PRIMARY FORMSArt exhibition in the school environment
According to Ahmet Öğüt, one of the artists who co-created this year’s edition of “Primary Forms” programme, there is no need to learn how to create art – we can and should learn many other things, while art is something that we should just make.
“Primary Forms” is a periodic programme addressed to students from the fourth through the eighth grade of primary school, carried out by the Museum of Modern Art in Warsaw and the Roman Czernecki Educational Foundation. Each year it features a set of new artworks (instructions, games, scores, objects, etc.) — a box that contains a “dormant” exhibition, which can materialise at any moment in a form chosen by students with the support of their teachers and the Museum’s education team.
This year’s programme features new work from artists including: Adriano Costa, Jarosław Fliciński, Veronika Hapchenko, Edith Karlson, Krzysztof Maniak, Ahmet Öğüt, Olivia Plender, Laure Prouvost, and Maciej Siuda, the architect responsible for the design of the “exhibition toolbox.”
The exhibition will go to 10 selected schools in Mazovia province, in towns with less than 30,000 inhabitants, and 4 cultural institutions.
Previous editions were presented in the shape of a box filled with artworks, but this year is different. Architect Maciej Siuda proposed a new form – a “toolbox” that is simultaneously a piece of furniture, a repository, a display case, and an art installation.
This year’s “Primary Forms”, to a much greater extent than previous editions, engages with the notion of exhibition as medium, learning – and unlearning – how we can look at objects, and how we perceive relationships between objects and recognise our own relations with them. The exhibition will be created and presented in classrooms and school corridors, in gym halls and playgrounds. It can be prepared many times and interpreted in various ways (through selecting particular elements, choosing different scale or colours, etc.).
The “Primary Forms” programme asks the following questions: What can we do with art? What can an art exhibition be? We can influence objects, but can objects also change us? How can we understand art, or perhaps finds ways of taking pleasure in not understanding it?
Conveyed in the form of artistic exercises and objects contained within the toolbox, the idea for this project is rooted in 20th-century artistic traditions. It references, among others, the work of Marcel Duchamp and his portable suitcase exhibition or “Fluxkits” i.e. boxes prepared by artists associated with the Fluxus group that contained, among others, scores, models, audio recordings, games, puzzles, and templates. The project also draws on other 20th and 21st-century experiments in conceptual art and education – for example, On Kawara’s “Pure Consciousness.” Initiated in 1998, this series a series of exhibitions presented in kindergartens featured paintings by the Japanese conceptualist artists reflecting on lessons that children learn about fundamentals such as letters, numbers, and time.
The box you’ve just opened contains an art exhibition. But it’s not ready yet – you and your classmates will assemble it. This will take some patience and work, and the results can be very different.
Do things your own way. The toolbox contains various items and instructions that will help you carry out activities prepared especially for you by a group of artists from all around the world. You will also find out what to do with the contents of each of the smaller boxes.
First, prepare a lot of free space on the floor – move all the chairs and tables aside. Or maybe you can make some room in the gym or, should weather allow it, in the school yard? Then, open the toolbox – the exhibition’s packaging, which resembles a giant pencil case – and acquaint yourself with the contents of each compartment. Remember to put all elements back in the right places, otherwise they’ll all get mixed up and will be hard to sort out later.
Together with the others, decide when to carry out the instructions. You may want to split into smaller groups. It might take you a long time to create all eight works of art – perhaps even weeks or months. Take your time! Spend a few moments on each task, try to understand what the artists' intentions were and what they wanted to tell you, and think about how to complete the tasks in a way that is satisfying for you. Do things your way. Art teaches us that there is no such thing as a misinterpretation. Every perspective is valuable – it talks about who you are, how you do things, and how you look at the world.
Once you complete all the tasks, or at least most of them, display the results of your work in one room. This will be your exhibition – you can present it in the classroom, a corridor, the gym, the basement, the locker room or even outside the school. One thing is certain – you will not be able to see this exhibition in any museum in the world. Everything is in your hands!
Also, please consider what happens when you put different objects together. Do things have a voice? Can they be used similarly to words, which we use for speaking and constructing sentences? What happens to an object once we hang it on the wall or put it in a display case? Does it matter if the item is placed high or low? Would you like to give your exhibition a title? Will you organize an opening event, invite guests, and tell them about your work?
Inside the box, you will also find stamped postcards addressed to the Museum. Please write to us and tell us about your exhibitions and your experiences with various works of art. As you will soon find out, art can be a lot of different things. Whatever happens, do let us know. We will respond to all of your postcards, promise! Perhaps you’d also like us to pass on a message to artists whose works you find in the box? We truly hope that this is just the beginning of our friendship and the first of many adventures to come.
Do it yourself, or let’s do it together!
Sebastian and Helena
Museum of Modern Art
Adriano Costa, Jarosław Fliciński, Veronika Hapchenko, Edith Karlson, Krzysztof Maniak, Ahmet Öğüt, Olivia Plender, Laure Prouvost
Adriano Costa is a sculptor who primarily creates installations. These are works of art that consist of a number of ready-made elements or objects prepared for this very purpose. Installations are most often created with a particular space in mind and can be transformed depending on contexts. Adrian frequently uses seemingly familiar, often worn-out objects – such as old bottles, shoes or train tickets – and combines them together in order to create art installations.
In the box you will find pieces of fabric. They all once had certain functions – do you recognize what those might be? Spread them on the floor and familiarize yourselves with them by looking at and touching them. What are their sizes, shapes, thickness, textures, colours, and patterns? What are the differences and similarities between them?
Now, split into smaller groups and start arranging the pieces of fabric in different configurations – lay them out flat, next to or on top of each other, mixed up or separated into categories. There are no rules here – you can decide what form your installation will take. You can act intuitively and spontaneously or create thoughtful layouts. Why don't you arrange the different elements in the shape of something specific or come up with an entirely new form?
Consider how different kinds of fabrics interact: what do they bring out in one another? Can they talk to each other? Can they compliment, or disagree with, one another?
When your installations are ready, show them to other groups. Talk about what they make you think about and describe your motivations. You can freely disassemble and reassemble your installations.
Is it possible to turn an everyday object into a work of art? If yes, how can we do it? What is a ready-made? Is there a hierarchy among different items? How can memories be hidden within objects?
Adriano Costa is a Brazilian artist and sculptor. Since birth, he has lived in the largest city in South America, São Paulo, and the city remains one of his most important inspirations. In his work, he attaches great importance to materials and sees them as carriers of personal stories, memories, and values – symbols representing economic and social transformations of the city.
Costa carefully juxtaposes different kinds of objects – from used fabrics, through objects found on the streets of São Paulo, to custom-made bronze castings, wooden elements or concrete blocks. They serve as elements of eloquently-titled installations that often link his mysterious and complex compositions with specific events in Brazil’s history and sometimes provide a little light relief.
Costa is a versatile and inventive creator. Thanks to how he juxtaposes, repaints, and arranges the seemingly familiar, often worn-out objects, they gain a new life. As the artist admits, it is not important whether he works with plastic rubbish found on the street or precious metals – he sees all objects as equally important and valuable, both as artistic forms and tools for conveying ideas, memories, and emotions.
KEEP ON TELLING STORIES
Jarosław Fliciński’s game is based on a childhood memory so foggy, that it might as well have been formed in the artist’s mind as a reverberation of a children’s play. Perhaps it has never really existed, although it certainly could. It is called: “Keep on telling stories.”
In the bag you will find colourful cardboard rounds. The maximum number of players equals the number of rounds in the bag, the minimum is one person.
Each player should draw one round, show it to the others, and take it with them. Then, you should look at the world around you. The colour of the cardboard round should help you tune in and determine how you experience reality over the next few hours or even days. It is your secret key – please use it to “filter” the world around you. What did you manage to “notice” thanks to this key? You should tell and hear the stories, but you don’t have to write them down nor read them out. Arrange to meet with the other players and share your stories. Listen to them carefully. Or maybe you can draw new rounds and meet again in a while? Each of you can catch some colourful butterflies – stories from your world.
The artist suggests: “Stories don’t have to be long, they don’t even have to be particularly impressive or surprising. It is enough that – in some small way – they are linked with the colour on the round.”
Are we seeing and hearing the same things? Can colours be happy or sad? How do we know whether a given colour looks the same to everyone? How do we listen to others, and how can we encourage others to share their stories with us? What is the colour of friendship?
According to the artist, his “paintings slipped off the canvas onto the walls.” And he continues: “This was at the point when the frames became simply too small or my work did not fit the exhibition space because of its scale, colour, or light.” Fliciński is known for large-format, abstract works, in which he employs geometric forms, repetitive patterns, and rhythmic lines. He paints in series that feature recurring motifs, often inspired by elements of the surrounding reality – e.g. the pattern of tiles in a swimming pool or mass-produced wallpaper. They also reflect the warmth and colours of the Portuguese coast, where the artist spent a large portion of his life.
Fliciński's compositions escape the notion of what was traditionally understood as painting. First, they “moved beyond” the frame and turned into murals, and later transformed into multi-element installations in various spaces outside the museum and gallery. Although Fliciński also uses photography, video and sound, painting and geometry – which he considers the best tools for conveying emotions – always remain at the heart of his artistic endeavours.
Veronika Hapchenko’s work was inspired by the 1905 book Thought Forms by Annie Besant, an English activist, writer, and philosopher. The author reflects on the shapes and colours of thoughts appearing in particular situations, brought on by emotions and world views, but also music. According to Besant, “thoughts are things” and affect both us and those around us.
Hapchenko spent plenty of time looking at the illustrations and reading descriptions of thought forms from Besant’s book. She decided to create her own images. You will find them in the box. On the back of each of the 26 cards there’s a description of a thought – in the form of, for example, seeing a friend, a thirst for knowledge or the purring of a cat.
Close your eyes. Can you imagine the shapes and colours of thoughts and emotions? What do, for example, ambition, enthusiasm, or stage fright look like? Are their contours sharp or blurry? Are their colours bright, or pale? Do they consist of one or more elements?
Besides the artworks, the box contains some instructions. These include themes, clues, and suggestions – based on them, you can arrange your thought forms into various configurations and art exhibitions.
What does it mean to understand a work of art? Are sad thoughts heavy, and cheerful thoughts light? What is synaesthesia? Can an abstract image tell a story? Do you ever communicate without words? Can a work of art tell us something entirely different from what its author intended? What does it mean to get lost in one’s thoughts?
As a child, Veronika Hapchenko and her parents came to Poland from Kyiv, Ukraine. She spent most of her later life in Kraków, where she studied painting at the local Academy of Fine Arts. She also completed stage design studies at the Kyiv National University of Theatre, Cinema, and Television. There, she designed puppet theatre scenography – she was fascinated by the way in which inanimate objects could be brought to life. There was something magical about it.
Veronika’s paintings appear bleary and pulsating. This is because of her particular technique, involving the use of an airbrush – a gun-like device that sprays paint with an air jet. Beyond the blurred surface, there are also figures, elements of buildings, and objects that refer to the history of the former republics of Soviet Union. Narratives from that era often feature magicians, shamans, mystics, healers, and visionaries appearing in a seemingly ordered, controlled and predictable world. The artist seeks them out and translates them into her painting. She is interested in, for example, Russian cosmism, a movement that emerged at the turn of the 20th century that explored the relationship between man and the universe.
From these hazy stories, esoteric tales, and secret symbols, the artist picks out the characters and objects that populate her paintings. Hapchenko's work is therefore an invitation to other universes – the world of spiritualism and magic hidden beyond a reasonable, intellectual and artistic facade. She believes in the power of intuition: “I do not know why the painting looks this, and not another, way. These are simply impulses which I’d prefer not to explain,” she says.
Let's start with a tip from Edith Karlson: “Your head is an egg, and if you draw eyes on this egg, that will be your portrait.
The artist predominantly creates sculptures of animals, beasts, dinosaurs, and mythical creatures. Behind each of them there is a person, with their dreams, fears and hidden powers. Karlson believes that the best self-portraits are created by people who have never created one before. We will give you the clay for creating self-portraits separately – it would not fit in the tool box. In the box you will find wooden eggs – they can become a part of your sculpture, but also a starting point, an inspiration.
Art history teaches us that the unique form of a self-portrait does not have to reflect the physical features of its creator, and instead can capture the invisible: the character, passion, temperament, but also the negative character traits.
On our programme’s website – formy.artmuseum.pl – you will find a video in which the artist explains, step by step, what you can do with the clay.
Can art really be used to express inner emotions and thoughts? What stays up at night and sleeps during the day? What can hide behind an animal’s mask? Does the person in the self-portrait have to look the same in reality? Do you ever see human faces where there are none – in the sky, in a tree, in a stain of ink, etc.?
Edith Karlson is an Estonian artist who lives and works in Tallinn. She teaches at the Estonian Academy of Art, where she studied at the Faculty of Sculpture and Installation. In her works, the artist employs a variety of sculptural techniques – from traditional ceramics to large-format cement structures. The artist’s works are typically large scale; instead of focusing on minute details of individual sculptures, she juxtaposes them into complex installations and spatial arrangements.
Karlson’s protagonists are most frequently animals – each of her installations is a separate world inhabited by snakes, dogs, cats, birds, rabbits, and dinosaurs. Sometimes they are also accompanied by beasts and imaginary creatures, as well as human figures resembling phantoms. Although seemingly friendly and charming at first glance, her works are underpinned with a sense of anxiety and horror. An encounter with a group of ceramic animals and creatures staring straight back at the viewer can resemble reading fairy tales, myths, and legends – something seemingly innocent becomes a vehicle allowing us to commune with the world of darkness which we choose not to confront on a daily basis.
Krzysztof Maniak’s artistic work is predominantly based on walking and working with various natural materials: grass, wood, stones, or flowers. A walk is difficult to pack in a box, but we can tell others about it, or – simply – experience it. This is the purpose of the instructions attached to the artist’s 24 recent artworks.
In the box you will find cards featuring photographs of clouds taken by the artist on the front, and other photos and texts allowing you to recreate various activities and walks on the back.
Pull out the cards and spread them out on a table or floor. Read all the texts out loud and then decide which of the activities you want to focus on. If you decide to complete all of them, you can plan a schedule for doing so. Some of them will depend on the season and weather conditions. The more difficult the instructions, the more interesting the activity. The artist adds: “Some are simple, you could even say – banal. Others are much more difficult, perhaps even impossible to follow.”
Think about how you can present the results of your activities at the exhibition. After completing the tasks, depending on your experiences, you can draw, glue, paint, sculpt, or use your finds – such as twigs or stones – in order to make your artworks.
In the box you will also find a small object that comes from Tuchów, the artist's hometown. Find a suitable location for it at school or its vicinity.
What does a walk have to do with an art exhibition? Are works of art only created by people, or can a plant, insect, or perhaps a river also make art? What happens to a stone when you bring in to an art museum? What happens to a work of art when you bring it into a forest? How to show a storm, snow, or heat through art?
Krzysztof Maniak's studio is the landscape and the artist’s relationships with it – he traverses, digs up, plants, and moves its elements. Walking is part of his artistic work – he writes down specific instructions or “walking scores” which he then uses on his jaunts. “For several years, I have been creating a series called Walks. In it, I explore the sculptural potential hidden in the workings of natural forces or non-human beings – rotting trees and hay, landslides, mysterious holes and ditches in the ground” – says Maniak.
Walks also inspire him to create works for other species – sculptural hay racks or trenches in which animals can live or transform for their own use, digging holes and burrows in them.
The artist draws from what is closest to him, at hand. He is closely linked to Tuchów, his hometown in southern Poland: “Even though […] the entire town occupies an area of just 22 sq km (or 8.5 sq miles), I can find everything here. I know this landscape like the back of my hand, and crucially, I can see all of it at once, which gives me the impression of security and homeliness,” — he says.
Maniak is directly inspired by 1960s and 1970s conceptual and land art, but the spectre of the current climate emergency is equally important to him. He says that it is the source of his sensitivity and paying attention to even the smallest element of the larger whole – such as the shells of burgundy snails, blackthorns twigs or the trunk of an eighty-year-old tree, buried in the ground in a mourning ritual.
WHAT WE LOVE TO DO
In the box you will find instructions for creating an ikigai diagram. What is that? The term compounds two Japanese words: iki, meaning “to live” and gai, meaning “reason”. In a simple translation, ikigai can be understood as a “reason to live.” More broadly, it refers to the ability to enjoy simple things, as well as find meaning in difficult experiences – a reason to get out of bed in the morning. The diagram itself has little to do with Japan – it was invented in 2012 by the Spanish astrologer and writer Andrés Zuzunaga. Since then, it has become very popular as a tool to help us recognize what we really want to do in life.
Ahmet Öğüt is a conceptual artist, and as such he is interested in reflections and experiments that we can carry out in our own mind. He happily reaches for whatever is at his fingertips and draws his inspiration from everyday life.
Ahmet has often wondered what questions children ask themselves, what they really like to do, and what the world expects from them. So he reached for the ikigai diagram, modified the questions and gave it his own title: “What we love to do.”
From the elements in the box, create your own diagram, and then write down your answers to the following questions:
1. What do we love to do?
2. What are we good at?
3. What does the world need?
4. What can we offer in return?
In each of the circles, enter three to five answers. Look for those that appear in more than one circle. Focus on the things you can do and, at the same time, the things that others might need.
Born in Turkey, Ahmet Öğüt is an artists of Kurdish origin who currently lives and works in Amsterdam and Berlin. He describes his art as, primarily, the starting point of processes that can lead to unpredictable results. Ahmet’s works, created in collaboration with people unrelated to the art world (a stuntman, hairdresser, or firefighter), are usually light in form and draw from local history and memory of a given place. The artist is not attached to a single medium – depending on circumstances, he uses photography, video, drawing or performance, but has also used a boat, trampoline, giant balloon, or barricades made of paintings or stilts. He is famous for his sense of humour, which allows him to tackle difficult issues such as refugee and migration policy, war, or racism.
A large part of Ahmet’s activity is dedicated to education. He works as a lecturer at several universities, including in Germany, the Netherlands, Finland, and Austria. He is also one of the founders of The Silent University (established in 2012) where lectures are delivered by displaced people and forced migrants. Ahmet believes that there is no need to learn art – we can and should learn many other things, while art is something that we should just make.
INSIDE OUT LION
Olivia Plender is an artist who often carries out projects in schools and in cooperation with students. She is fascinated by education and children’s ingenuity and ability to imagine the world anew, without paying attention to existing rules or norms.
The game created by Olivia is based on exploring our imagination and telling stories. In the box you will find three sets of cards (characters, places, and tasks), and dice with images of objects.
Split into groups of 4 people.
Shuffle the cards and place all three decks on the table so that you can't see what they are.
Each group draws one card from each deck and rolls the dice.Start with the task card.
Tasks are different from each other. Some of them are meant to be completed individually and intuitively, others should be conceived and played out together.
Once you have completed the task, move on to the second stage of the game: come up with a story based on your task. It should feature the character, place, and objects that chance has selected for you. You'll probably start by talking about your ideas and associations – why don’t you make things easier by drawing your characters and places?
Think about how you will tell your story to your classmates? Maybe you can write it down, e.g. in the form of a poem or short story? Or will you prepare a speech, or present a play, performance, or concert?
The process of coming up with a story is as important as the end result. You don't have to finish it right away, you can let it grow inside you over time. Write it down at your own pace, create it together, modify it freely. Or, perhaps, this story will never end?
How does art tell stories? Can fiction bring us closer to reality? Does every story have a beginning and an end? How many heroes or heroines can one story contain?
In her work, the British artist, Olivia Plender mainly focuses on the history of education. She says: “I am interested in the two contradicting ideas: education as training in the workplace and education as an emancipatory practice.” Plender’s art is based on historical materials, literature and archival research, from which she extracts interesting facts about unusual pedagogical methods and social organizations in the 19th and 20th centuries. Based on this data, she creates installations, films and comics, and organizes meetings and discussions with contemporary activists working towards a just and compassionate world.
Plender is most fascinated by examples of experimental education. The artist emphasizes the importance of play, referencing examples from her native London and the surrounding area. She is interested in, for example, the history of the youth organization, The Kindred of the Kibbo Kift, active in early 20th century, which combined a passion for crafts, climbing, camping, and helping those in need.
The artist’s favourite medium is drawing: “[…] it's a cheap and fast medium – all you require is a pencil and a piece of paper. When I graduated from art school, I wanted to make films, but I had neither studio nor money, so I drew comics instead,” she says.
GROWING IN BALANCE
Laure Prouvost's art is said to be immersive, which means that looking at or interacting with it is accompanied by a feeling of being absorbed by the world created by the artist.
Her installations resemble fairytale universes or stage design for a theatre play and combine films, sound, sculptures, furniture, paintings, fabrics, and performances.
The artwork prepared by Laure for the occasion also combines the mixture of dreams and reality.
The artist’s instruction for playing with the mobile are presented in the form of acts – dramatic works staged in the theatre are written in a similar way. You will find them in the box, which also contains examples of two objects from two different orders: the natural and man-made world. They are the starting point for your work. Examine, compare, and discuss these objects – let them inspire you.
The mobiles, which you will create from found objects, can perform various functions: serve as decorations, elements of set design, or learning aids. You get to choose their size, shape, and quantity. How they are received by viewers will vary depending on how many objects you’ll attach and the height at which you’ll hang them. They can be dense and hang low to resemble a forest, or hang high up to resemble a single constellation of stars that cannot be reached.
You do not have to follow all the instructions at once. Take your time, experiment, and look for inconspicuous links between different objects that surround you.
Can art be immersive? What is assemblage? Can art offer us an escape or shelter us from something? What do playfulness and art have in common? Can communing with art resemble dreaming? What does it mean that something is fluid? Can art be as fluid as water?
French artist Laure Prouvost is known for mesmerizing installations consisting of elements such as films, sounds, performance, sculpture, fabrics, and texts. Experiencing her works is often accompanied by feelings of uncanniness and uncertainty whether what we are experiencing is real or imaginary. Prouvost creates new worlds by referencing the traditions of Dadaism and Surrealism and juxtaposing elements that are seemingly incompatible with each other.
She frequently returns to the idea of escaping towards a parallel reality. While moving away from traditional methods of building a narrative, she creates captivating landscapes, full of extravagant characters, songs, and word play. In her work, language is disobedient and imprecise, and objects exceed the limits of their own abilities, come alive, speak or even joke.
The flexibility of words is a key element of Prouvost’s art: “To me, words are visually powerful because through them, we can create our own visions. I only make suggestions and suggest possibilities, and the viewers create their own images. I also focus on the meaning of misunderstanding, misinterpretation, and miscommunication – words can also be a failure, highlighting the importance of other senses,”she says.
Curators:Helena Czernecka, Sebastian Cichocki
Toolbox design:Maciej Siuda, współpraca: Adrianna Gruszka
Graphic design:Zofka Kofta
Production:Marta Wójcicka, Artanimacje Association
Design and coordination of the educational process:Anna Grajewska, Anna Łukawska- Adamczyk, Marta Przybył
Consultant:Aleksandra Saczuk, Fundacja EFC
Texts:Sebastian Cichocki, Helena Czernecka, Jakub Depczyński, Bogna Stefańska
Artists:Adriano Costa, Jarosław Fliciński, Veronika Hapchenko, Edith Karlson, Krzysztof Maniak, Ahmet Öğüt, Olivia Plender, Laure Prouvost
Educators:Wiktor Bebacz, Alicja Czyczel, Aleksandra Górecka, Magdalena Kreis, Aleksandra Kubisztal, Justyna Łada, Maria Nowak, Paulina Pankiewicz, Marta Przybył, Natalia Skipirzepa, Marta Węglińska, Karolina Zięba, Gabriela Żylińska
Teachers:Renata Andraka, Aneta Bielska, Monika Byszewska, Marzena Kudelska, Beata Kulka, Monika Metera, Bożena Nowak, Janusz Nowak, Maria Nowak, Joanna Pec-Pawlik, Iwona Pieńkos, Marta Wesołowska, Agnieszka Wójcicka, Ewa Żydek
Schools:Szkoła Podstawowa im. gen. Józefa Dwernickiego w Rudzie Wolińskiej,
Zespół Szkolno-Przedszkolny w Młochowie,
Szkoła Podstawowa im. Wołyńskiej Brygady Kawalerii w Dębem Wielkim,
Publiczna Szkoła Podstawowa im. mjra Henryka Sucharskiego w Jelonkach,
Szkoła Podstawowa z Oddziałami Integracyjnymi w Dzierżeninie,
Szkoła Podstawowa im. prof. Jadwigi Kobendzy w Koczargach Starych,
Zespół Szkolno-Przedszkolny im. Kornela Makuszyńskiego w Wyszynie,
Szkoła Podstawowa im. Władysława Stanisława Reymonta w Maszewie Dużym
Publiczna Szkoła Podstawowa nr 2 w Garwolinie,
Publiczna Szkoła Podstawowa im. Kornela Makuszyńskiego w Chynowie,
Institutions:Biuro Wystaw Artystycznych w Ostrowcu Świętokrzyskim,
Biuro Wystaw Artystycznych w Tarnowie,
Galeria Bielska BWA,
Gminne Centrum Kultury w Okuniewie.