PRZĘSŁO / GIRDLE

Type: Large Sculptural Object instalation | 2025

Klaudiusz Ślusarczyk
Życie Ślusarczyk
Wojciech Sikora

the work was part of a group exhibition LAND Obiecany / FRINGE Warsaw

with:

Michał Frydrych
Michal Slezkin
Bartłomiej Kiełbowicz

LAND Obiecany stages its poetics in a ruin: a post-shop pavilion at Bazar Lotników, the ghosts of the '90s humming in fluorescent light. Nearby, the LAND Shopping Center slouches beneath Gierek-era blocks — both monuments to capitalism's brief romance with romance.

This is capitalist romanticism: the melancholy of obsolete dreams, the fading gleam of entrepreneurial myth. These spaces, once temples to hustle and hope, now resemble the quiet grandeur of antiquity. Their decay is not failure, but a kind of sublime.

The exhibition unfolds on the cusp of something else — as techno-feudalism rises like storm clouds. Its title, drawn from Reymont’s industrial epic, is not subtle: it mourns a capitalism that believed in progress, in the individual.

But this is not mere nostalgia. It is a provocation: can the myths of the market still bind us in common cause? Can we resist only what we also once desired? The artist, like the entrepreneur, creates value — and lives with the consequences.

To critique capitalism is to admit we once loved it.

TREMOR / DRŻENIE

Type: Interactive Dispositif | 2025

Samuel Bianchini
Klaudiusz Ślusarczyk

with the collaboration of:

Victor Audouze (sound and music design)
Wojciech Sikora (research-creation engineering)
Marzena Krzemińska Baluch and members of the Faculty of Ceramics and Glass at The Academy of Fine Arts in Wrocław: Julia Ciułek, Justyna Dżaman, Grzegorz Bibro, Anna Józefowska (glass research and design)

At the cente of Wrocław, where the logic of the intersecting streets meets the unruliness of motion, the WRO Art Centre stands—a structure whose timber skeleton is not hidden but revealed, articulated in the very syntax of its exhibition spaces. Architecture here is not passive but resonant. It listens. It vibrates.

The vibrations render that abstraction tactile, sonic, corporeal. They insist on the radical interdependence of all things—of infrastructure and intimacy, of steel and skin, of motion and meaning.How then to read this trembling? How to inhabit such a space—not merely as a visitor, but as an accomplice? Can we conceive of a choreography of presence—ours, the public’s, the unseen inhabitants’—that does not overwrite this vibratory condition, but amplifies it? Can we make the analog palpable in an age dominated by the disembodied digital?To think the space is to feel it—as an ecology of oscillations, of beats, of trembling encounters. The building becomes a kind of instrument. But also: a stethoscope. An ear pressed to the city’s chest.There are always vibrations. The question is: Are we listening?

The project was curated by Klio Krajewska and was first designed for the WRO Art Center building, for the 21st Media Art Biennale WRO 2025 (Wrocław, Poland), in the framework of a cooperation between the New Media Art Department of the Polish-Japanese Academy of Information Technology (Warsaw) and the Reflective Interactive Group of EnsadLab, laboratory of the École nationale supérieure des Arts Décoratifs (University Paris Sciences & Lettres).

Image credit: Samuel Bianchini

STEPS

Type: Small Sculptural Object | 2024

Samuel Beckett once described the character of May in his short play Footfalls as the embodiment of someone who remains in their "imaginary" womb; strangely existing but not truly alive. Much like the play that depicts the life of the protagonist whose existence is limited to the rhythm of her own pacing footsteps, the work reimagines the metronome's function by denying the object its designated purpose.