Ufo art gallery kraków



Tomek Baran, Monika Drożyńska
Aleksandra Liput, Katarzyna Olma
Julius Reichel, Szymon Kobylarz
Mariia Mytrofanova

Curated by: 

Weronika Ptak


Irena Kalicka

Poster by: 

Maria Ciborowska

8.10.2021 – 30.10.2021

UFO Art Gallery

installation views


Has the mystery already lost its existential meaning? Everything and everyone is at your fingertips, you can endlessly scroll with your finger on the touch screen… it’s just an appearance. CAMOUFLAGE is an exhibition about what is hidden, hidden and masked. Hidden because it’s important, mine, only for me. Out of fear of the truth, out of celebration, out of the need for intimacy.

The invited artists reveal to us the multidimensionality of the relationship between art and fashion. By removing subsequent layers, they show how these media penetrate each other, complement each other, and change their functions and meanings.

Weronika Ptak



  • Tomek Baran (1985), born in Stalowa Wola, lives and works in Kraków. He obtained his diploma in 2010 at the Academy of Fine Arts in Krakow, Faculty of Painting. In his artistic practice, he willingly experiments with the medium of painting and explores its boundaries. He uses a variety of materials both in terms of the substrates used, the looms carved or constructed, as well as the materials he uses.

  • Julius Reichel (*1981), graduate of the Academy of Arts, Architecture and Design in Prague, in the studio of Jiří David, is looking through intensive exploration of the changing visual code, linked to the current feeling of life, for an image matrix that will work in an actual time period or any other. He considers himself to be a modern tracker of product / content on the overall net.

  • Born 1992 in Bielsko-Biała. In 2019 graduated Jan Matejko Fine Arts Academy in Cracow with a Master’s degree, under the guidance of Andrzej Bednarczyk. Currently living and working in Cracow, Poland.

  • Visual artist, painter, creator of installations and objects. He was born on December 24, 1981 in Świętochłowice. He studied at the Academy of Fine Arts in Katowice, where he obtained his diploma in 2007. He lectures at his alma mater. He lives and works in Katowice.

  • Mariia Mytrofanova graduated from the Department of Fine Arts of the Grekov Odesa Art School (2018) as well as from the faculty of Art and Media of Pedagogical University of Cracow, 2022. Mariia's practice has evolved in interdisciplinary research based projects where she elaborates reflections on fragility of human existence against political, economic and climate changes. She explores human connections within family stories and archives, treating the artworks as a passage through traumatic experiences of our vulnerability of presence against history.

  • Monika Drożyńska 1979 Poland. Visual artist embroiderer activist. PhD researcher at Academy of Fine Arts Cracow Poland. A pioneer of embroidery techniques in contemporary art and textiles in public space. She is interested in language, which she explores using hand embroidery on fabric. She has collaborated with the Zachęta National Gallery of Art, the Center for Contemporary Art Ujazdowski Castle, the Contemporary Museum in Wroclaw, Mumok in Vienna, the Ludwig Museum in Budapest, Bozar in Brussels, Sotheby's. Tel Aviv.

  • Aleksandra Liput (born 1989 in Krosno) is a visual artist dealing with ceramics, sculpture and installation. PhD student at the Faculty of Painting of the Academy of Fine Arts in Warsaw; graduate of the above-mentioned (2017). Finalist of Coming Out - Best Diplomas of the Academy of Fine Arts in Warsaw (2017).



Krajka, 2021
hand-tied fabric, embroidery

In the Ukrainian culture, “Krajka” (Ukr. – крайка) is a belt that served to hold the thigh clothes, as well as a talisman that was supposed to protect against the bad influences of reality with the help of a symbolic system of patterns embroidered on it.

The story of Krajka began with 31 female surnames found by the artist’s grandmother in the archives, all together they represent the great unity of the family, whose members were never known except for the archival fact. Krajka appeared at the moment when the artist’s grandmother got ill with COVID-19, which was followed by a long period recovery after the crisis.
Author recreated her grandmother’s handwriting on each individual piece of cloth, woven by her for each surname specifically. Their unification into one belt – krajka, reflects the restored family sequence, which was lost amongst political catastrophes: evacuations, forced displacement based on national grounds, and so on. This unity symbolizes the return of one’s “own” history and becomes a sign of resistance to the principle of oblivion that history imposes on us.

Lera Pliekhotko

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