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This text was originally published in the This is our Poland special by the Calvert Journal on 30 June Re-published with kind permission. As a wave of rallies washed over the country to protest the tightening of already strict abortion laws, demonstrators channeled their anger into a carnival of costumes, masks, and signs. Others were more serious. Even more ubiquitous was the symbol of the lightning bolt in red and black: scrawled in lipstick and hot pizza sauce , speaking of rage too raw for words.
As the marching wound down, a group of young artists sought to preserve that outpouring of creativity. Galeria Labirynt, with long-time chief curator Waldemar Tatarczuk at its helm, threw its exhibition space wide open to the art of the street.
It was not the first time Labirynt had zeroed in on rights issues. Ten days later, Labirynt opened a special exhibition featuring work by over 20 queer creators. By November, 80 more artists had sent in their contributions. The show came together in days. I thought of it as a cry for freedom and equality. As we kept adding work and the show grew denser, it began to look more and more like a demonstration.
Paradoxically, it was the pandemic which afforded Labirynt the freedom to respond to current events in this way. We had a good amount of empty space at our disposal. It was so affecting that I struggle to picture an artwork, performance, or happening that could have a comparable effect.