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Can anybody buy art? Why buy art? How to live with an art piece? What role does it play in our lives? As a beginner those were the questions I needed to explore by myself. All my work is focused on this one idea: the impact of art on our everyday life. This began when I was studying interior design and wanted to examine the influence of space on our personality and life. Art is closely related to space, most pieces hanging on walls in a gallery space or at home. With the Hangart project I was able to explore those relations. Arriving in a new field, in a new country, Poland, I needed to have my own experiences and conduct field recognition.

Who buys it? Based on what? Can we skip the gallery step and adopt a different approach to art? If today you decided to get an art piece, a canvas for your interior for instance, what would you do? Where would you go? The answer can be difficult, if you don’t know any artists or galleries personally. It is a long process to find the galleries offering art you would like. But what do you like? What price would you be willing to pay? All those questions in the end often take you to the frames department at Ikea, where you choose something easy and inexpensive. You may also end up at a flea market or just settle for a trip souvenir.

An art experience It began with simple questions: Who buys art? Why? What prices are people prepared to pay? What influence can an art piece have in our everyday life? All Hangart projects were steps in these explorations, each project stemming from a question and becoming a possible answer. It started with the website. Contrary to most collectors, when regular people buy art, they usually do it to hang it in their interiors.

On the other side you have young artists, not yet represented by galleries, creating a lot, with no access to those potential clients. positioned itself as a link between domestic interiors and artists. We offered a database of canvases from young polish artists that were accessible to people with their own criteria for choosing. Size, theme, colors. My interior design studies influenced this approach a lot. It was also meant for decorators to have quick access to a regularly updated database, a large panel of art pieces, from small to big, cheap to expensive.

Hangart Concept Shows One of the options we explore to facilitate this path of acquiring art are the Hangart Shows based on A4 works or small canvases for a limited “small” price. Every artist has a lot of sketches, thoughts, tiny drawings on scraps of paper, hidden under the bed or in the corner of their workshop. These raw works have little value to them, but for me it was a perfect material to work on in my exploration of the art-interior link. It could be the answer, a way for artists to share their art without the conventions, the rules of the market - just a link between the artist and the public. Can it be considered art? Can it be sold? What value does it have?



Artists do not consider it a product, it is only a private step in their work. Can anything be sold? It was really interesting to observe how artists approach those pieces that are presented with the sole objective of being sold.

We decided to present all the pieces in identical frames, for the same price and without visible signatures. Some were made for the occasion, but most of them had been left aside, forgotten. It was a way for me to ask questions about the public’s approach, to see if people would make their choices based only on their private aesthetic. I have often heard people say: “I don’t know anything about art, what is good? What should I buy?” This is exactly what I fight against: this fake inconvenience of acquiring an art piece. I want to teach the public to trust themselves and their taste. This first edition was a big success, for the buyers and the artists alike. The latter had the opportunity to meet the people interested in their art and get to know them. And the buyers got their chance to buy, for a really affordable price, a little piece on paper directly from the artist. It was such a big success that I made a second edition, this time with a little bonus feature: the introduction of small canvases, also for a low price. A new step in this mutual apprenticeship.

Do you perceive art differently in a gallery than home? The website offered mostly canvases of various sizes and styles. It was hard for the public to imagine how the little images on the computer screen would look like in reality. So we decided to rent a gallery in Warsaw for 2 weeks and present most of the content of How to present a website content? Twelve different artists, each with his own style. We had a very limited budget and many pieces to present, so we were wondering how to transmit this home approach and the new way of looking at and perceiving art. With set designer Ula Kuczynska we divided the gallery space into rooms, using tape glued to the floor to mark the walls. This arrangement was meant to symbolize our questions about behavior and perception in a gallery. The artists were told they could arrange their own space, present what they wanted in the way they wanted. Giving freedom was really important to me as a curator. Throughout this show I wanted to present not only the canvases, but also the artists’ personalities, to make the public enter their space, their world.

We brought chairs into each ‘room’ and printed information on the floor to change the behavior and movement of the viewers. Instead of having them stand in front of a canvas and then move on to the next one, I wanted to break with this convention and invite the public to move and act differently: to watch the paintings sitting down as they would in their homes. During the opening we changed the usual arrangement of the gallery’s space to create a fluent exchange and movement throughout all the rooms. Will the public respond to our cues? The most interesting thing was that the public instinctively responded to the cues printed on the floor, never simply cruising along the walls, but entering the doors (we used the symbols of architecture plans to draw doors on the floor) and sitting down on the chairs, recreating their own private behavior in the gallery space.

Can we create art shows at home? After the gallery experience I wanted to try a domestic one. I organized two exhibitions in an apartment. Breaking the rules of presentation, we wanted to experiment with a new way of sharing art. With the same idea of freedom for artists, two exhibitions were created.



An apartment has it own codes, in opposition to a gallery space. With rooms different in shape and size, and with specific rules and design, it is hard to highlight art pieces in a flat as compared to the traditional “white cube” shape of most gallery rooms. I was curious how artist would operate in this kind of space. How would they manage those requirements?


The first artist to enter this space was Ilona Blaut. She had total freedom to present her pieces. She is fascinated with dogs so she presented a series of paintings representing her passion. She invited Magdalena Dukaczewska so the two could confront their works as both have very specific styles. In one room Ilona presented big paintings of dogs in movement, while Magdalena showed small prints and drawings in another. Their approach was conventional, transforming the domestic space into a gallery.

The second show was a conceptual project by a group of young Polish artists who invented a fictional character called Oskar Karaś. They had a totally different approach and adapted the entire space considering each room individually – from the kitchen to the bathroom. (6)

They recreated Oskar’s home by rearranging all the rooms and spaces. It was an amazing experience and a big success. It offered them the possibility to push the concept further, to think each space through, and to adapt and create art in each of the rooms.


Floating keys and water installations in the kitchen, a suspended tent in the living room, live fish in the bath, clothes in the closet. This entire conceptual installation was a background to Oskar’s paintings and personality. (4)

How can we present Polish Street-Art scene in a gallery? The Street Art Doping festival showcased murals in Warsaw for a few years. They wanted to take a step forward by organizing an exhibition in a gallery space, presenting Street Art artists. Our role with Chazme 718 was to select artists and think of a way to show those art pieces. It was a problematic offer. How can we present the Polish street art scene in a gallery? It seemed like a contradiction to present illegal art, usually seen in the streets, in an enclosed space of a gallery. We had a lot to choose from – 30 artists representing Polish street art, from hardcore graffiti and abstract canvases to sculptures. We wanted to present the evolution of those artists, each of whom has been active on the scene for more than 10 years.

But we also had sculptures from M-city (2), the political pieces from Forin and the crazy world of Lump, made of dolls and sculptures. (2) When choosing the pieces, we wanted to present the richness of each artist’s work, his world and his sensibility, all issued from the same essence. We really wanted to establish a dialogue between the artists and the public, to discover together the diversity and the limitless nature of the movement, which cannot be bound by any certain style. (1)

That exhibition aimed to show where the Polish street art comes from and where it is going. The artist KRAC (1), a very active painter in the streets of Warsaw, made a transparent banner with tags, which we put on the windows outside to underline that some pieces do not belong to a gallery space, but also to convey the essence of the movement: the illegal nickname signatures on city walls. Indoors, we tried to present the movement’s diversity: from Nakor’s graffiti canvases, all the way to the active scene of mural painters like Chazme 718, Sepe, Autone.


Chazme 718 - “Miasto”

Krik - “Untitled”

Sainer - “Flesz”

Forin “ Obama/Osama”

M-city - Pneumatics objects serie.

Project QUARTER - Warsaw For the 2012 edition, we wanted to go back outside by devoting an entire city quarter to street art. We wanted to show it on billboards, in the shops, in the streets – everywhere we could. Our main goal was to confront the citizens with spontaneous art and to share with them our experience and point of view. We wanted to make dance, music, performances, painting and sculptures accessible to everyone.The line-up was varied, mixing different approaches, techniques, styles and countries to really enrich the experience of street art for the public. We had 24 artists from 7 countries in 1 week.

«Art is the place that produces a specific sociability. It remains to be seen what the status of this is in the set of «states of encounter» proposed by the city.» Nicolas Bourriaud - Relational Aesthetics

This billboard was the symbol of this festival , to make the information fluent and updated after each action. It was placed in the center of the district so the public could knew where to find pieces or perfomances.

Brad Downey Anagrams serie on windows of polish shops.

Evol - “ “ layered cardboard on abandoned shop-vitrine about 200*165*60cm

Alexandro Vasmoulakis

The festival opened with a dance performance by Iza Szostak (2) and Mani-Pulsacje. Kuba Twice Improvise (1) did a musical performance everyday on a pedestrian crossing. Projekt Wawa 2.1 invited people to their workshop (3), where they could redesign some of the streets of Warsaw under guidance from architects and designers. Street art is a very broad term, representing all actions taking place in the street that have a direct impact on the public. Illegal action is at its essence, so organizing a festival with artists from the movement was a big challenge. Do we have the right to limit the artists and control their actions? It was challenging to inspire them to create and, at the same time, to control and limit their actions, because of legal responsibilities as organizers. The other question was: Is it even legitimate to make art in a public space? It was the first time an event like that happened in Warsaw. With “Quarter� we wanted to test the reactions of the city and the public toward art actions in a public space.

We discovered a big desire among young people, but at the opposite end there was fear and rejection from older generations and law enforcement officials, because of very restrictive laws and rules, which have not been adapted to the present climate or this type of interventions. Warsaw is evolving really fast, adapting to her neighbors, like Berlin or London. Based on this economic propulsion she is now a living organism. Poland is one of the rare countries not touched by the economic crisis in Europe. It is a country focused on itself, on its development and on taking advantage of all the opportunities . This rhythm is really impressive. It is a source of many interesting contrasts and social questions. We focused on Chmielna Street, one of the few pedestrian streets in the center of the city. We chose this street, because of the exposition and the melting pot of people, generations and history it offers. It is a well-known street in Warsaw, walked everyday by a lot of people but somehow forgotten, excluded from any urban plans.

Music performance


Dance performance



Art installations


Exhibition For the festival, we based our headquarters in a gallery space near Chmielna Street. At the end of the week we held an exhibition summarizing the even, transcribing and presenting all that happened during the festival. This gallery space was our meeting spot, a place to spend time together. Sharing experiences and building the projects in a friendly atmosphere played a major role in this festival. I wanted to continue down this path and preserve this atmosphere by inviting each of the artists to play around with the gallery space. Knowing they belong to the streets with their work, I asked them to underline this fact and play with the contradiction. It was important for me not to force an exhibition, but to create a common project just by defining a space for each of them, to make it cohesive and interesting. We had 2 days to put a show together, with 18 artists participating and also with works from the public made during the Project Wawa 2.1 workshops. All this had to be done in a limited space. We wanted to preserve each personality, highlight each project and make it all cohesive. Everyone played along by creating a piece especially for this exhibition.

Tryone - “Circle I�

QUARTER - OFF Is it legitimate to make illegal street art? This question came up throughout the festival and required a position from me as a curator. The only rule I adopted was to stay out of the district with actions that were not approved by city officials. For me, energy and creativity are rooted in the notion of total freedom, pure action unlimited by anyone’s needs. This is where artists draw their ideas and personality from - this land, this jungle made of concrete. The city is their playground. By establishing rules, we in effect kill this essence. This ‘off’ part was the most important element of this festival. Our goal was not to carry out a maximum number of illegal acts of vandalism. The project was based on the concept of exchange. By organizing tours of the city, we wanted to present a new way of seeing Warsaw, of discovering the city through the eyes of graffiti artists. That was the main goal of my invitation: to let them discover the city and share their experience with us, so that we, in turn, could absorb their culture. Br1 (Italy)

We had to limit ourselves to one district but it showed the possibilities of a new way of communication, which can bring a lot to the city, its citizens and to artists from all over the world.

The Wa - “Another Way”

Tryone - “Align with Dry hands”

AS IF THERE WAS NO TOMORROW PHOTOGRAPHY EXHIBITION BRATISLAVA It is a project about a place which creates a feeling of temporality, place with short past and unsure future. It is a place where everything looks like a movie set built from recycled materials, place which gives you feeling of something very ephemeral and short lasting. But in this place there are living people who have desire to live a life without constant questioning, people who are creative, full of ideas, full of live and passion. They live their lives in contrast to their surroundings, they live for the moment with great energy, they live as if there was no tomorrow.

Soozie Pietrzyk

28.10.1985 Warsaw French-Polish Nationality 0048 509 952 732


S.A.D. Festival - Warsaw

Co artistic director - Curator of Project QUARTER - Warsaw Co-Curator of Come Inside Exhibition, Soho Factory - Warsaw


Silvia and Bartek Pogoda - Off festival

Curator «As if there was no tomorrow» exhibition - Galeria M+, Bratislava



Director-Curator Dec. 2010 «Hangart wiesza sztuka na Chlodnej» - Chlodna 25 - Warsaw March 2011 «Start to Hangart» - Klima Bochenska Gallery - Warsaw Dec. 2011 «Hangart in the Corner» - Corner Coffee - Warsaw


A comme Architectes - Paris

Interior Design Internship


Klima Bochenska Gallery - Warsaw



Cityvox - Marseille

Online cultural city guide ( EDITOR (creating and updating cultural cityguides for France and abroad, writing online reviews of cultural events, movies. training interns


Sworn Translator Polish-French

Translation at the court and police office - Official document translator


Bachelor of Interior Design

Ecole de Condé Garibaldi Paris - France


Preparation year in Graphic Design

Axe Sud, Marseille-France


Applied Foreign Languages

University Aix Marseille - France


A-levei in Economics (English Option)

Marseille, France


LANGUAGES FRENCH (mother tounge) - ENGLISH (fluent TOEIC 925 pts) - POLISH (fluent)

Curator Portfolio  

quick review of recents projects. If you have similar approach, point of view or projects Don't hesitate contact me!

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