1 August (Saturday)
7.00 PM / Wyspa Institute of Art

Tuesday - Sun­day /​ 11.00 AM – 6.00 PM

Industry 4.0, 4K, 4G, higher resolutions, faster data-transfers, smarter industries, our world is moving quicker and getting increasingly complex. If Art often tended to reflect these radical changes in our post-industrial landscape, current transformations have been slow to manifest within the artistic field. Art adapted the existence of internet, but, did however force the rigidity of a white-cubed space upon the ‘borderless’ capacities praised in the early days of the net.

AFK (Away From Keyboard) based notions have been applied to digital spaces helping the user to navigate and making the otherwise abstract binary environment familiar. HARD-CORE’s interest lies in reversing that mechanism, making unforeseen ideas plausible with the aid of algorithmic processing. In order to overcome the preconditions of white-cubed exhibitions, an external factor needs to take control. For this reason, HARD-CORE has developed Asahi, a series of algorithmic curatorial robots in order to explore digital scenarios applied to physical space.

With the exhibition Strictly Digital, HARD-CORE pushes several propositions forward that may change the chassis of exhibition-making as we know it. It takes inspiration in the digital trademarks that reshape our environment, borrowing elements from algorithmic structures, databases, global connectivity and the fluidification of authorship as a base for collaborative processes.

Strictly Digital is an exhibition that gathers multiple works created collaboratively through the multi-headed organ HARD-CORE.

Hard-Core: Strictly Digital is a part of a programme of Alternativa 2015: Garden of Everyday Errors


Opening: 3 July (Friday)
6:00 PM / Wyspa Institute of Art

Admission free

In Polish culture, Gdańsk is inseparably associated with the Shipyard. However, this symbol is disappearing. Should we therefore be anticipating a time when all trace of it has vanished? If so, the issue of identity begs to be considered – especially the identity of Gdańsk citizens living in such a future time. Is it possible that the symbol of a ship/boat will no longer be recognised as a logical attribute of the city? Will the existence of the Shipyard, of it ONCE existing, become remote enough so as to become abstract? Will that dissolve any possibility of identification?

The Vergessenheit installation assumes the transposition of the viewer to a post-Shipyard era. The presented object – a deformed, symbolic “boat” levitating overhead immersed in another dimension – calls upon the phenomenon of the “forgetting of origins”. The Shipyard from this perspective is already distant and wiped from memory, while the object fragment becomes completely unfamiliar. The placement of the project is key – the viewer of the space enters it from the known surroundings of the Shipyard and is thus confronted by the strange and fragmented “future”.


Martyna Jastrzębska
(born in Kielce in 1987) – an intermedia artist and a graduate of The Academy of Fine Arts in Gdańsk (Interdisciplinary Workshop of prof. Grzegorz Klaman).  Since 2012 Martyna Jastrzębska has been working with “bitumix” which constitutes her signature technique utilising a variety of mixtures of glues and bitumen. This material has become the means of expression for the artists’ interests – focused around imitating organic and ambiguous matter. Placing objects and symbols that function in the popular imagination in new contexts has been an important motif in her artistic activity. Martyna Jastrzębska continues exploring the notions that began in the work entitled Once Upon a Time (2013) – the “unmemory” – a deformed consciousness, the “bad” memory that impairs the clear message of symbols and events.

12 June (Friday )
17:00 hours / Hall 90B, the premises of the former Gdańsk Shipyard
Admission free

The Ver­na­cu­la­rity exhi­bi­tion is plan­ned for the entire sum­mer. Until the end of Sep­tem­ber it rema­ins our alpha­bet of eve­ry­day phe­no­mena, a field of refe­rence, a rese­rvoir of forms and tech­ni­ques. Ver­na­cu­lar is per­haps not a very popu­lar term altho­ugh it refers exac­tly to that which is com­mon. It refers to the indi­ge­nous, to the lan­gu­age of daily com­mu­ni­ca­tion, local know­ledge, tech­no­logy and a mode of repre­sen­ta­tion. Today we speak of ver­na­cu­lar archi­tec­ture, such as pho­to­gra­phy or gra­phic design. Ver­na­cu­la­rity was cho­sen as the theme of our main exhi­bi­tion which allows for a laby­rinth of mate­rial works, pain­tings, sculp­tu­res, texti­les, video and diverse acti­vi­ties lin­ked to the objet tro­uvé , natu­ral objects, tech­ni­ques and tech­no­lo­gies of the eve­ry­day, as well as quoti­dian sub­stan­ces and acti­vi­ties. It puts toge­ther the visual voca­bu­lary of the com­mon, reve­als the links between the dome­stic and the relational.

Our mat­ter of con­cern and inqu­iry are natu­ral fin­dings such as plants or sto­nes; and the aesthe­tics of found objects as well as their abi­lity to gene­rate new forms; the pain­terly skills of the nail spe­cia­list and the ano­ny­mous talents of weavers. We are inte­re­sted in ver­na­cu­la­rity in photo repre­sen­ta­tions and repe­ti­tion in eve­ry­day cho­res. We refer to lan­gu­age, to what is trans­la­ta­ble and untran­sla­ta­ble in a local con­text. This is per­haps due to it being untran­sla­ta­ble, often con­si­de­red as a disqu­ali­fy­ing aspect of work in the inter­na­tio­nal cir­cu­la­tion of art, as being a power­ful gene­ra­tor of forms.

Gar­den of Eve­ry­day Errors: Ver­na­cu­la­rity enta­ils its sister pro­ject from the pre­vious year: Eve­ry­day­ness and cla­sps toge­ther the five-​​year long pro­gramme line of Alter­na­tiva, tra­cing sub­stan­tial phe­no­mena from a local con­text such as labour and leisure, estran­ge­ment, mate­ria­lity, uto­pian thin­king and the tac­tics of eve­ry­day life. It is dedi­ca­ted to occa­sio­nally noti­ced forms which are so unre­mar­ka­ble that they are nearly exceptional.

Ple­ase feel welcome not only to the exhi­bi­tions but also to acti­vely par­ti­ci­pate in the ove­rall pro­gramme. See you soon!


In coolaborations with Frac Loraine and The Showroom

1 June (Monday) / 18:00 hours
Wyspa Institute of Art, the premises of the former Gdańsk Shipyard

Admission free

Anca Munteanu Rîmnic works in Berlin. Author of sculptures, objects, installations and videos. Her artistic strategy is to eliminate the original function of selected objects, endow them with new meanings, and place them in a new aesthetic and emotional context.

Uta Grosenick wrote about her practice:
Anca Munteanu Rîmnic comes across the objects and people that will appear in her work in the supermarket, at the park, or in the street; by ever so slightly displacing these chance encounters of everyday life, she then translates them into absurd and yet visually appealing images and artefacts.

Her works reveal a tragicomic potential, for example Wild Worses (2013), which delivers a critique of the idea of social productivity and effectiveness, and questions the false modernisation of today’s Romania. The object is an outsized horse’s harness, hand-made by Romanian artisans, its dimensions making it suitable for a g luxury car rather than a horse.