{"id":36843,"date":"2026-05-25T11:43:53","date_gmt":"2026-05-25T09:43:53","guid":{"rendered":"https:\/\/ethnomuseum.pl\/?post_type=wystawy-lista&p=36843"},"modified":"2026-09-09T14:10:27","modified_gmt":"2026-09-09T12:10:27","slug":"everything-will-change","status":"publish","type":"wystawy-lista","link":"https:\/\/ethnomuseum.pl\/en\/wystawy-lista\/everything-will-change\/","title":{"rendered":"Everything Will Change"},"content":{"rendered":"\n
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The riverside pavilions become a space for intervention in the urban fabric and an attempt to answer the question: if the threat is so clear, why do we continue to act according to patterns that deepen the crisis? The exhibition\u2019s narrative begins with water and local ecosystems, moves through global flows of raw materials, and traces the mechanisms of production and exploitation connected to them. The exhibition invites reflection on the nature of the environment and the finite nature of its resources.<\/p>\n\n\n\n

The site-specific<\/em> installations were created by four artistic collectives. Their collaboration highlights the importance of collective action in the face of growing uncertainty and changing living conditions. Collectivity also becomes a tool for critiquing a system based on individualism.<\/p>\n\n\n\n

Everything Will Change<\/em> is the first presentation in the \u201cResources\u201d exhibition programme, devoted to the exploitation of natural resources and its irreversible consequences.<\/p>\n\n\n\n

Location: Gen. George Smith Patton Boulevard, Warsaw (Google Maps<\/a>).<\/strong><\/p>\n\n\n\n

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INSTALLATIONS<\/h2>\n\n\n\n

HYDROZA:<\/strong> Jagoda Malanin, Kasia Rysiak, Milena Soporowska, Kasia \u015alesi\u0144ska<\/p>\n\n\n\n

They Have a Muscle That Loves Being Alive<\/strong><\/em><\/p>\n\n\n\n

The artists behind the installation focus on the relationships between water, matter, and processes of environmental degradation. The work takes mussels used as bioindicators of water quality as its point of reference; their responses to pollutants become a clear signal of the state of the environment. The depiction of a dried-up fountain refers to the cyclical nature of natural processes and the tension between how they actually function and human notions of control and stability.<\/p>\n\n\n\n

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GRUPA ZAKOLE:<\/strong> Zuzia Derlacz, Krysia J\u0119drzejewska-Szmek, Aleksandra Knychalska, Olga Roszkowska, Pola Salicka<\/p>\n\n\n\n

Two and a Half Metres of Marsh<\/strong><\/em><\/p>\n\n\n\n

The pavilion is devoted to the history of Zakole Wawerskie, a wetland ecosystem in Warsaw\u2019s Wawer district, cut off from the former course of the Vistula but still shaped by the river. It is a place where environmental history overlaps with contemporary processes of urbanisation, agriculture, and infrastructure development, creating a tension between the wild and the transformed. The area is treated as a space of landscape memory, bearing traces of changes that have taken place over centuries while also raising questions about the role of the city in the long history of this ecosystem.<\/p>\n\n\n\n

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SEN O KO\u0143CU:<\/strong> Kinga Dobosz, Maja Janczar, Piotr Ml\u0105cki, Tomek Paszkowicz<\/p>\n\n\n\n

Import\/Import\/Import<\/strong><\/em><\/p>\n\n\n\n

The installation explores the industrial consumption of resources and their presence in everyday systems of exchange and distribution. Its form references the popular parcel locker systems. The goods that are continuously produced embody not only practical value, but also intellectual and symbolic value. Their excess generates significant environmental costs, while the production system reveals postcolonial relations. The installation reflects on how the widespread availability of goods and the ways in which they are distributed transform both ourselves and culture.<\/p>\n\n\n\n

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PIOTROWSKA\/SZCZ\u0118\u015aNIAK<\/strong>: Sara Piotrowska, Maciej Szcz\u0119\u015bniak<\/p>\n\n\n\n

Moving forward<\/strong><\/em><\/p>\n\n\n\n

At the centre of the project is river sand, a basic resource used in the construction industry. Desert sand, shaped by the wind, is too smooth and rounded to bind concrete effectively. For this reason, Dubai, in building its spectacular infrastructure, has been forced to import sand, including from Australia. The installation explores the intensive exploitation of this resource, drawing attention to the network of global connections and the environmental consequences it entails.<\/p>\n\n\n\n

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ARTISTIC COLLECTIVES<\/h2>\n\n\n\n
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