Featuring works by Alexandra Bachzetsis, Zuza Golińska and Dorota Jurczak, the exhibition marks the next chapter in the exchange between piktogram and Konrad Fischer Galerie. Following Konrad Fischer Galerie's presentation in Warsaw, hosted by piktogram, the collaboration now continues in Düsseldorf: Constellations of works, ideas, attitudes, techniques, and materials. Objects and images, still and in motion. Bodies, quasi-bodies and non-bodies. Embodiment and disbodied study. Fictional and impossible spaces. Three artists, three distinct arrangements of works.
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At first glance, the works of Dorota Jurczak-which include sculptures made of glass and ceramics, paintings, graphic works and bronze reliefs-often seem charming or vaguely reminiscent of folklore figurines or children's book illustrations. Upon closer inspection, however, a surreal, macabre world full of anthropomorphic beings, strangely deformed creatures, and androgynous objects is revealed.
The complexity of Dorota Jurczak's works, much like dreams or hallucinations, cannot be fully described. But the spaces and times populated by these mysterious figures seem equally undefined, even uncanny-they appear to follow their own laws. Objects such as matches ("Zapałki"), which frequently appear in her works, are often personified as hybrid beings combining human and animal traits. Often, the figures-or just their faces or noses-are multiplied, sometimes separately and in an orderly fashion, sometimes growing organically into one another. They appear timeless and seem absent despite their precision and material tangibility. The characters, who resemble fairy-tale heroes and animals, have names, but these are names that have been forgotten, are made up, or are in a language that is no longer spoken.
Dorota Jurczak currently lives and works in Palermo, Italy. She graduated from the Hochschule für bildende Künste in Hamburg. Her solo exhibitions include Rialto 6, Lisbon (2026), Plato Ostrava (2025), Bergen Kunshall (2018), Künstlerhaus Stuttgart (2017), Culturgest Lisbon and Porto (2016), MoMA The Museum of Modern Art, NYC (2007). Her works were included in the group exhibitions at DESTE Foundation, Athens (2026 and 2013), MAK - Museum of Applied Arts, Vienna (2023), Kunstverein Lübeck (2020), Museum of Modern Art in Warsaw (2017), Frans Hals Museum, De Hallen in Haarlem, NL (2014), Kunsthalle Wien (2013), WIELS, Brussels (2012), Deichtorhallen Hamburg (2011), CAPC Musée d'art Contemporain, Bordeaux (2010), Royal Academy of Arts, London (2010), Sammlung Falckenberg, Hamburg (2010), MARRES Centre for Contemporary Culture, Maastricht (2007), TATE Modern, London (2006), and at 2nd International Biennial of Contemporary Art in Seville, and 4th Berlin Biennial. Her upcoming solo exhibition at Centro Internacional das Artes José de Guimarães (CIAJG) opens on September 26, 2026.
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Zuza Golińska is a multidisciplinary artist whose practice explores the impact of architecture and public space on the individual. Her work investigates how physical and mental well-being are shaped by the psychology of space, particularly in the context of civilizational acceleration and late-stage capitalism. Golińska often challenges the boundaries between functionality and aesthetics, examining how spatial forms influence emotion and decision- making. In her recent works, she has focused on imagining future landscapes, with a particular emphasis on the remnants of human presence-such as ruins and industrial byproducts-marking the end of human-led labor. The part of the Swarm project is currently on display as part of Manifesta 16 Ruhr, at the Gethsemane Church in Bochum.
The Swarm is an alien environment created from the leftovers of a declining factory complex. Swarm continues on the path set by Golińska in her previous works. The sculptures have a strong material presence that result from her involvement in producing them within the boundaries of her workshop in the Gdańsk Shipyard. She moves through the metal workshops, scavenging through heaps of scrap metal, selecting, arranging and testing the forms in space. Cooperating with the welders, who used to approach her with disbelief and now are familiar with her presence, she binds and scrapes metal together into sculptures. Or, if the scraps allow it, she bends them into the desired forms. Finally, the rusty metal is partially powder painted in bright colours adding futuristic and painterly dimensions to the final form of the works. The industrial leftover becomes a fictional speculation about new forms of living.
Zuza Golińska is a graduate of the Mirosław Bałka Studio of Spatial Activities at the Academy of Fine Arts in Warsaw. She has received scholarships from the Ministry of Science and Higher Education and the Ministry of Culture and National Heritage (2016, 2020, 2026). In 2018, she was awarded the ArtePrize by the Delfina Foundation in London. In 2022, she became the recipient of the Dorothea von Stetten Art Award from the Kunstmuseum Bonn.
Zuza Golińska lives and works in Gdańsk, Warsaw (PL) and Vienna, AT. She has presented her work at numerous public institutions, including the Kunstmuseum Bonn (2022), the Museum of Modern Art in Warsaw (2025, 2023, 2020, 2018), the Contemporary Museum in Wrocław (2020), the Zachęta - National Gallery of Art in Warsaw (2022, 2020, 2019), the Yokohama Museum of Art (2020), and the National Gallery in Prague (2015). Upcoming group exhibitions include „Sculpture Beyond the Solid" at the Museum of Modern Art in Warsaw and „Ruin Echoes" at the Konschthal Esch in Esch-sur-Alzette.
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Alexandra Bachzetsis is a choreographer and visual artist, based in Zurich. Her practice unfolds at the intersection of dance, performance, the visual arts and theater, generating a conflation of the spaces in which the body, as an artistic and critical apparatus, can manifest. This fundamentally interdisciplinary approach is reflected in her educational background for example through her post graduate level at Das Arts, the Advanced Research in Theatre and Dance Studies centre in Amsterdam. Much of Bachzetsis' work involves choreographies of the body, focusing on the ways in which popular culture provides material for gesture, expression, identification, and desire as we continually create and re‑create our bodies and the way we identify through them. Within this, she explores the mutual influence between the use of gesture and movement in commercial platforms on the one hand (online and social media, fashion, video-clips, television, etc.) and in fine arts on the other hand (ballet, modern and contemporary dance, photography, performance, etc.). For Bachzetsis, the relationship between these varying forms and genres produce an inquiry into the human body and its potential for transformation.
Her work has been exhibited in a variety of contemporary art spaces and museums, including Kunsthaus Zurich (2025 and 2022), the Art Institute of Chicago (2019), the MoMA The Museum of Modern Art, New York (2017), the Stedelijk Museum, Amsterdam (2013 and 2015), TATE Modern (2014), the Jumex Museum, Mexico City (2014), and Kunsthalle Basel (2008), as well as a number of international biennials and large-scale exhibitions, such as documenta 14 (Athens and Kassel, 2017), the Biennial of Moving Images (Geneva, 2014), (d)OCUMENTA 13 (Kassel, 2012), as well as the 5th Berlin Biennial (2008). Bachzetsis was nominated for the DESTE Prize (2011) and is a laureate of the Migros Kulturprozent Jubilee Award (2007), the Swiss Art Award (2011 and 2016), the Swiss Performance Prize (2012), and the Art Award of the City of Zurich (2018).
The This Side Up consists of a video file running in a loop on a tube monitor and posters next to the monitor.The work deals with the spatial aspect of movement instruction, recording and notation. The process of recording movement on paper developed from simple, pattern-like floor plans in bird's eye view to more complex systems using symbols and letter codes or signs borrowed from musical notation.
The challenge of movement instruction and notation lies within the simultaneity of its elements: the movement itself in the three dimensions, the concept/idea behind it, the alignment in space, the time and duration as the fourth dimension. Movement is just as elusive as thought: the need for referencing and measuring is not only crucial for spatial orientation but for communication in general. Word descriptions without physical demonstration or metaphors limit the specificity of spatial description-depending on the point of view, words alter their meaning and become inadequate. These "blind spots" of language create interesting situations of ambiguity to be explored in the process of the work.
The works Denim and Cut-Out Piece are part of the larger project Notebook. It is Alexandra Bachzetsis's profound and lustful exploration of her own biography as a dancer, choreographer and artist. The piece was created in dialogue with partners. Themes such as lust, sexuality, excess, innocence, pain and transience are addressed in the form of performative notes that manifest themselves in a plurality of voices, images, bodies and objects. The notebook as an indispensable companion of the artistic process, as a private archive of creative work, and as a storehouse of ideas for imagined future projects thus reflects Bachzetsis's artistic affinity for the fragmentary, the sketchy, the unfinished in creative and performative thought processes. Here, the body becomes a physical archive of other bodies, the most subversive form of representation of experience, as well as a site of permanent mediation between past and present, event and documentation, liveliness and mediality, originality and quotability.