In August 2015, Julita Wójcik's Rainbow disappeared for good from Savior Square in Warsaw . The installation, set on fire and reconstructed many times, which was supposed to be a universal symbol of openness and covenant, became – against the will of the author – a lens of cultural war and polarization of Polish society. Right after that, the so-called camp of good change took over power, whose rule significantly influenced the shape of public debate and contributed to deepening social tensions. The new order also encompassed historical and cultural policy, not bypassing art institutions, which increasingly became arenas for the fight for symbols and narratives. The exhibition Strefa LGBT+. Queer Art in Times of Good Change presents the work of queer artists in the face of the social, cultural and political changes of the last decade.
The title of the exhibition refers to the controversial LGBT-free zones – established by resolutions adopted by local governments in 2019–2020 – which covered almost one third of the country’s territory. It was the culmination of a populist, dehumanizing campaign driven by public media, politicians, and representatives of the Catholic Church. It was a time not only of deteriorating living conditions and a decline in the sense of security of the LGBT+ community in Poland, but also – equally importantly – of an intense, solidary fight for human rights and cultural and generational change. Following this line of thought, we treat “good change” not only as a symbol of a homo-, trans-, and queerphobic political campaign, but also as an impulse that led to the creation of tools and structures supporting the queer struggle for survival and dignity.
This applies to both the development of new forms of activism and radical protest, as well as revaluations in the area of discourse on gender and sexual orientation. It is not only the largest cities that are taking to the streets – marches and equality parades are also starting to be organised in smaller towns and centres. This shows that queer is everywhere, even in villages. More and more identities of “minorities within minorities” are gaining representation, such as trans and non-binary people, who are breaking down the status quo established by gay hegemony. There is more and more talk about inclusive language, creating safer spaces and mental health.
The aforementioned phenomena also influenced the flourishing of queer art, intertwining with the activities of LGBT+ artists, who were often involved in activist and research activities. Protest became a place to present art, and exhibitions became protests. Limited access to public institutions led to the grassroots creation of an alternative circulation for queer art and thought. Newly established collectives, grassroots projects and club spaces became a refuge for LGBT+ practice and art, taking on tasks previously carried out by cultural institutions. Queer entered the cracks, squeezed in where no one wanted it, and crumbled the ossified heteronorm from within. It was not a whim from the West, as conservative politicians tried to describe it. The fact that voices talking about the “queer fashion” can now be heard was paid for by a constant struggle for visibility and space – creating their own, autonomous “zones” operating on their own terms.
The exhibition of the LGBT+ Zones: Queer Art in Times of Good Change is dressed in a historiographic costume to take a closer look at the not-so-distant past from a certain distance. The thematic zones we have proposed subversively map the aforementioned phenomena and artistic attitudes. The chronicle shows attitudes in art directly related to resistance and reaction to systemic violence – from “grassroots work” consisting in creating alternative circulations of art and knowledge to activities at the intersection of art and activism. The Barn is a manifesto of capturing history and national symbols – in the spirit of the folk turn, it breaks up narratives and introduces voices from the margins. The chamber has become a place of affirmation of queer bodies and identities, which by their very existence violate existing norms. The last of the zones is the Movement Zone – a program of performances, guided tours, events and interventions that will take place in the Pavilion, in the exhibition space and on the streets of Poznań, providing a platform for performative practices, drag and discussion.
By looking at how changes in political life and institutions have affected artistic practices, how artists respond to social tensions and oppression, and what narratives of LGBT+ experience emerge from their work, the exhibition presents a panorama of queer/non-normative strategies, voices, and identities. Queer pride, in this case, is both a form of protest and a celebration of diversity. This umbrella therefore includes political manifestos of dissent, attempts to rewrite official historical narratives, as well as frivolous gestures in the spirit of camp exaggeration and alternative visions of community.
Opening: May 30, 2025, 6pm.
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