Der Kopf ist rund exhibition installation view

Klaus in Vorarlberg / 2026

Der Kopf ist rund, damit das Denken die Richtung wechseln kann

Galerie Brugger

May 22 — June 01, 2026

Axial-Core

Leo Pum @La Térmica, Málaga KRVCE festival

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Seoul / 2026

PRESERVED, UNFIXED

Studiya Gallery

Białystok / 2026

CLEARVIEW

Arsenal Power Station Gallery

Napoli / 2026

LIVING COLLAPSE

Madre Museum

Köln / 2026

WHAT HOLDS

Motkerei Werkstatt

Kraków / 2026

GLIMMER

Jak Zapomnieć Gallery

Porto / 2026

THE WORD FOR WORLD IS POEM

Lehmann Gallery

Stockholm / 2026

GHOSTS & GODS

Coulisse Gallery

Seoul / 2026

EUREKA

MO Gallery Seoul

Helsinki / 2026

DOG AND ANGEL

SIC

KOESY

@koesysaga

/ 2026

FROM AN UPCOMING SERIES

Olomouc / 2026

SIGNAL V

Telegraph Gallery

Prague / 2026

ROT SUMMER

Holešovická šachta

Ethereal Robes of Vulnerability exhibition view

Vilnius District Municipality / 2026

ETHEREAL ROBES OF VULNERABILITY

Aikas Žado Laboratory (Žeimiai Manor House)

Słupsk / 2026

A GENTLE KISS ON A DOUBLE FOREHEAD

BGSW / Baszta

Poznań / 2026

WE ARE DEEPLY ALARMED AND EXPRESS OUR GRAVE CONCERN

DOMIE

Poznań / 2026

MAKE ME YOURS

Łęctwo

Brussels / 2026

FIRST DATE

Lodovico Corsini

Berlin / 2026

CAGED MOVEMENTS

NADAN Berlin

Istanbul / 2026

ROOTKIT

BENTA

YIHAN PAN

@pyhii

Montpellier / 2025

METEMPSYCHOSIS

MO.CO. Montpellier Contemporain

Brno / 2025

LOVE

Zaazrak|Dornych

Lisbon / 2025

THE STAGES OF GRIEF

PADA Studios

/ 2024

EXTERNAL CRYOGENICS

Hyperlink Athens

Shanghai / 2024

CONTEMPT

Capsule Shanghai

London / 2024

TOTAL INTERNAL REFLECTION

Zerui G

/ 2025

DEEP SEA FISH

Diesel Art Gallery

Innsbruck / 2025

TIPPING POINT PHANTOMS

Künstlerinnenvereinigung Tirol

Vienna / 2025

SWEET GARDEN OF VANISHED PLEASURES

dieAngewandte

New York / 2025

LUCA

Management NYC

YEON GYEONG-SEOK

@camelostrich

Busan / 2025

AFTERLIFES

Hongti Artcenter

Berlin / 2025

WEAVING BACK TO COMMON GROUNDS

ACUD Galerie

Munich / 2026

MOTIONS TO UNFURL

Gallery Thetigerroom

Seoul / 2025-2026

GROWING BODY

Studiya Gallery

Paris / 2026

MAIN DE FER, GANT DE VELOURS

Association NOEMI — Espace Brownstone

Warsaw / 2026

PARACHUTE

Przeciag Galeria

Nurnberg / 2026

LIMINALITY

Adbk Nuernberg

Offenbach am Main / 2026

CALL SOMEONE

Ayayay

/ 2025

SWEET WORLD 1

Sweet World Gallery

Berlin / 2026

COMPANIONS: ACT I

Hours

/ 2026

PRESERVED, UNFIXED BY YASY BACHURINA

XOLO CUINTLE

@xolo_cuintle

Features

Unzucht - Kiss the Devil's Arse exhibition view

Berlin / 2026

UNZUCHT - KISS THE DEVIL'S ARSE

Kunstbrücke am Wildenbruch

Cologne / 2026

CHRONIC INFLAMMATION

Martinetz

Saarbrücken / 2026

RITUAL FOR HAPPINESS

Automat

Berlin / 2026

THE SOLEMNITY OF THE REPULSIVE

roam projects e.V.

Suwon / 2026

THE CREEPER IN THE DUSK

Gosaek Newseum

Hurup / 2026

THE JEWEL BOX

Kunsthal Thy

/ 2026

BUNNY BUNKER NO.1

KIM MYUNGCHAN

@kim.myungchan

Shanghai / 2026

TECHNO WORLDS — FINAL SAMPLING

Power Station of Art

Paris / 2026

WHAT WE SEE, WHAT LOOKS BACK AT US

Emergency Space

Brescia / 2026

IMPOTENZA

Palazzo Monti

Triangle reshapes the O of my mouth exhibition view

Munich / 2026

TRIANGLE RESHAPES THE O OF MY MOUTH

Sperling

Lima / 2026

YOU CAN'T STOP THE WORLD FROM BEING BAD

Galería Gato

Mexico City / 2026

AXES

Alvarez Chida

Cergy / Paris / 2026

NIKE, TA MÈRE (WILL FALL ON YOU)

ENSAPC / CROUS Paris

New York / 2026

ACTUALIZATION MACHINE

Silke Lindner

Düsseldorf / 2026

DON'T TRUST THE RABBIT

SSK Düsseldorf

Kraków / 2025

WHEN DOORS CLOSE, WALLS RISE

Jak Zapomnieć Gallery

EMMA BEATREZ

@emma.beatrez

Brussels / 2025-2026

WORK OF PROOF

FLⒶT$

/ 2024

METEMPSYCHOSIS: THE PASSION OF PNEUMATICS

Schinkel Pavillon

Tartu / 2024

ENTER WOODLAND SPIRITS

Estonian Literary Museum and the University of Tartu Natural History Museum

Wroclaw / 2024

EUTROPHY

Bulvary

Stockholm / 2024-2025

DIALECTS OF THE DEEP

Bonniers Konsthall

Geneva / 2024

DOWN THE RABBIT HOLE, 2024

Halle Nord Geneve

Paris / 2025

TISSU EXPANSÉ

Europa NYC

Santiago / 2025

ENCUENTRO

Sagradamercancia

Warsaw / 2025

THE LAST DRAWER ON THE LEFT

Przeciag Galeria

FANTASY VANISHES IN FLESH exhibition view

Milan / 2025

FANTASY VANISHES IN FLESH

Francesca Minini

NATHAN CARÊME

@nadaecc

Dornbirn / 2026

BUCOLICA

Kunstraumdornbirn

Prague / 2026

SOFT_SIGHS SYNTHESIS

Clauda Cz

Seoul / 2025

MASSAGE PLATZ

Shower

Buenos Aires / 2026

COAGVLA

Acéfala Galería

Seoul / 2026

MIMICKING ETERNITY

Studiya Gallery

Berlin-Schöneberg / 2025

PRESENCE BY PROXY

Schutzenverein

Białystok / 2025

PARADISE ROT

Galeria Arsenal

Lima / 2026

C.R.E.A.M. (CASH RULES EVERYTHING AROUND ME)

Mueve

Vienna / 2026

AUSGEWEIDET / GUTTED

WAF Galerie

Antwerpen / 2026

I AM JUST A DOG

temp

Within And For Each Other exhibition view

Warsaw / 2026

WITHIN AND FOR EACH OTHER

WHOISPOLA

Madrid / 2026

SUCULENTA ARAÑA

Galería Picnic

Istanbul / 2026

DEAD LETTER OFFICE

Benta

Berlin / 2026

ACACIA BLOOM

Galerie Molitor

Lladó / 2026

KIN TOO

Spiritvessel

Santiago / 2026

RAMA TORCIDA

MAC — Museo de Arte Contemporáneo

Paris / 2026

NEXUS, OPEN STUDIO

Cité internationale des arts

Tisbury / 2026

FLOOD

Messums West

Berlin / 2026

FIGHT OR FLIGHT: SEX

Kunstquartier Bethanien

Málaga / 2026

AXIAL-CORE

La Térmica (KRVCE festival)

YUKINO YAMANAKA

@yukino_yamanaka

Klaus in Vorarlberg / 2026

DER KOPF IST RUND, DAMIT DAS DENKEN DIE RICHTUNG WECHSELN KANN

Galerie Brugger

Genk / 2026

JOY RIDE

Jester

Turin / 2026

OLD SNAG

Société Interludio

Vienna / 2026

TERRITORIES OF EXTRACTION

Arka Arka

Oslo / 2026

STIAN EIDE KLUGE AT ROTHHAUS, KUNSTNERNES HUS, OSLO

Kunstnernes Hus (Rothaus)

Warsaw / 2026

HAUS DER LÜGE

Przeciąg Gallery

PROFUSION ANTAGONIST WISHLIST exhibition view

Düsseldorf / 2026

PROFUSION ANTAGONIST WISHLIST

PAW

Edges that blur, bodies that fold into something other exhibition view

Berlin / 2025

EDGES THAT BLUR, BODIES THAT FOLD INTO SOMETHING OTHER

ACUD

Shanghai / 2025

A BLADE UNHELD

Galerie Dengyun

/ 2023

KASSANDRA

Kunsthalle Ost

SOPHIA GATZKAN

@s_gatzkan

Vilnius / 2024

KETEROS

Meduza Fyi

Prague / 2024

PETRICHOR

Prám

Jung-gu, Seoul / 2025

FARM

Bio Gallery

Ljubljana / 2025

TAR STAR

Cukrarna Art

Bratislava / 2025

DISTANT, ENDLESS HUM

Vunugallery

/ 2025

THE ROOM I

Ifö Center

Bratislava / 2025

BEGONE ESTRONE

Medium Gallery

Kraków / 2025

CRASH PÆNDEMONIA

Jak Zapomniec

Milan / 2025

MYTHS FROM SMOLDERING SKIES

Limbo Contemporary

DOUBLED PRESENCE IN A DISEMBODIED SPACE exhibition view

Graz / 2026

DOUBLED PRESENCE IN A DISEMBODIED SPACE

Trost Spc

ARGHAVAN KHOSRAVI

@arghavan_khosravi

London / 2026

EVEN SPECTRES CAN TIRE

Xxijra Hii

Vorarlberg / 2026

SUPPORTED FILES

Galerie Brugger

Sardinia / 2026

BLUE BLOODED

Museo Nivola

/ 2025

LOST ENCOUNTERS, THEY CLING

PARALLEL VIENNA

Seoul / 2025

TACTICS FOR AN ERA (GROUP SHOW)

K&L Museum

Düsseldorf / 2026

SPATENPROBE

BLOOM

Submit Exhibition

Prague / 2026

BESIDES BODIES

Berlinskej model

Tokyo / 2026

INTOLERANCE

Standing Pine

DEW KIM

@dew_needs_you

Miami / 2026

COMMON SKIN FANTASY

KDR Gallery

Berlin / 2026

COSMOLOGIES AT PLAY

Neun Kelche

Norwich / 2026

AS THE SAP RISES

OUTPOST

Vilnius / 2026

SUBSURFACE

MO Museum

Brno / 2026

ANCIENT GIRL STARTER PACK

Galerie Mladých, TIC

Avigliana / 2026

I SEE YOU FALLING IN MY DEN

Una Boccata d'Arte 2026

Shanghai / 2026

THE ROOM IS EMPTY, BUT PREGNANT

Capsule Shanghai

Copenhagen / 2026

AFTER THE OFFERINGS

inter.pblc

Ciudad de México / 2026

TÁNTALO

Biblioteca Vasconcelos

Angers / 2026

THE STASIS GARDEN (OR PIXIES MEMORIES)

Ville d'Angers (Château d'Angers)

ANNA UDDENBERG

@filet_minion_thong

Kraków / 2026

PASSENGER

Szaber Gallery, Kraków, Poland

WHO COMPOSES THE SONG OF THE CRICKETS? exhibition view

Paris / 2026

WHO COMPOSES THE SONG OF THE CRICKETS?

Galerie Suzanne Tarasieve

Poznań / 2026

TANGLED IN SHADOWS FROM AN OLD DRAWER

Łęctwo

Bucharest / 2026

DISLOCATION

Arsmonitor

Tokyo / 2026

THE BEAUTIFUL REMAINS

Kohtoh

New York City (NY) / 2025

EXUVIAE

Management

Göteborg / 2025

TOMORROW'S FORECAST, WHITE CLOUDS GREY DOGS

Galleri Box

/ 2024

BIDIM BLO!

Basisfrankfurt

Lisboa / 2023

A CERTAIN INSTANCE OF VERRITION

Leal Rios Foundation

Budapest / 2024

SKELETAL SCENES

Ani Molnár Gallery

JACOPO PAGIN

@pax_aliena

Milan / 2025

FALENE

Limbo Contemporary

LUNAR ENSEMBLE FOR UPRISING SEAS exhibition view

Barcelona / 2024-2025

LUNAR ENSEMBLE FOR UPRISING SEAS

Macba Barcelona

Milan / 2025

METAL MEMORY

Limbo Contemporary

Berlin / 2025

GREEN GROWTH

Kuenstlerhaus Bethanien

Århus / 2025

JUST ABOUT AND NEVER

SpLab

Paris / 2025

PARADE

Romeropaprocki

Berlin / 2025

THRESHOLDS

Carlier | Gebauer

Seoul / 2026

THE COLLAPSE MANUAL_THE POST-HUMAN FIELD (GROUP SHOW)

Aod Museum

Leipzig / 2026

MOONLIT BOTANICAL COLOUR THEORIES

Jochen Hempel

Dornbirn / 2026

47°24’35’’N / 9°44’20’’E

Kunstraum Dornbirn

QUE.FRESCA

@que.fresca

Paris / 2026

CHEWING GUM IN THE MOTHERBOARD

La Volonte 93

Paris / 2025

PULSES WITHIN

Ds Galerie

Seoul / 2025

THIRD SKIN

Dive Seoul Art

Sherbrooke / 2026

APIS MELLIFERA CONCERTO

Sporobole

Warsaw / 2026

HAT HAPPENS ON EARTH STAYS ON EARTH

bliss

Riga / 2026

KEEPING THE PEELS

427

Brussels / 2026

LARVAL TEARS

Veranda

Berlin / 2026

P R I M O R D I A

Culterim Spaces Backshop

Munich / 2026

INNER:LICHT

SAMSA G. TUCHWAREN

ISABELLE ALBUQUERQUE

@isabellealbuquerque

Münster / 2026

THE SPIRIT IS WILLING BUT THE FLESH IS WEAK

Leonardo-Campus Münster

/ 2026

MOUTH

A Flower Is Growing Inside Me exhibition view

Warsaw / 2026

A FLOWER IS GROWING INSIDE ME

Piktogram

Seoul / 2026

BETWEEN REALITY AND THE VIRTUAL

Brussels / 2026

CALL ME GRAVITY

WIELS Contemporary Art Centre

Seoul / 2026

TANGERINE REVERIE

Bangdo

Paris / 2026

NYMPHENBRUNNEN

Espace Nonono

24 Preludes, Op. 34: No. 22 in G minor (Adagio) exhibition view

Seoul / 2026

24 PRELUDES, OP. 34: NO. 22 IN G MINOR (ADAGIO)

Studiya Gallery

London / 2026

FAULT LINES

Public Gallery

Everything comes together while pushing all apart exhibition view

Vienna / 2026

EVERYTHING COMES TOGETHER WHILE PUSHING ALL APART

Reaktor Wien

00 ZHANG

@aio0o0o0

Munich / 2026

DOUBLE STAR

nouveaux deuxdeux

Ljubljana / 2026

ACCOMPLICE

Cukrarna

Warsaw / 2024-2025

GRASS ON ROADSIDE 4

Przeciąg Gallery

London / 2025

CHOICE DIRT

Xxijra Hii

Incommunicability is itself a source of pleasures exhibition view

Brescia / 2025-2026

INCOMMUNICABILITY IS ITSELF A SOURCE OF PLEASURES

The Address

/ 2024

TRANSPARENCY REPORT

/ 2023

THE WORM AT THE CORE

SET

Berlin / 2023

HUMAN IS

Schinkel Pavillion

London / 2024

LIMO

The Split Gallery

Berlin / 2025

THE NEOLIBERAL URGE TO CURATE A FRIENDSGROUP

ACUD Galerie

DORIS SALCEDO

#DorisSalcedo

Arnsberg / 2025

VITALS VAPORS

Kunstverein Arnsberg

Hamburg / 2025

DIE SPRACHE DER VÖGEL

Westwerk Hamburg

Prague / 2025

WITH FEATHERS AND FLESH

Holešovická Šachta

Seoul / 2026

THE LANGUAGE OF THE ENEMY

Artsonje Center

London / 2025

THE SIGNAL. THE NOICE

Greatorex Street E1

Berlin / 2026

COMMON LANDSCAPE(S) (GROUP SHOW)

ACUD Galerie

Dortmund / 2026

CALL ME WE

SUPERRAUM

Kraków / 2026

THE SHAPE OF A SCAR

Bonifraterska 3/1

Lisbon / 2026

LULLABY BLOSSOMS

Cosmos CAC

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT exhibition view

New York City / 2026

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT

Management NYC

TAEWON AHN

@ppuri_

Madrid / 2025

DESIRING MACHINES

RÍO & MEÑAKA

WARSAW, POLAND / 2026

HAT HAPPENS ON EARTH STAYS ON EARTH

bliss / Magdalena Lazar

In 2015, it was proposed that the Anthropocene (the current era in which human activity has become the dominant force on Earth) be referred to by an alternative term – the Carbocene. (1) This term emphasizes the dependence on burning black (hydro)carbons – that is, coal and oil, solar energy "canned goods." The fact that this is a dependency demonstrates that burning fossil fuels is not evidence of human power, but rather evidence of how deeply humanity has been influenced by the very matter and energy from the Earth’s depths. And today, humanity struggles to break free from these patterns of behaviour. The extent to which excavation and mining have impacted the environment goes without saying. It is within this fraught, carbon-heavy legacy that Magdalena Lazar situates her latest body of work.

Lazar is an artist who comes from Upper Silesia, a region characterized by its mining history and her works in this solo exhibition are profoundly influenced not only by her personal experience, but also by family memory. When we began working together on this project early in the year, she shared with me the idea of a so-called "second sun." “Imagine a huge lump of coal on which we are now standing: several tens by several tens of kilometres wide and over a kilometre deep. We live on a vast seam stretching from Mysłowice to Ostropa. If a meteor were to strike Silesia, or if we ourselves were to throw a spark onto this coal, it would catch fire. … The sun burns constantly, exploding ceaselessly, and Silesia could be a second sun; it possesses the same energy. … this energy constantly affects us, that walking upon pure energy transforms us.” (2)

This idea is a quote from Erwin Sówka, a member of the Janowska Group – a collective of self-taught, non-professional, “naive” artists consisting mainly of underground miners from Upper Silesia. Another prominent member of this group was Teofil Ociepka, who was often credited with providing the group’s spiritual guidance. However, this guidance cannot be attributed solely to him. As Agata Stronciwilk shows, spirituality is equally rooted in the metaphysics and symbolism of subterranean exploration and extraction. Coal, as an organic matter, possesses its own metaphysics of life (of former life forms) that is unearthed and burned by fire. The underground space of the mine was thus historically regarded sacred, and the awe and dread of venturing into the earth’s depths were clearly reflected in the miners' beliefs, customs, and artistic expressions (e.g. Gwarek ’58’s graphics or Ludwik Holesz’s carboniferous paintings). (3) When Zbigniew Rokita opens his book Banką po Śląsku with the words, “I also want to find out who this man is – the one who fascinates some and fills others with fear: Homo silesius,” Lazar, too, sets out on a similar quest. (4)

As is typical for Lazar, she integrates various media (photography, objects, installation) and works with a wide range of materials in this series as well – from those she processes herself (metal, textile, cast glass) to found elements that she incorporates into her works (blown glass, scrap metal, or horse bits). In the central piece "What Happens on Earth Stays on Earth", the artist pairs metal remnants from a scrapyard and found 1980s decorative glassware (“durnostojki”) with alchemical iconography and almost apocalyptic symbolism. These peculiar horn-shaped glass forms echoe the look of the mushroom Craterellus cornucopioides ("trumpet of the dead") and at the same time resemble an illustration from the 15th-century French alchemical manuscript, where decay is depicted in a vessel filled with black water (this process is also known as “nigredo”). Inside lies a couple in a loving embrace, marking not an end, but the origin of a new life. The installation is complemented by sand, a raw material for glass, and a charcoal drawing on the wall depicting organic remains found in the soil, drawing attention to the subterranean environment and its organic life, brought to the surface by mining.

The theme of mined coal and its transformation manifests vividly in the work "Second Sun". Photography of extracted coal is woven directly into fabric using the jacquard technique and illuminated by the orange light of a vintage lamp, evoking a living Silesian sun emerging from darkness. The entire piece is bound by steel arches – a direct reference to the structural anchors, which prevent homes from collapsing due to mining tremors. Hand-welded quotes from internet culture, "It's so over" and "We're so back", serve not only as a commentary on rapid emotional swings, but also as a critique of industrial exploitation: a rhetoric that constantly oscillates between historical decline and utopian visions about former mines transformed into centres of advanced technologies, logistics or AI infrastructure.

Social context and the gradual erosion of local identity come to the fore in "Tongues in Decline". Two large cast-glass sculptures of tongues, featuring horse bits and melting, icicle-like stalagmites, rest on lace-trimmed oilcloth (a nostalgic staple of households of that time) to address the fading Silesian dialect. The language, which was once the melody of the artist’s childhood and a social marker of the working class, is turning into a fading trace of memory due to disuse. This loss extends beyond mere vocabulary; it represents a dwindling access to a specific world – its relationships, memories, experiences and its way of interpreting reality.

The personal trauma associated with unstable ground is captured in "My Nightmares Are Transparent, Opening onto Prehistory". An etched architectural drawing of Lazar’s family home in Zabrze (built by her great-grandfather, who later died in a workplace accident at the Bielszowice mine) is overlaid with metal eyes gazing into the earth like an X-ray. The work captures the anxiety of a family living above active mine shafts, while the ground sank and shook beneath them. The title is inspired by Adrienne Rich’s poem "Diving into the Wreck", in which Rich also dives under the surface. This sense of displacement continues in "At My Most Nostalgic", where a swarm of steel keys emerges from discarded door handles, symbolizing frequent moves, the loss of a family home and the shifting dwellings that define our lives. At the same time, Lazar draws attention to what often escapes our everyday perception and notions of time and space: "The Vegetative Season" depicts metal plants bearing pods, one of which contains an ominous black glass seed. The black seed could refer to the "Black Marble" satellite project, which maps Earth at night against the backdrop of the dark void of space: the planet does not glow on its own, but thanks to human activity that essentially consists of burning energy.

And it is precisely here, from the depths, that Lazar ascends back to the surface. Her explorations do not portray “homo silesius” as someone who fills others with fear, nor a figure who fascinates others with quirkiness or eccentricity. Instead, she confronts history with great respect while challenging the illusion of human control. Through her craftsmanship and thought, she is revealing a world in constant transformation. The exhibition project urges a deeper humility toward the planet’s creative and destructive forces and reminds us of the cyclical processes in which nothing truly disappears. What is extracted, transformed, or discarded persists – circulating as matter, memory, or energy – and this perspective extends to the social context as well, shaping shared narratives, culture, and language. She reminds us that whatever happens on Earth continues to resonate deeply within it. Let me conclude this text with the final passage of Rich’s poem. (5)

We are, I am, you are

by cowardice or courage

the one who find our way

back to this scene

carrying a knife, a camera

a book of myths

in which

our names do not appear.

(1) LeCain, T. J. (2015). Against the Anthropocene: A neo-materialist perspective on history. International Journal for History, Culture and Modernity, 3(1), 1–28.

(2) “Wyobraź sobie ogromną bryłę węgla, na której teraz jesteśmy: kilkadziesiąt na kilkadziesiąt kilometrów szeroką i na ponad kilometr głęboką. Żyjemy na ogromnej żyle ciągnącej się od Mysłowic do Ostropy. Gdyby w Śląsk uderzył meteor albo gdybyśmy sami rzucili jakąś iskrę na ten węgiel, on zapłonie. Erwin powtarzał, że musimy być w gotowości. Słońce pali się cały czas, nieustannie eksploduje, a Śląsk mógłby być drugim słońcem, ma taką samą energię. Był przekonany, że ta energia nieustannie na nas działa, że stąpanie po czystej energii nas przemienia. Nie twierdził, że Ślązacy są nadludźmi, ale że przez tę niewyobrażalną podziemną moc wszystko na Śląsku jest bardziej kolorowe, żywsze, ciekawsze, a historia intensywniejsza.” Rokita, Z. (2025). Aglo. Banką po Śląsku. Znak Literanova. Pp. 11–12.

(3) Stronciwilk, A. (2025). The spirituality of the Carbocene: On coal and art in Upper Silesia. In J. Balisz-Schmelz & K. Dworniczak Brill (Eds.), Enchanted socialist modernity: Art of Central and Eastern Europe (1945–1989) in the face of alternative spirituality (pp. 88–108), Leiden–Boston 2025, Pp. 88–108.

(4) “Chcę też przekonać się, kim jest człowiek, który jednych fascynuje, a innych napawa lękiem: Homo Silesius.” Rokita, 2025, p. 9.

(5) Rich, A. (1973). Diving into the wreck. In Diving into the Wreck: Poems 1971–1972. W. W. Norton & Company, Inc., pp. 22–24.

— Text: Eva Slabá