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Der Kopf ist rund, damit das Denken die Richtung wechseln kannGalerie Brugger

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Jak Zapomnieć Gallery / Pomadka Teresa

The project explores pop culture as a grotesque and camp-infused space where reality and fiction blur, reflecting late capitalism and the dissolution of distinctions between bodies, machines, and contemporary visual culture.
“A moment of relief. You thought the gore show was over and the monster had met its
end in one of those anatomically explicit scenes of ketchup-splattered carnage when
—suddenly—it comes back to life, still fixated on your death. If you were ever going to
scream, now is the time.”1 — Nick Land, Fanged Noumena
Pomadka Teresa is a black hole in Polish art—a singularity in which the trajectories of
pop culture become subject to extreme coupling. Works produced through
assemblage and compression bend their source forms, suspending them in a state of
persistent endurance and drawing them into a peculiar topology. The plastics and
silicones of The Real Housewives of Beverly Hills melt into a single mass. Their faces,
left too long beneath the desert sun of Los Angeles, disintegrate like Glenn Close in
The Stepford Wives. Because death suits Pomadka.
Fisher wrote that weirdness de-realizes the real and makes the fictional real. It is the
intrusion of something that should not be present in a given place and yet stubbornly
remains there, producing a disturbance in which the boundary between the real and
the fictional begins to dissolve.2 Something similar happens in Pomadka’s work: the
image that simulates reality is cartoon-like and appears to have been generated. The
cartoon-like does not remain merely an aesthetic of representation; it becomes an
intrusion that destabilizes the status of the real. Pomadka’s masks produce a new,
weird spirituality, while a plastic toy is transformed into a relic of Mother Teresa.
If, following Susan Sontag, camp is “a love of the unnatural: of artifice, stylization, and
exaggeration,”3 then Pomadka Teresa is its exemplary figure. Yet this would be a
naïve way of thinking. Under late capitalism, culture operates as a machine for the
continuous production of camp, which ceases to be a minority aesthetic and becomes
a generic environment: one composed of filters, generative images, and faces
modelled by AI and cosmetic surgery. Camp does not ask what something means or
whether it is right, and in this sense it resembles the logic of an algorithm, which does
not evaluate content but processes formal patterns. Where tragedy presupposes
depth, camp prefers surface; where morality requires judgement, camp chooses
aesthetic modulation. Networked structural camp is no longer merely an aesthetic
experience but an epistemological one as well: as the dominant perceptual and
generative pattern, it constitutes the infrastructure of the contemporary world.
“But the most important part of the face for the grotesque is the mouth. It dominates.
The grotesque face is essentially reduced to a gaping mouth; everything else is
merely a frame around that mouth, around this gaping and devouring bodily abyss.”4
— Mikhail Bakhtin, Rabelais and His World: A New Translation
It is precisely these grotesquely enlarged, unnaturally swollen, and permanently open
mouths that condense into a singularity in Pomadka’s work. For Bakhtin, the
exaggeration of the mouth is the primary means of shaping the grotesque
countenance, the centre of the face’s deformation and disintegration. Pomadka’s
masks resemble grotesques torn from the façades of Gothic cathedrals and thrown
into algorithmic circulation.5 Medieval representations were fuelled by Christian
mythology and folk culture; Pomadka is driven by the memosphere, B movies,
science fiction, Terminator, the xenomorph from the Alien franchise, and reality-
television databases. The grotesques return as inhabitants of social-media platforms,
while the medieval carnival is coupled with a bot farm.
Nick Land defined compression as a process through which capitalist-technological
systems reduce time, complexity, and qualitative differences to increasingly dense
intensities ready for further circulation.6 Similarly, in Pomadka’s work, images of
popular culture are neither quoted nor represented but subjected to vacuum
compression. American Beauty, but with the face of late-period Nicole Kidman; The
Urbz: Sims in the City, but played from the interface level, where you are constantly
keeping the indicators in the red; GTA: San Andreas as a nocturnal open world,
except that you mostly play it like Crazy Taxi and run over male hookers; Desperate
Housewives, but styled like Vinted, where the clothes have more history than the
people; or Quake III Arena, but with an FPS so high that your eyeballs explode.
Pomadka sucks all of this into her vortex and compresses it into a single intensity—
posthuman pulp.
The algorithm rewards not truth but intensity, difference, and speed. Condensed
images circulate, replicate, and mutate, while the face ceases to be a face in the
traditional sense. The greater the excess, the greater the chance of dissemination.
Instagram and Pomadka jointly produce a machinic process that drives, accelerates,
and disperses itself. In this sense, Pomadka’s grotesques become the platform’s
inter(faces): grotesque heads with gaping maws, devouring pop culture, multiplying
on algorithmic slides, and returning once again to circulation. Pomadka has failed the
Turing test because the distinction between human and machine has ceased to
matter.
1 Land, N., Fanged Noumena, trans. Patrick Leftwich (Warsaw: Kronos, 2026), essay
“Cybergothic.”
2 Fisher, M., The Weird and the Eerie, trans. Anna Karalus and Tomasz
Adamczewski (Gdańsk: słowo/obraz terytoria, 2023), essay “Out of This World, Out of
Time: Lovecraft and the Weird.”
3 Sontag, S., Against Interpretation and Other Essays (London: Penguin Books,
2009), essay “Notes on ‘Camp’.”
4,5 Bakhtin, M., Rabelais and His World: A New Translation, trans. S. Sandler (MIT
Press, 2025), chapter “The Grotesque Image of the Body in Rabelais and Its
Sources.”
6 Patrick Leftwich, “Afterword,” in Nick Land, Fanged Noumena, trans. Patrick
Leftwich (Warsaw: Kronos, 2026).




















Artists in this exhibition
More at Jak Zapomnieć Gallery
More in Kraków
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