The body, memory, transience, private mythology - are the key themes of Bałka's practice, present already in his earliest projects.
As a sculptor and interdisciplinary artist, key themes of his practice are the body, memory, transience, and private mythology. He is a child of the post-war legacy.
The sculptor and interdisciplinary artist's oeuvre is essentially autobiographical, drawing on a personal history shaped by political and religious constraint, but also by symbolic representation: his grandfather was a gravestone cutter and his father engraved the names on the tombstones. Bałka's work is also strongly affected by collective memories of death: 8,000 Jews from his native town of Otwock were dispatched to the death camp of Treblinka in 1942. Born in 1958 in Warsaw, a child of the post-war legacy, Bałka came into this world surrounded by that war's consequences.
In the early 1980s he studied sculpture at the Warsaw Academy of Fine Arts, earning a degree under Prof Jan Kucz in 1985. In 1986, he co-founded, with Mirosław Filonik and Marek Kijewski, an artistic collective called Neue Bieriemiennost' (exhibiting with it till 1989). He began his career with figurative sculpture. Since the 1990s his focus has shifted to more abstract installations but remains concerned with the human body and our existence - central subjects in Bałka's art. Using steel, cement, salt, foam rubber and felt, his ascetic sculptures and sculptural and video installations reflect the precariousness of humanity within the rubble and dirt of earthly existence. The body, memory, vanishing, and creating private mythology are also among his most important themes. Balka's works have been shown at the most important international exhibitions and acquired by for major museum collections worldwide. All the signs, codes, references contained in them, making up the language of Bałka's art, have their roots in the artist's biography and are fully comprehensible only in its context.
In 1995, he received the Polityka Passport award for his original achievements in the field of the fine arts. He is the author of the monument commemorating the victims of the Estonia ferry, erected in Stockholm in 1998. He lives and works in Otwock.
First Communion Souvenir
Mirosław Bałka: a Molehill, a Collapse, and Trenches – An Interview
First Communion Souvenir, Bałka's 1985 graduation project, today in the permanent collection of Museum of Art in Łódź, is an almost life-sized coloured-concrete figure of a boy in a First-Communion suit standing by a small table, resting its right hand on its top, preparing for a souvenir photo to be taken. A red heart-shaped pincushion had been attached to the concrete jacket's lapel, and a photograph of a child set into the table top. The graduation project's presentation was a carefully designed event. Bałka invited the professors to an abandoned house in the suburbs. They were taken there by a hired bus, but had to walk the final kilometre on foot. On their way, they were passed by the artist, riding a small bicycle, dressed in a First-Communion suit. Upon entering the house, everyone received a pin they were to insert into the heart-shaped pincushion. The defence of the graduation project, equal to achieving artistic maturity, became a ritual similar to the ceremony confirming one's religious maturity.
From Body to Fiction: Polish Art at the Turn of the Centuries
In the second half of the 1980s Bałka co-established the Neue Bieriemiennost art group. The group’s name (neue – German for new, bieriemiennost – Russian for pregnancy) reflected the historical location of Poland and the cold-war logic, slowly crumbling in the 1980s. Bałka and two other founders - Mirosław Filonik and Marek Kijewski were connected – as they claimed – by a unique Consciousness sensing the decadence of the moment. Joint exhibitions of Bałka, Filonik and Kijewski usually ridiculed holidays from the communist 'red' calendar – Women’s Day, Victory Day, Miner’s Day... They ironically called themselves K. C. Świadomości Neue Bieriemiennost (The Central Committee for the Consciousness of Neue Bieriemiennost). Their campaigns, performances, sculptures turned the propaganda reality upside down. Among the pieces created at the time were, for instance, Bad News (1986), Fireplace (1986), St. Adalbert (1987), Salt Seller (1988/1989), or Shepherdess (1989).
Hottest Names in Polish Art
Around 1990 Bałka changed the language of his artistic expression, abandoning literal representations of the human figure on behalf of a more abstract and ambiguous language. The first piece in which he moved away completely from figuration was Good God (Dziekanka Gallery, Warsaw). Since then, Bałka has consistently used a vocabulary reduced to the simplest forms and means of expression. The human body is present in his works not through its representation, but in an indirect and veiled way. Jaromir Jedliński remarked:
Since then, signs, traces, dimensions, temperatures, crystallised substances, used materials, sometimes sounds, sometimes aromas, have replaced bodily representations. The body is gone - what remains is corporeality.
The artist became interested in the forms that accompany the body on its life's path (the bed, the coffin, the urn), and the traces the body leaves (sweat, urine, sperm, tears). In constructing his simple, ascetic objects or installations, Bałka uses the dimensions of his own body, which serve as a fixed module - a standard. This gives his pieces a strongly personal value. It is further emphasised by the special role played in his practice by the family house in Otwock, where the artist grew up and eventually set up his studio. The house, its history, its material layer and dimensions, have been a permanent source of inspiration for the artist. For his 2001 solo show at Zachęta Gallery in Warsaw, Bałka recreated the house's shell in 1:1 scale. Memory, transience, preservation of traces, are the main themes of Bałka's art. Drawing from the source of inner experience, the artist has elevated the elements of personal existence to the rank of a universal message.
Playing with Death: The Morbid Obsessions of Contemporary Polish Artists
The materials with which Bałka creates his works are highly significant. Terrazzo, soap, ash, salt, hair. felt, old planks, rusty rods and sheets, acquire new meanings in the context of a narrative about the human being. Bałka often uses materials with a history, often from his own home. Many of his projects have also employed heat and aromas. At the 45th Venice Biennale in 1993, Bałka showed, among other works, his Soap Corridor and terrazzo slabs electrically heated up to the temperature of the human body. Also the Estonia ferry victims monument in Stockholm, for the design of which Bałka won an international competition in 1998, has a fixed temperature of 37 degrees Celsius.
In 1999, Foksal Gallery showed Bałka's exhibition sza (Hush), which also dealt with the theme of death. The gallery was festooned with paper chains made of newspaper obituaries glued together using bone glue. The artist and the gallery curators made them together the way you make Christmas tree chains. Round holes had been cut out in the windows to let in cold air, and the temperature inside was chilly. The opening featured a show by a group of circus artists, fire eaters, which served as a kind of prelude for a funeral ceremony.
Echoes of the Holocaust
Present in Bałka's wanderings around the repository of collective memory are also echoes of the Holocaust, resounding in the seemingly innocent titles of pieces such as Die Rampe (1994), Selection (1997), or Winterreise (2003). The latter work, originally presented at Kraków's Starmach Gallery, is an effect of Bałka's winter trip to the former site of the Birkenau camp, where he made three videos: Pond, Bambi 1, and Bambi 2. They show the pond where the ashes of the camp's cremated victims were deposited, and roe deer approaching the barbed-wire fence. The videos' projections are accompanied by three objects, the Plates of Hunger, revolving monotonously anti-clockwise. During the opening, Schubert's songs from the Winterreise series were sung, their central theme being human loneliness. In Primitive (2008) he captured two words form an interview between Lanzmann and Suchomel, a guard who worked at Treblinka, which refers to the nature of the death camp and which are endlessly repeated like a strange mantra. The monitor is placed on its side, making the film a hieratic and ghastly portrait of an engineer of death.
Bałka created an installation specifically for White Cube titled 190 x 90 x 4973. A wooden walkway with walls measuring 190cm high (the artist's height) without any ceiling and built from the simplest of common building materials - plywood and scaffolding - creates a claustrophobic tunnel. The tunnel begins at the entrance of the gallery allowing the viewer no other option than to walk through it although there is no visible destination, referencing 'Schlauch' at Treblinka, a narrow path that connected the area where the inmates were forced to undress with the area housing the gas chambers, where they were then exterminated. The path was lined with barbed wire and disguised with pine tree branches so no one could see its function from within the camp. The installation makes the viewer feel the presence of an altogether more powerful force that seems to organise our physical movement against our own freewill, and is an emphatic negation of the gallery space.
An Outline History Of Polish Video Art
In 2009 his work How It Is was commissioned by the Tate Modern Gallery in London as part of the Unilever Series. The giant grey steel structure with a vast dark chamber is piece that lies between sculpture and architecture, on 2-metre stilts, it stands 13 metres high and 30 metres long. Visitors can walk underneath it, listening to the echoing sound of footsteps on steel, or enter via a ramp into a pitch black interior, creating a sense of unease. Once again this work alludes to recent Polish history – the ramp at the entrance to the Ghetto in Warsaw, or the trucks which took Jews away to the camps of Treblinka or Auschwitz, for example. By entering the dark space, visitors follow in the footsteps of those in history who have put their trust in an individual or organisation, but never really knowing where they will end up, like the victims of the genocide of World War II or even the immigrants of the 20th and 21st centuries. According to Tate Modern curators Bałka's intention was to provide an experience for visitors which is both personal and collective, creating a range of sensory and emotional experiences through sound, contrasting light and shade, individual experience and awareness of others, perhaps provoking feelings of apprehension, excitement or intrigue.
In 2011, Bałka presented a large and carefully arranged selection of video works at the exhibition Fragment at the Center for Contemporary Art Ujazdowski Castle in Warsaw. He explained:
Art & Technology in Poland: From Modernity to Technoculture
For the show, I wanted a title that would mean the same in different languages, for the exhibition will travel. It used to be a whole, but it fell apart, fell to pieces. It seems that you can embrace it, but the memory is unreliable and what you can retrieve is merely a fragment.
It was the first retrospective and comprehensive exhibition of Bałka's video work. It presented his film installations from the last twelve years of his career: from the oldest, made in 1998, to the latest, from 2010, presented for the first time to the public. The exhibition included the best-known films that have already become the classics of modern art, such as Winterreise (2003), Carrousel (2004), which was purchased in 2010 by the Tate Modern for its collection and BlueGasEyes (2004). The audience had a chance to see lesser - known works as well as entirely new creations, notably Bottom (1999/2003) Narayama (2002), Michelangelo Buonarotti Reading (2004), Flagellare A, B, C (2009), and Apple T. (2009/2010). All video installations were displayed in a dimly-lighted rooms carefully designed by the artist. The screens were mounted at different angles on the walls and floor. Some of the videos were screened on surfaces covered with salt. Bałka's short and minimalist film installations last from few to several seconds. The artist is reluctant to long and extensive film forms.
My understanding of art is closer to the essence of a haiku or to Białoszewskis' 'noises, patchworks, strings', and not, to Sienkiewicz. Video is like a vacuum that sucks in everything - he says.
The exhibition was also shown at the Akademie der Künste in Berlin (2011) and at the Centre for Contemporary Art Vinzavod in Moscow (2013). Due to the artist's announced departure from video art, the show can be seen as the summary of Bałka's work with this medium.
In 2015 Bałka’s works went on a show at the Art Museum in Łódź. The exhibition Mirosław Bałka: Nerve. Construction was the first extensive presentation of the artist’s works in Poland, which brought together works created over the period of three decades complemented by a selection of works on paper: drawings, sketches for sculptures, private notes many of which were presented to the public for the first time.
CROSSOVER/S is the first Italian retrospective of Bałka’s work. It opened at Pirelli Hangar Bicocca in Milan in 2017 and brought together a total of 18 sculptures, installations, and videos created by the artist throughout the last 20 years. CROSSOVER/S led visitors through an immersive journey full of physical, symbolic, and temporal intersections, where light and darkness took on a key role and where visitors were invited to experience the featured works with all their senses.
That same year Bałka’s fourth show opened in Galleria Raffaella Cortese’s three exhibition spaces. This coincided with a time of great attention towards the artistʼs work since the opening of his retrospective. The exhibition was conceived as a journey in stages, spanning across three decades of Bałka’s artistic production, from the works created in the 1990s to those realised specifically for the gallery’s venues. It’s no accident that the German title of the show, In Bezug Auf Die Zei, is based on the definition of acceleration in physics, which is the increment of velocity in relation to a time interval. However, the artist is only interested in the second part of the definition, the eponymous ‘in relation to time’.
While planning the itinerary of the exhibition, Bałka decided to give special attention to crucial moments in his research. This is why viewers could witness the artist’s transition from figurative to abstract, which characterises the group of works executed between the end of the 1980s and the 1990s. Among them, the artwork Blue Wave (1990) takes a special place – it’s Bałka’s first piece to feature salt as a component. Since then, salt has often been used in his sculptures for its symbolic meaning, as an extremely beautiful material that is also capable of inflicting pain upon touching an open wound.
The materials used by Mirosław Bałka – wood, salt, ash, iron, soap, and wine – reside on the thin line between everyday life and the space of rituals. The exposition in area no. 1 included three new pieces created by Bałka. They are based on a compilation of materials and objects which have been accompanying the artist for years – lying in the garden, on his desk, or hanging on walls. One of them, titled 250 x 14 x 13, consists of a glass tube filled with red wine resting on a granite pedestal. These works undoubtedly draw on a minimalistic perception of forms, but at the same time reveal attachment to gesture, significant combinations of materials – in this case granite and glass – and establishing physical contact with the viewer.
Bałka’s [(.;,:?! - ...)] (2017) is an installation created especially for the space of the central hall of the Silesian Museum, located 12 metres underground. The enormous sculpture made of trapezoidal sheets is actually a drawing developed into the third dimension. It represents an X-ray image of a chest with the exposed outline of its lungs. However, it is impossible to view this black-and-white negative photographic plate as a whole as windows spread along the three tall walls of the hall are covered with yellow panes allowing only a blurry outline of the work to be seen. It can glimpsed while walking along dark corridors of varied widths and temperatures. The installation refers to the place of its location – a post-mining area, hence the corridors resembling mining excavations. As with his previous work, Bałka directs viewers’ attention beyond the visual aspect of art. He focuses on the entire process of experiencing space, therefore, the sculpture consists in fact of several areas exposing the viewer to various sensations, freeing the imagination and providing opportunities for contemplation. The author referred to [(.;,:?! - ...)] as follows:
The area of my work is dedicated to feelings, senses, the sense of touch, smell. Vision is not the only instrument that informs us about the surrounding world. What is important in this work is moving around in its space.
Still, the sculpture left room for interpretation and reflection on the condition of the human body and the problems of the Silesian region, such as air pollution.
In October 2018 OP ENHEIM – a new, unique space dedicated to art and culture – opened in the heart of Wrocław. The main element of the inauguration was the opening of Mirosław Bałka’s 1/1/1/1/1 exhibition, curated by Anda Rottenberg. On the hundredth anniversary of Poland regaining independence, the word ‘homeland’ repeatedly resonated in both the private and public spheres. That might be one of the reasons why 1/1/1/1/1 featured four neon signs that said: OJCZYZNA, HEIMAT, PATRIA, and אֶרֶץ אַבוֹת. The exhibition is another of Bałka’s site specific projects, after [(.;,:?! - ...)]. The author not only refers to the history of Wrocław, but also to the history of the building itself. At the beginning of the 19th century, the Gothic building was rebuilt by a Jewish family, the Oppenheims. Later, it became the property of the Jewish community and during World War II was confiscated by the Nazis. After the end of the war, it was given back to the city of Wrocław, which in 2013 sold the building to Violetta Wojnowski, to eventually be opened to the public as the OP ENHEIM gallery.
Mirosław Bałka used contemporary art to tell the story of the Oppenheim tenement building. At the same time, he deconstructed the universal concept by means of individual feeling, then tried to piece it back together again.
Random Access Memory (2019) is Bałka’s exhibition at White Cube gallery in Mason’s Yard, London. The name refers to a complex form of storing digital data which everyone uses but not necessarily everyone understands. It also hints to the broadly-understood individual and collective ‘memory.’ Two floors of the White Cube gallery were partially blocked by heated metal walls. The sheets of corrugated steel stretched out over the entire width of the space and were brought to 45 degrees Celsius. At this temperature blood begins to clot and enzymes denature. There was a metre-high gap separating the provisional walls from the ceiling. The walls acted as a barrier and a container at the same time, and the installation offered Bałka’s artistic commentary on the increase of border control and the impending climate disaster.
Since 2011 Mirosław Bałka runs the Studio of Spatial Activities at Department of Media at the Academy of Fine Arts in Warsaw. He is a member of Akademie Der Kunste, Berlin.
Putting the Art in Mini-Mart
polish contemporary sculptor
Selected solo exhibitions:
- 2019 – Sweets of Sin, MAN_Museo d’Arte Provincia di Nuoro, Nuoro; Wasserzeichen. Drawings for the Harbour for Culture, Trieste Contemporanea, Trieste; Random Access Memory, White Cube, London
- 2018 – 1/1/1/1/1, Op enheim, Wroclaw; Der Aufbruch, Dvir Gallery, Brussels
- 2017 – Der Nachthauseweg, House of Art České Budějovice, Budweis; [(.;,:?!–…)], Muzeum Śląskie, Katowice; Kein Name, Muzeum Narodowe im. Andrzeja Szeptyckiego, Lviv; DIE SPUREN, Museum Morsbroich, Leverkusen; Ein Auge, offen, Galerie Nordenhake, Berlin; yromem, Lake District Holocaust Project, Windermere; In Bezug auf die Zeit, Galleria Raffaella Cortese, Milan; CROSSOVER/S, Pirelli HangarBicocca, Milan
- 2016 – Emplacement, British School, Rome; Species of spaces, Baltic Gallery of Contemporary Art, Ustka; Transit, Galeria Juana de Aizpuru, Madrid
- 2015– RMMBRNC, Dvir Gallery, Tel Aviv
- 2014– LUFTZUG, Foksal Gallery, Warsaw; Fragment, Museum Arnhem; Fragment, Galeria Labirynt, Lublin; DIE TRAUMDEUTUNG 75,32m AMSL, Freud Museum, London
- 2013– Memory. Registers and territory, International Cultural Centre, Kraków; Fragment, Centre for Contemporary Art / Vinzavod, Moscow; Touch me / Find me, Studio K, Museum of Contemporary Art Kiasma, Helsinki; Nachtgesichten, WRO Art Center, Wrocław; Signaalit / Signals, IHME Contemporary Art Festival, Helsinki; The Order of Things, Gladstone Gallery, New York
- 2012– bes-sennosh-ch, Galeria Labirynt, Lublin;
- 2011– Fragment, Akademie der Künste, Berlin; Heaven (Nuit Blanche / White Night in Paris) Musée d'art et d'histoire du Judaïsme, Paris; Marges, FRAC Centre, Orléans; Wege zur Behandlung von Schmerzen, Trickster project, The European Culture Congress, Pawilon Czterech Kopuł, Wrocław; Arbeitsplatz, Salon Akademii, Academy of Fine Arts, Warsaw; nonetheless, Galerie Nordenhake, Berlin; Between Honey and Ashes,The Douglas Hyde Gallery, Dublin; Fragment, Centre for Contemporary Art, Warsaw
- 2010– Rekonstruktion + Lichtkeile, Dvir Gallery, Tel Aviv / Jaffa; ctrl, Monasterio San Domingo de Silos / Museo Reina Sofia, Madrid; Agoganys, Centre of Contemporary Art, GJK, Trnava; Wir Sehen Dich, Kunsthalle, Karlsruhe; Ausloschung, Dvir Gallery, Tel Aviv
- 2009 – Topography, Modern Art Oxford; How It Is, Turbine Hall, Unilever Series, Tate Modern, London; Und Akupunktur, Gladstone Gallery, New York;Gravity, University of Massachusetts, Amherst
- 2008– Crezyzewski, AT Gallery, Poznań; Nothere, White Cube, London; Jetzt, WRO Art Center, Wrocław; Landschaftsabfalle, Galerie Nordenhake, Berlin; Entering Paradise + BGE, The National Gallery of Modern Art, Edinburgh; La salida, Galeria Juana de Aizpuru, Madrid
- 2007– Tristes Tropiques, Irish Museum of Modern Art, Dublin; Reflejos condicionados, Fundación Marcelino Botín, Santander; Cruzamento, Museo de Arte Moderna, Rio de Janeiro; schmerzstillend, Galeria Raffaella Cortese, Milan; AAA + rauchsignale, Museum of Modern and Contemporary Art, Rijeka
- 2006– Lichtzwang, K21, Dusseldorf; du contrat social, Galeria Labirynt 2, Lublin; kategorie, ON Gallery, Poznań
- 2005– kein warum, Galerie Naurdenhake, Berlin; Hipnoza, Galeria Arsenal, Bialystok, Poland
- 2004– Bon Voyage, Musée d’Art Moderne at Contemporain, Strasbourg; Neither, Gladstone Gallery, New York, USA; Su Seguro Servidor, Galeria Juana de Aizpuru, Madrid; Karma, White Cube, London
- 2003– Element die Exaktheit, Galeria Raffaella Cortese, Milan; winterreise, Galeria Starmach, Kraków; still, Anthony Meier Fine Arts, San Francisco; Lebensraum, Foksal Gallery Foundation, Warsaw
- 2002– Nachtruhe, Galerie Nordenhake, Berlin; tiedtothetoe, Dundee Contemporary Arts, Dundee; cekaonica, Museum of Contemporary Art, Zagreb; Nachtruhe, Galerie Nordenhake, Berlin
- 2001– sweep, swept, swept, Gladstone Gallery, New York; Around 21˚15’00”E 52˚06’17”N +GO-GO (1985–2001) Zachęta, Warsaw; Ruhe, BWA, Zielona Góra; Pureza, Galeria Juana de Aizpuru, Seville; Around 21˚15’00”E 52˚06’17”N +GO-GO (1985–2001), SMAK, Gent; eclipse, Kroller-Muller Museum, Otterlo
- 2000– Between meals, The National Museum of Art, Osaka; Quit, White Cube, London
- 1998 – Hygiene, Galeria Labirynt 2, Lublin; be good, Gladstone Gallery, New York; manana, Galeria Juana de Aizpuru, Madrid; sza, Foksal Gallery, Warsaw
- 1997– Ordnung, Galerie Nordenhake, Stockholm; Out, London Projects, London; a,e,i,o,u, Foksal Gallery, Warsaw; Revision 1986–1997, IVAM, Valencia; a,e,i,o,u, Kunsthalle, Bielefeld; Selection, Museet for Samtidskunst, Oslo
- 1995– When you wet the bed (1987), Miejsce Gallery, Cieszyn; Un dia, Galeria Juana de Aizpuru, Seville; Dawn, Tate Gallery, London; J’ai en ma possesion, un certificat de vaccination contre le cholera, la fievre jaune, le typhus, la variole, Le Creux de L’Enfer, Thiers – Pause, Foksal Gallery, Warsaw
- 1994– Winterhilfsverein, Moderna Galerija, Ljubliana; Rampen, Galerie Nordenhake, Stockholm; 37,1, The Lannan Foundation, Los Angeles; Buenas Noches, Galeria Juana de Aizpuru, Madrid; Rampa, Museum of Art, Łódź; Laadplatform + 7 werken, Van Abbemuseum, Eindhoven; Die Rampe, Van Abbemuseum, Eindhoven
- 1993– 37,1, Foksal Gallery, Warsaw; 37,1 (cont.), Polish Pavilion, 45th Venice Biennale; 36,6, MIT List Visual Arts Center, Cambridge MA
- 1992– 36,6, The Renaissance Society, Chicago; bitte, Museum Haus Lange, Krefeld; No body, Galerie Peter Pakesch, Vienna
- 1991– XI/My body cannot do everything I ask for, Burnett Miller Gallery, Los Angeles; IV/IX /My body cannot do everything I ask for, Galerie Kacprzak, Cologne; April/My body cannot do everything I ask for, Foksal Gallery, Warsaw; xxx, De Appel Foundation, Amsterdam
- 1990 – xxx, Galerie Nordenhake, Stockholm; Good God, Dziekanka gallery, Warsaw
- 1989 – Installation Abel, PO Gallery, Zielona Góra; River, Labirynt 2 Gallery, Lublin
- 1986– Percepta Patris Mei Servivi Semper, Pokaz Gallery, Warsaw
- 1985 – Remembrance of the First Holy Communion, Żuków (graduation project); Wolves-Nowolves, Towarzystwo Przyjaciol Sztuk Pieknych, Warsaw
Selected group exhibitions:
- 2019 – 09/19, Galeria Salon Akademii, Warsaw; Ruch jako materia sztuki (MOCAK Collection), MOCAK, Cracow; Jikihitsu. The signature of the artist. Japanese tradition in contemporary Polish art, Stara Galeria ZPAF, Warszawa; Step 13, Dvir Gallery, Brussels; Glasstress 2019, Berengo Centre for Contemporary Art and Glass, Murano; Action Lublin! Chapter 3. Operations on places, Galeria Labirynt, Lublin; Foghorn: The Theme Of The Transformation In Works From Collection II Of The Arsenal Gallery, Arsenal Gallery, Białystok; The Collection (1) | Highlights For A Future, S.M.A.K., Gandawa; Cień Wolności, BWA Galeria Miejska, Bydgoszcz; Anne Frank. Holocaust Diaries, Jewish Museum & Tolerance Center, Moskwa; A Woman Looking at Men Looking at Women, Muzeum Susch, Szwajcaria
- 2018 – Mort à credit, Dvir Gallery, Tel Aviv; Labyrinth. Works from the CoCA collection in Toruń, Kulturpark Koszyce, Slovakia; Shadow of Freedom, BWA Katowice; True Stories A Show Related To An Era – The Eighties: Part Ii, Galerie Max Hetzler, Berlin; Operations on Places, Petach Tikva Museum of Art, Tel Aviv; 1914–1918. Damals nicht, jetzt nicht, niemals!, Bundestag, Berlin; Presence, Unsound, Kamienna 12, Cracow; Catastrophe and the Power of Art, Mori Art Museum, Tokio; The Magic Kingdom, Uri & Rami Nehoshtan Museum, Kibbutz Ashdot Yaakov, Tatsuno Art Project, Manggha Museum, Cracow; Networkers, Bunkier Sztuki, Cracow; Contre tout Espoir, Dvir Gallery, Brussels; Hope Against Hope, Dvir Gallery, Tel Aviv; Contexts 2018. The 8th International Sokolovsko Festival of Ephemeral Art, Sokolovsko; Remembering Tomorrow: Artworks and Archives, White Cube, Hong Kong; Memory Palace, White Cube Bermondsey, London; Sculpture in the City, London; Artists and Their Books / Books and Their Artists, Getty Research Institute, Los Angeles; Inbox: Joyce in Art, M HKA, Antwerp; Group show, Dvir Gallery, Tel Aviv; Unexchangeable, Wiels, Brussels; Artistry. Art Collection of Orońsko, Centre of Polish Sculpture, Orońsko; Artistry. 100 Years Of Polish Sculpture, Zbrojownia Sztuki, Gdańsk; That Obscure Object of Desire, Fortes Vilaça, São Paulo and Rio de Janeiro; Where does your heart belong? Works from the Signum Foundation, Weserburg | Museum für Moderne Kunst, Bremen; Artistry. 100 Years Of Polish Sculpture, Art Museum Riga Bourse; Travellers: Stepping into the Unknown, The National Museum of Art, Osaka
- 2017 – Juana De Aizpuru. Extracto de una Colección, Patio Herreriano Museum, Valladolid; The Noise of Time, Dvir Gallery, Tel Aviv; Anamnesis. Art, Memory and Identity in Poland and Malta between 1989 and 2016, St James Cavalier, Valletta; Process and Practice: 40 Years of Experimentation, The Fabric Workshop and Museum, Philadephia; The Haunted House, Ekaterina Cultural Foundation, Moscow; Dziekanka artystyczna. Fenomen kultury niezależnej 1972–1998 na Krakowskim Przedmieściu w Warszawie, Galeria Salon Akademii, Warsaw; From Havana has come a…, Juana de Aizpuru, Madrid; Natural Histories. Traces of the Political, mumok museum moderner kunst stiftung ludwig wien, Vienna; Tatsuno Art Project, Bureau du Département du Hyôgo, Paris; Attention! Boarder, Galeria Labirynt, Lublin + Arsenal Gallery, Białystok; Alfabet Sztuki, Miejska Galeria Sztuki im. Wł. hr. Zamoyskiego, Zakopiańskie Centrum Kultury; Installation Art. Walk-in and expansive works from the Museion Collection, Museion –The Museum of Modern and Contemporary Art, Bolzano; Collection of the Malopolska Foundation for Contemporary Art Collection – 13th Exhibition, Galeria Bielska BWA, Bielsko-Biała; The Greatest Story Ever Told – The Collection curated by Ryan Gander, The National Museum of Art, Osaka; Art at the Turn of the Century: A Selection of Works Acquired in the Past Two Decades, Centro Botin, Santander; Tomorrow will never come, Minicipal Gallery Arsenal, Poznań; Pernicious Predilection, Galeria Labirynt, Lublin; Placed someplace with intent, Dvir Gallery, Tel Aviv; 283 x 100 x 27, 12 x 6 x 5, Atlas Sztuki, Łódź; Wielka 19, BWA Warszawa; Pallaksh Pallaksh, Dvir Gallery, Tel Aviv; Volume of Effort, Akademik Polonez, Poznań; Wielka 19, :SKALA, Poznań
- 2016 – Tomorrow Will Never Come, Arsenal Gallery, Białystok; Die Akademie der Kunste, Berlin. Zu Gast in den Kunstsammlungen Chemnitz, Akademie der Kunste, Berlin; Dilemma, Dvir Gallery, Tel Aviv; Gestos iconoclastas, imágenes heterodoxas, Fundacion la Caixa, Barcelona; DE MO KRA CJA, Galeria Labirynt, Lublin; Je Tu Il Elle, Dvir Gallery, Brussels; Gaudi’s Room, Dvir Gallery, Tel Aviv; Paravent, Dvir Gallery, Tel Aviv; Ecce Homo, The Human Images in Contemporary Art, The National Museum of Art, Osaka
For more group and outdoor exhibitions, please see artist's website: miroslaw-balka.com
Author: Ewa Gorządek, Centre for Contemporary Art Ujazdowski Castle, September 2004. Updated 2019 HSz