In 2013 Agnieszka Gryczkowska and Paul Robertson curated Polska's first solo show in Edinburgh, setting her works into a contemporary context of appropriating found footage and archival materials in art. The curators cite Frederic Jameson's 'historical amnesia' and Hal Foster's assertion that contemporary art is becoming characterised by an 'archival impulse'. According to Foster, 'artists are often drawn to unfulfilled beginnings or incomplete projects, in art and in history alike, that might offer points of departure again'.
2013 was also the year in which the artist was nominated for the prestigious Views competiton. For the nominees' exhibition at Zachęta Gallery in Warsaw, she prepared a video work Future Days, which pictured a heaven for artists. The work featured masked actors representing iconic figures such as Bas Jan Ader, Lee Lozano, Charlotte Posenenske, Włodzimierz Borowski, and Jerzy Ludwiński.
Polska was one of the four artists from Poland invited to participate in the 2014 Biennale of Sydney (21.03-9.06). At the 19 edition of the event, themed 'You Imagine What You Desire', the artist was to show her video How the Work is Done, a re-enactment of a strike led by students of the Academy of Fine Arts in Kraków as they locked themselves in the ceramics workshop for ten days and transformed the everyday activities of artists into an act of protest. Polska, however, resigned from participating in the Biennale, joining a group of artists boycotting the event, in reaction to the organizers' partnership with Transfield, an Australian company managing the offshore detention of asylum seekers.
The film tells the story of a group of actors gathered around a charismatic Director. The actors are ready to brutally compete with oneanother just to be in his favour, as well as live together in a group resembling a commune, just to be closer to him At the same time, during the film, the Director himself is absent – we only hear about him in the conversations of the actors who are eagerly waiting to meet him.
In an interview for Szum Magazine Agnieszka Polska spoke about her most recent project – the full-length movie Hurra! (2017):
I am finishing a feature-length film entitled ‘Hurra!’ which portrays the dilemmas of artists trying to choose the best way of protest. In the film, we see a group of filmmakers, who represent something like a hipster-left, completing a movie about Rosa Luxemburg. At some point, they are visited by an old friend who’s now a member of a radical left-wing, violent organisation modelled on the Red Army Faction. The woman demands that they return the money the organisation had deposited with them. As it turns out, the money is gone, because it has all been spent on the Luxemburg project. And now, obviously enough, the filmmakers are in trouble. Their biggest problem, however, is the dilemma of where to draw the line with regards to political commitment and the efficiency of applied means.
In 2017, AgnieszkaPolska, Sol Calero, ImanIssa and Juman Mann won the Preis der Nationalgalerie prize, which is awarded every two years and pays tribute to artists under 40 who live and work in Germany. All four artists presented their work during a joint exhibition at the Hamburger Bahnhof. The women produce art spanning several media at once, using their work to reflect social processes. Polska described her film New Sun in the following way:
A sort of ‘immersion’ can be found in a film I’m now presenting at the Preis der Nationalgalerie exhibition. It consists of a half-sung poetic monologue of an anthropomorphic sun speaking to a lover.
Polska's recent work is based on the principle of bringing the recipient into a state of so-called ‘immersion of the senses’. Although they involve topics such as environmental disasters or the rise of nationalistic sentiments, they have no unequivocal political potential that could directly lead to change. However, Polska sees a different potential within the works’ immersive nature, whose atmosphere could rival, for example, the one found in a church. Polska remarks:
Mass is also a combination of sounds and vocal monotony. I imagine a situation when an audience, after having visited a contemporary art exhibition, will no longer feel the need to go to a temple of an organised religion.