, and the lived reality of contemporary Ukraine.

Created in collaboration with Gunia Nowik Gallery, the book features a curatorial text by Adam Budak, essays by Natalia Brajner, Oksana Briuchovetska and Kateryna Yakovlenko, as well as poems by Vasyl Stus.

The publication is available at the MOCAK bookstore — on site and online.

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24/02/2026

𝚕𝚊𝚜𝚝 𝚠𝚎𝚎𝚔!

Jędrzej Bieńko
…𝘦𝘢𝘤𝘩 𝘵𝘩𝘪𝘯𝘨 𝘪𝘴 𝘪𝘵𝘴𝘦𝘭𝘧 𝘪𝘯 𝘯𝘰𝘵 𝘣𝘦𝘪𝘯𝘨 𝘪𝘵𝘴𝘦𝘭𝘧, 𝘢𝘯𝘥 𝘪𝘴 𝘯𝘰𝘵 𝘪𝘵𝘴𝘦𝘭𝘧 𝘪𝘯 𝘣𝘦𝘪𝘯𝘨 𝘪𝘵𝘴𝘦𝘭𝘧…
group show curated by Boris Ondreička
Layr, Vienna, Austria
Jan 16 — Feb 28, 2026

The exhibition …𝘦𝘢𝘤𝘩 𝘵𝘩𝘪𝘯𝘨 𝘪𝘴 𝘪𝘵𝘴𝘦𝘭𝘧 𝘪𝘯 𝘯𝘰𝘵 𝘣𝘦𝘪𝘯𝘨 𝘪𝘵𝘴𝘦𝘭𝘧, 𝘢𝘯𝘥 𝘪𝘴 𝘯𝘰𝘵 𝘪𝘵𝘴𝘦𝘭𝘧 𝘪𝘯 𝘣𝘦𝘪𝘯𝘨 𝘪𝘵𝘴𝘦𝘭𝘧… draws on the religious and ontological philosophy of Keiji Nish*tani (1900–1990), who argued that things exist only in relation to what they are not. To encounter reality beyond categorization, one must pass through nihility toward emptiness, relinquishing the model of a detached subject confronting objects. Identity, in this view, is relational and unstable.
Curated by Boris Ondreička, the exhibition moves across philosophy, spirituality, science, and art, navigating charged pairings—material and immaterial, visible and invisible, rational and intuitive, “I” and “we,” East and West—as generative tensions rather than fixed oppositions.
Within this framework, Jędrzej Bieńko’s 𝘛𝘸𝘰 𝘏𝘦𝘢𝘥𝘴 stages a scene on the brink of erasure. From a dense, earthen field, two spectral heads surface—one facing outward, the other tilted back—suspended between breath and silence. Each figure hovers between presence and withdrawal, their forms dissolving into haze. A fragile vertical axis structures the canvas: a white flower above, a reddish root-like form below. Bloom answers burial; emergence folds back into soil. Anthropocentrism is quietly displaced as agency disperses across the surface. The painting resists narrative closure, becoming an environment to inhabit, where identity loosens and being emerges as relation rather than fixed essence.

The exhibition is on view till Saturday, February 28, 2026.

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19/02/2026

𝚕𝚊𝚜𝚝 𝚠𝚎𝚎𝚔!

Iza Tarasewicz
𝙷𝚒𝚍𝚍𝚎𝚗 𝙿𝚊𝚛𝚊𝚖𝚎𝚝𝚎𝚛𝚜
group show curated by Marta Lisok
OP ENHEIM, Wrocław, Poland
Oct 18, 2025 — Feb 22, 2026

The opposable thumb — long upheld as the evolutionary emblem of human dexterity and individual agency — is notably absent in Iza Tarasewicz’s installation. This quiet subtraction sets the tone for 'Compulsive Coexistence' and the 'Cluster of Contingencies' (2022), where the artist redirects attention from the mythology of singular mastery toward the subtler mechanics of cooperation and shared endurance.

Tarasewicz’s practice has consistently examined systems of exchange, energetic circulation, and the fragile conditions of coexistence. Developed in close dialogue with the architecture of OP ENHEIM and situated within Marta Lisok’s curatorial framework for 𝙷𝚒𝚍𝚍𝚎𝚗 𝙿𝚊𝚛𝚊𝚖𝚎𝚝𝚎𝚛𝚜, the installation unfolds as a dispersed constellation of tool-like structures suspended throughout the space. The forms resemble splayed, four-fingered hands caught mid-gesture — grasping, pulling, holding — their repetition building a restrained choreography of collective effort.

Within the exhibition’s broader reflection on embodied knowledge, composting, and material thinking, Tarasewicz’s work proposes cooperation not as an ideal, but as a pragmatic condition of survival — one rehearsed through rhythm, proximity, and the slow intelligence of working matter.

𝙷𝚒𝚍𝚍𝚎𝚗 𝙿𝚊𝚛𝚊𝚖𝚎𝚝𝚎𝚛𝚜 remains on view at OP ENHEIM in Wrocław through Sunday, 22 February, 7 pm.

09/02/2026

Sana Shahmuradova Tanska
𝘽𝙚𝙡𝙡𝙨 𝙖𝙣𝙙 𝘾𝙖𝙣𝙣𝙤𝙣𝙨. 𝘾𝙤𝙣𝙩𝙚𝙢𝙥𝙤𝙧𝙖𝙧𝙮 𝘼𝙧𝙩 𝙞𝙣 𝙩𝙝𝙚 𝙁𝙖𝙘𝙚 𝙤𝙛 𝙈𝙞𝙡𝙞𝙩𝙖𝙧𝙞𝙨𝙖𝙩𝙞𝙤𝙣
group show curated by Valentinas Klimašauskas
and Virginija Januškevičiūtė
Contemporary Art Centre (CAC)
Vilnius, Lithuania
Oct 16, 2025 — Mar 1, 2026

At Contemporary Art Centre (CAC) Vilnius, 𝘽𝙚𝙡𝙡𝙨 𝙖𝙣𝙙 𝘾𝙖𝙣𝙣𝙤𝙣𝙨. 𝘾𝙤𝙣𝙩𝙚𝙢𝙥𝙤𝙧𝙖𝙧𝙮 𝘼𝙧𝙩 𝙞𝙣 𝙩𝙝𝙚 𝙁𝙖𝙘𝙚 𝙤𝙛 𝙈𝙞𝙡𝙞𝙩𝙖𝙧𝙞𝙨𝙖𝙩𝙞𝙤𝙣 reflects on the long entanglement of culture and conflict. Its title recalls the historical practice of casting bells and weaponry in the same foundries, framing a broader inquiry into how contemporary infrastructures — from media and communication systems to energy and landscape — can oscillate between civic and military functions.

Bringing together an international group of artists, the exhibition traces how militarisation permeates everyday life, memory, technology and ecology, often in ways that resist clear categorisation. Rather than documenting conflict directly, many works approach it through metaphor, speculation and long-term historical reflection.

Within this context, paintings by Sana Shahmuradova Tanska explore the relationship between landscape, myth and generational memory. Agricultural fields, riverbeds and maritime imaginaries emerge as carriers of both personal and collective histories, where environmental change, war and inherited trauma overlap. Her works consider how memory persists through the land itself, suggesting cyclical temporalities in which past and present catastrophes remain in constant dialogue.

𝘽𝙚𝙡𝙡𝙨 𝙖𝙣𝙙 𝘾𝙖𝙣𝙣𝙤𝙣𝙨. 𝘾𝙤𝙣𝙩𝙚𝙢𝙥𝙤𝙧𝙖𝙧𝙮 𝘼𝙧𝙩 𝙞𝙣 𝙩𝙝𝙚 𝙁𝙖𝙘𝙚 𝙤𝙛 𝙈𝙞𝙡𝙞𝙩𝙖𝙧𝙞𝙨𝙖𝙩𝙞𝙤𝙣 is on view at CAC Vilnius until 1 March 2026.

04/02/2026

Jędrzej Bieńko
Best Before
Jan 31 — Mar 14, 2026

As an agent that binds time and space into a single, condensed field of meaning, painting can be observed as a chronotope. In this sense, the canvas is not merely a relic or a moment frozen in place, but a site where multiple temporalities are held in suspension and activated through looking. For Jędrzej Bieńko (b. 2000, Warsaw), this activation and the recognition of painting’s temporality are fundamental aspects of his practice. Interested in how meaning is produced, he creates works that surprise and confound, presenting them in ways that challenge habitual modes of viewing. Drawing on personal experiences, life dynamics, emotional states, and imagination, he distills these sources into what he considers their most universally legible form. The resulting images remain deeply personal while becoming open to being anyone else’s. On the one hand, they feel universal while emerging from a very personal place; on the other, they appear timeless and perhaps antique, yet are often presented in a technocentric, perhaps neoteric fashion.

— Sasha Bogojev

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Jędrzej Bieńko, Best Before, 2026, solo show at Gunia Nowik Gallery, Warsaw, Poland, exhibition view, photo: Katarzyna Ewa Legendź