Galeria Wschód is pleased to participate in NADA Villa Warsaw with a duo-presentation by Jan Domicz (b. 1990, Opole, PL) and Cezary Poniatowski (b. 1987, Olsztyn, PL).

NADA Villa Warsaw
Villa Gawrońskich
Al. Ujazdowskie 23
Warsaw, Poland

Find us on the Ground Floor of the Villa!

VIP Preview (by Invitation):
Wednesday, May 21

Open to the Public:
Thursday, May 22th, 3–7 pm
Friday, May 23rd, 12–7 pm
Saturday, May 24th, 12–7 pm
Sunday, May 25th, 12–7 pm

Jan Domicz (b. 1990, Opole, Poland) is a visual artist living and working in Warsaw. He creates videos, objects, and installations that explore the narrative potential of space and its socio-political implications. His works often construct systems that operate at the intersection of private and public realms. Rather than solving problems, these systems generate them — problems that, in turn, give rise to narrative. And it is a narrative that gives meaning to space. His work has been exhibited at the Architecture Biennale in Venice, the Museum für Moderne Kunst in Frankfurt, the Museum of Modern Art in Warsaw, Arsenal Gallery in Poznań, Neuer Essener Kunstverein, and SALTS in Basel.

Domicz’s work Keys inside (broken) (2025) consists of a small safe (a coded lockbox) that was used to store keys for a rented apartment over a short period. The object bears visible signs of an attempted break-in — it is damaged, yet the keys remain inside. The number of possible code combinations is limited.

Cezary Poniatowski (b. 1987, Warsaw, Poland) focuses on themes of nature, darkness, abundance, and viciousness. These themes are symptomatic of growing up during the so-called zombie socialism period, marked by a hybrid of ritualistic anti-communist incantations and a sudden, merciless neoliberal reality. As the artist puts it: “With a bit of sardonic humor, my works reflect an attempt to recover from the dark times of helplessness and anxiety. Still, these feelings of unease, passed on by previous generations, reoccur in our times of hyper-populism and technocracy.” His works have been exhibited at the Zachęta National Gallery of Art in Warsaw, Derouillon in Paris, Ginny on Frederick in London, Centre for Contemporary Art FUTURA in Prague, WAF in Vienna, and Air Service in Basel.

Poniatowski’s styrofoam pieces can be interpreted as speculative archaeological objects from the near future — artifacts that might be discovered “within a wall.” They are metaphorical imprints, remnants, synthetic traces — fragments of what once took place “at home” during the Anthropocene. Their geometric divisions and rhythms may evoke the mosaic aesthetics popular in the 1960s, while the reliefs appear as faded symbols of contemporary life. Visually, Poniatowski’s works resemble unfamiliar ritual objects. Totemic and hieroglyphic, they suggest a sense of paganism — yet perhaps they are, in fact, embodiments of our own era, glimpsed from a distance we ourselves cannot attain.