„And leave this town” Mariusz Wilczyński

Transfer of parts of Mariusz Wilczyński`s exhibition “Kill It…” shown in Zachęta – National Gallery of Art to 1:12 scale.

Vernissage and meeting with Mariusz Wilczyński and project curators - 1.12.2022 at 20.00

Poster from vernissage „And leave this town”

Mikrob Gallery. In a beautiful old display window of Baza Club in 15 Floriańska Street in Krakow (Open: 24/7).

Curators: Marta Miś, Agata Kus

Mariusz Wilczyński exhibition in Zachęta focuses on a single film – the feature debut of this famous animator entitled Zabij to i wyjedź z tego miasta / Kill It and Leave This Town. It had its world premiere at the International Film Festival in Berlin at the beginning of 2020; however, due to the Coronavirus pandemic, the film had to wait almost a year to be allowed in cinemas. In this time, it was presented and awarded, among others, at top animation festivals in the world – in Annecy and Ottava.

Making this animation, initially planned as a short film, took 14 years. In the end a feature film was made, which is the artist`s journey through a memory land, with people and places close to him. Background for this surreal story is Lodz, the animator`s hometown, and its protagonists are real characters, invented or ones borrowed from literature. One of the most important ones is Tadeusz Nalepa – Wilczyński`s late friend and author of the soundtrack. Zabij to i wyjedź z tego miasta / Kill It and Leave This Town combines the atmosphere of a dream with realism and black humour, high culture with pop culture, personal memories with depiction of reality. The author fits traditional animation into feature film format, yet he remains within the scope of artistic film, and makes this truly Polish film universal and understandable also for the foreign viewer.

A few thousand drawings in various scales, lurking and eavesdropping the reality and language from the times of the Polish People`s Republic (the author manifests here his talent for dialogues), “sounding” the characters over the years (the cast included, among others, Andrzej Wajda, Irena Kwiatkowska, Barbara Krafftówna, Krystyna Janda, Tadeusz Nalepa, Tomasz Stańko, Gustaw Holoubek, Andrzej Chyra czy Maja Ostaszewska) as well as music by Nalepa and Breakout – all these are only a few constituent parts of this story about passing. The exhibition Kill It… in Zachęta is, first of all, constructed around contexts forming the film setting and the work itself. On the one hand, it is defined by the imagery (multi-layered town set designs, light that is different from the light used in the director`s earlier films), presented at the exhibition through original drawings and animated set design. On the other hand, Wilczyński`s total idea about sound being a vital building block of film space. The third important element of the exhibition are the scenes that were not included in the final version of the film – scored and edited in the animatika stage, showing the planned animation of the characters in simplified form, which also enables viewers to familiarize themselves with the technique of the contemporary animator.  


Visual artist. Lives and works in Krakow. Graduate, PhD and assistant professor at the Department of Painting at the Academy of Fine Arts in Krakow. Mainly focuses on painting, drawing, ceramics and video. Winner of numerous awards and scholarships, including the first prize at the International WRO Media Art Biennale 2015 in Wroclaw. In 2017 nominated for the “Spojrzenia” Award by Deutsche Bank and Zachęta. In 2011 and 2018 nominated for the scholarship by the Swiss Vordemberge-Gildeward Foundation. In 2021 won the first prize in the Young Art Compass rating published by Rzeczpospolita. Collaborated with numerous institutions and galleries in Poland, Austria and Paris. Her paintings can be seen, among others, in MOCAK Museum of Contemporary Art in Krakow, National Museum in Gdansk, Bunkier Sztuki Gallery, mBank Collection as well as in numerous private collections in Poland and abroad.

Exhibition: interlaced/przeplatane

Exhibition: interlaced/przeplatane. Experiments with stereoscopic animation and extended reality.


    30th November – 3rd December 2022 (from 2 PM to 8 PM)
    Małopolska Garden of Arts - Conference Room
    30th November 2022 - 7:30 PM
    Małopolska Garden of Arts - Conference Room
    Meeting with Wiola Sowa, Przemysław Liput and Jacek Złoczowski

Poster from exhibition interlaced/przeplatane

The title of the exhibition is a cluster of two words, which are not literal translation, but their meanings supplement each other, directing towards the right interpretation. Interlaced means two frames making up a video image which doubled the frame rate of a video display and thus improved the display flow. Using stereoscopic image, we also double the image, however, of different kind. We could rather say that they are more of interlacing images. The techniques we use also interlace. Each of these works is a result of a process, in which various media were used. Sometimes the starting point was the manual process, sometimes photography, and sometimes Virtual Reality. In the creative process, manual became digital, photography turned into movement, and virtual reality moved to a different area. That is why the word game in the title conveys so well not only the character of the exhibition but first of all the creative process and attitudes of the artists taking part.

The interlaced/przeplatane exhibition is an exceptional event! Animation is means of expression, but it would be difficult to find a more varied approach to how it is used in the experiments carried out by the artists and what it turns into as a work of art. At the exhibition we can see the works of Przemysław Liputa, Memorymorph Collective (Jacek Złoczowski and Małgorzata Łuczyna) and Wiola Sowa, which summarize the experiments on stereoscopic image processing. Conclusions were collected in form of a publication interlaced/przeplatante, published in 2021 and available as e-pub. Some of the works presented at the exhibition are directly linked to the conducted research. Other further explore the selected topics. They penetrate them in a new way and with the use of new tools.

Pre-cinematic machines like a stereoscope, periscope and mutoscope lie within Przemysław Liputa`s scope of interests and fascinations. It is not, however, exclusively an imitative approach. On the contrary, relying on the originals, some of the machines were modernized to allow the screening of digital images. The animation loops displayed by him refer thematically to his other fascination – astronautics, treated with distance and humour.  

The artistic focus of the Memorymorph Collective is directed towards visual art related to artificial intelligence, perception, processed photographic image. Their experience of Virtual Reality traffic_lab will be on display at the exhibition. Even though the experiment is set on the Market Square in Krakow, the aim of the work is not moving to an historic place, but rather experiencing it in a way unavailable for human perception.

The last work displayed at the exhibition is my Inside the drawing. The primary scope of my artistic activity is animated film. However, in recent years, I have completed a series of works in augmented reality and virtual reality. I find Augmented Reality especially fascinating because is combines two dimensions: the real and the digital. The work displayed at the exhibition was made in Virtual Reality and got transferred to Augmented Reality. It is an experience between drawing and a spatial installation, which we can penetrate in several dimensions.

exhibition curator Wiola Sowa


Stereoscope - 2021, 27x41x63cm, digital stereoscope, film frame size 4x3, wood, plywood, video frame

Persiscope 3 - 2021, 50x35x27, interlaced film 16x9, digital periscope, wood, plywood, video frame

Mutoscope - 2017, 408x216x1023cm, frame size 4,5x6cm, pre-cinematic machine with an animated film powered with a crank, wood, plywood, steel

The motive joining the displayed works is the word “loop”, understood as a trap or being trapped in outmoded ways of thinking and acting. After the fall and final discredit of the grand concepts of the 20th century, pop culture refuses to strive to foresee the future and turns to proven solutions. I am fascinated by being anchored in “yesterday” and inability to imagine “tomorrow”.

Common denominator of my work is technological anachronism. In my artistic strategy I try to create animated films and objects that seem old, historical, and at the same time not fitting in their own timelines. A means to achieve this type of impression is using modern technologies woven into the archaic construction, the philosophy behind device operation.


In 2010 he graduated from the Faculty of Art of the Pedagogical University in Krakow specializing in graphics. He defended his Master thesis in the Digital Print workshop run by Professor Adam Panasewicz. In 2017 he obtained his PhD under the supervision of Professor Grzegorz Hańderka at the Academy of Fine Arts in Katowice. Winner of numerous awards and mentions, participant of exhibitions, film reviews in Poland and abroad. Author of book illustrations in Miasto Potwór (published by Kropka), Rok w przedszkolu (published by Nasza Księgarnia), Ziemia do Jadzi and the series Jano and Wito (published by Mamania). Author of animations, children`s books, commercials and advertising campaigns. Since 2011 he has been lecturer in the Art and Design Institute at the Pedagogical University in Krakow. He works with graphic, drawing and video techniques and creates kinetic as well as pre-cinematic objects, screening machines, stereoscopic devices. He is interested in non-camera, experimental, minimalist and pre-cinematic activities. Co-organizer of three all-Poland editions and one international edition of a student competition NOTO – Artist`s Notebook.


  • concept & realisation: Memorymorph (Jacek Złoczowski, Małgorzata Łuczyna)
  • cooperation: Wojciech Jończyk

traffic_lab is an alternative, virtual journey around one of the most attractive tourist locations – the Old Town Square in Krakow. The work is based on data that is usually not used in space mapping. The technique of recording 360 ° photographic panoramas was used for the implementation. Thanks to the use of the application based on machine learning, used to process spherical panoramas, the congestion and dynamics of movement were registered. The tissue of the city was not made of architectural objects, but rather a record of the changeability of movement and sound. It is an attempt to create a portrait of this place written in a synthetic form of overlapping characters. The image of the city was created from "human matter", which is its indispensable component.

By putting on the VR goggles, the viewer is transferred into a space composed of vanishing points, ephemeral shapes, that do not provide a reference point in space, and are not associated with any solid object. They create a layer of reality of what is fleeting and momentary, seemingly insignificant.

Memorymorph is a Polish art group created in 2017 out of visual artists Małgorzata Łuczyna and Jacek Złoczowski. The collective experiments with various medias and deals with installation, site-specific, virtual, interactive and hybrid art. Artists collaborate with programmers, IT specialists, scientists, designers. Projects were exhibited during shows: TANCEBA, Galeria Bielska BWA (2017), PRÓBA 3, Galeria im. J. Tarasina w Kaliszu (2017), Street Data MIASTOmovie Festival 6 in Wrocław (2018) and 3D Kraków Meetup Patchlab Festival 2018 w Krakowie.


Is experience between drawing and a space display, which we can penetrate in several dimensions. This work was prepared as augmented reality AR, but made with the use of AnimVR application enabling drawing and animating in virtual space.  The title includes an assumed artistic premise – we are in a drawing which influences us in three ways: with space, sound and movement, so in a way that a classical drawing would never be able to. The choice of augmented reality AR for the work was dictated by the uniqueness of this kind of experience. We can see the real world and at the same time with the use of a tablet we experience the hidden, non-existent dimension which will leave real memories in our consciousness.


Animated film director. Creates animations, but also films in which she combines animation with documentary and feature films. For several years now, she has been experimenting with augmented reality and virtual reality. She graduated from the Academy of Fine Arts in Krakow and Lodz Film School. Two-time winner of the Scholarship of the Minister of Culture and National Heritage, the City of Krakow and Goethe Institute. In 2008-2012 she chaired of the Polish section of ASIFA (Association Internationale du Film d’Animation), an international association of animators from all over the world. Assistant professor in the Institute of Art and Design at the Pedagogical University. Her films have been presented and awarded at numerous festivals in Poland and abroad, such as National Gallery of Art Washington D.C., Kościuszko Foundation in New York, Barbican Centre in London, Centre Pompidou in Paris, Ujazdowski Castle Centre for Contemporary Art in Warsaw, during Hiroshima Animation Festival in Japan, Annecy Animation Festival in France.

An exhibition of mockups from Tomasz Wolski`s „1970”

An exhibition of mockups from Tomasz Wolski`s 1970 shows six political offices, in which the most important talks of the political crisis took place. Thanks to animations combined with recordings of telephone conversations we can take a peek inside closed dignitaries` offices. The characters of politicians are meticulously prepared, their faces, outfits, similar interior design and furniture mirror past times. Animation was directed by Robert Sowa and the puppets were made by Sylwia Nowak.

Book Promotion Michał Bobrowski, Radosław Bomba “Beyond Cinema…

Michał Bobrowski, Radosław Bomba
Poza ekranem kinowym. Postmedialne konteksty animacji
UMCS, Lublin 2021
978-83-227-9534-7, 148 pages

Cover of the book "Poza ekranem kinowym. Postmedialne konteksty animacji"
Graphic on the cover by Sasha Svirsky

In this monograph authors set for themselves an uneasy, yet without doubt, intriguing goal – mapping animation against the background of post-media landscape, in which media function as Geertz`s “clouded genres”.  In two parts of this volume, this framework allows us to take a closer look at various historical lines – videos, especially animation, which since its onset constituted an entity separate from film, in the spirit of media archeology possible to be fitted in connections other than the cinematographic ones, yet, also connected with other “post-cinema” animations, from GIFs to immersive installations, to data visualizations. In order to tackle the analysis of such a scope of topics, which additionally combine various registers, from amateur works, to commercial productions to avant-garde, Michał Bobrowski and Radosław Bomba make use of a vast palette of theoretical references. It is indispensable and at the same time of informative value because this whole area clearly escapes traditional categorizations. […]

Beyond the cinema screen it seems to form a catalogue, a theoretical and historical guidebook through selected media of the epoch, in which the semantic scope of the term “medium” becomes non-obvious. Even more: it is a return visit into the past, which reminds us that the stability of older forms was an illusion waiting to be exposed, like the glitch esthetics referred to in the text. Authors also open field for further exploration because reading whets appetite and leads to further questions, for example, about the social circulation of the discussed images and sounds. Finally – it offers a new “audiovisual agreement” by appreciating sound, everlastingly marginalized in favour of image.

From the review by Mirosław Filiciak, professor at SWPS

More information: https://wydawnictwo.umcs.eu/produkt/5426/poza-ekranem-kinowym-postmedialne-konteksty-animacji


2nd December 2022 – 11 AM
Małopolska Garden of Arts - Small Screening Room


Assistant professor in the Institute of Culture Studies at Maria Curie-Skłodowska University in Lublin (Faculty of Philology) since 2018. PhD specializing in film theory (he defended his thesis in 2010 at the Jagiellonian University). His research interests include classical Japanese and American cinema, animation, Cold War film propaganda (USA, USSR, Yugoslavia). In 2012 he published a book Akira Kurosawa. Artysta Pogranicza. In 2016 a monograph Obsession, Perversion, Rebellion. Twisted Dreams of Central European Animation was published, which he co-authored, and in 2019 it was continued by Propaganda, Ideology, Animation. Twisted Dreams of History (which he again co-authored). This book was nominated for the McLaren-Lambart Award for Best Scholarly Book on Animation for years 2019-2020 awarded by the Society for Animation Studies. Together with Radosław Bomba, he co-authored a book Poza ekranem kinowym. Postmedialne konteksty animacji, published in 2021. He is programme director and co-founder of StopTrik International Film Festival (Slovenia/Poland), a festival devoted to stop motion animation. He cooperates with numerous European festivals and film institutions as curator and culture activist. He speaks English, Serbo-Croatian and Russian.


Researcher, academic teacher, digital  culture animator. He graduated from Maria Curie-Skłodowska University in Lublin majoring in culture studies and sociology; he also completed postgraduate studies Protection of Intellectual Property (Maria Curie-Skłodowska University in Lublin, 2014) and Computer Graphic Design and DTP (Maria Curie-Skłodowska University in Lublin, 2015). Since 2006, he has worked in the Institute of Culture Studies at Maria Curie-Skłodowska University in Lublin, where having obtained his PhD (2012) he became assistant professor, and since 2021 – professor. He is interested in knowledge visualization, digital humanities, culture analytics, anthropological aspects of computer games, game studies, cyberculture, digital culture, new media and their influence on social and cultural transformations. He has been teaching at Maria Curie-Skłodowska University for 15 years. He has also taught at the SWPS University in Warsaw (2015-2018), John Paul II University in Krakow (2020/21) and WSEI University in Lublin (2019/20). Apart from teaching and researching, he has actively cooperated with numerous scientific and cultural institutions, such as National Centre for Culture, National Audiovisual Institute, National Library, Medialab Katowice, Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences, Modern Poland Foundation, Gdynia City Museum, The “Grodzka Gate – NN Theatre” Centre, 5medium Foundation, City Culture Institute in Gdansk, Centre for the Meeting of Cultures in Lublin, Lublin Gamedev Foundation, IT Promotion Centre in Warsaw. In 2015 he worked as media education expert for the Ministry of Culture and National Heritage. In 2013-2017 he was director of the Culture Theory postgraduate programme. Since 2018, he is the director of Video Games Research Centre at Maria Curie-Skłodowska University in Lublin. In 2006-2017 he was deputy editor-in-chief of the scientific magazine “Culture and History”. Editor of numerous internet portals (among others History and Media, Knowledge and Education). Member of Polish Culture Studies Association (since 2005), Games Research Association of Poland (since 2007) and Polish Association of Film and Media Research.

Promotion of the book by Olga Bobrowska ”Chinese…

Olga Bobrowska
Chinese Animated Film and Ideology, 1940s-1970s. Fighting Puppets
Publisher: CRC Press (Taylor & Francis Group)

Cover of the book "Chinese Animated Film and Ideology, 1940s-1970s. Fighting Puppets"

Attendees of the promotional event are eligible to receive 20% discount for acquiring the book at the publisher’s website.

This book examines animated propaganda produced in mainland China from the 1940s to the 1970s. The analyses of four puppet films demonstrate how animation and Maoist doctrine became tightly but dynamically entangled. The first chapter contextualizes the production conditions and ideological contents (the so-called “new democracy” concept) of Chen Bo’er’s The Emperor’s Dream (1947), the first puppet film made at the Northeast Film Studio in Changchun. It then examines the artistic, intellectual, and ideological backbone of the Zhang Chaoqun’s puppet film Wanderings of Sanmao (1958), especially in regard to the tradition of revolutionary visual and comic arts. The final two chapters attempt to outline the output of You Lei, a controversial film director strongly involved in ideologically radical tendencies within Maoism. This discussion presents the means and methods applied in puppet animation filmmaking that complied with the ideological principles established by Mao Zedong in the first half of the 1960s (Rooster Crows at Midnight, 1964) and in the midst of the Cultural Revolution (The Little 8th Route Army, 1973). These four puppet films have reinforced major founding myths of the People’s Republic of China by emphasizing specific contents of the Maoist doctrine at particular stages of its development. At the same time it has to be noticed that regardless animation’s disposition to fully adhere to the propagandistic function of the PRC’s cinema production, the Chinese animated film has never presented itself as an ideological monolith.

The presented publication is the newest in the CRC Press’s Focus Animation series that was initiated by the Professor Giannalberto Bendazzi (1946-2021). The next volume authored by Bobrowska, “Chinese Animated Film and Ideology, 1980s. Festivals and Soft Power” will present the Sino-European opening-up at the festivals in Annecy and Zagreb in the era of Deng Xiaoping’s reforms.

More information: https://www.routledge.com/Chinese-Animated-Film-and-Ideology-1940s-1970s-Fighting-Puppets/Bobrowska/p/book/9781032148892


December 2, 2022 - 12 PM
Małopolska Garden of Arts - Small Screening Room


Olga Bobrowska is a doctor of Humanities in Arts Studies (she obtained her PhD degree at the Jagiellonian University in Krakow in 2020). She is a scholar active in the fields of animation studies, film studies and cultural theory, as well as a film culture activist and curator. Bobrowska's main fields of interest embrace studies in animation, propaganda, visual discourses of ideological doctrines, problems of politicized representation, theories of narrative, adaptation, feminism and Chinese Studies. Currently she lectures on the subject of animated film history at the Institute of Audiovisual Arts at the Jagiellonian University in Krakow. She is a festival director and co-founder of the StopTrik International Film Festival (Maribor, Slovenia / Lodz, Poland). She frequently serves as a juror at various festivals (e.g. Tricky Women/Tricky Realities International Animation Film Festival, Vienna, Austria; Animafest Zagreb World Festival of Animated Film, Zagreb, Croatia; Animateka International Film Festival, Ljubljana, Slovenia; and other festivals in Europe, USA and China), and has also served as a member of selection committees (Krakow Film Festival; Etiuda&Anima International Film Festival, Krakow, Poland). She has participated in nearly 20 international academic conferences, authored 10 academic papers published in monographs and journals and over 30 film critiques, and is also a permanent contributor to Zippy Frames, an online magazine dedicated to international art-house animation. She is a an author of a monograph Chinese Animated Film and Ideology, 1940s-1980s. Fighting Puppets (2022) and a co-editor of two collective monograph books, Obsession, Perversion, Rebellion. Twisted Dreams of Central European Animation (2016), and Propaganda, Ideology, Animation. Twisted Dreams of History (2019).