War: When It’s Finally Going To Happen appeared in the form of a billboard in the AMS Outdoor Gallery – a project funded by an advertising company, the history of which reflects the very nature of early transformational capitalism. As Marek Krajewski said:
The AMS Outdoor Gallery could only have been created because the company, when the Gallery was launched, had an almost family-style character and a very unique staff. The functions of the president, marketing director, and HR director were performed by people who studied art history. Everyone cared about doing something meaningful, apart from paid work and there was no need to convince anyone that art is worth promoting.
The history of the gallery ended when the formula of the art presented on billboards, as well as the medium itself, simply grew tired.
Kapitan Europa (Captain Europe) is a series of animated films, which was created between 2003 and 2004. The protagonist is a superhero (an asterisk from the European Union flag with a blue, police-like cap on his head) who fights counter culture, whilst explaining how internal markets work. Captain Europe embodies the duo's critical nature, which remained wary of any promises or solutions that would magically improve the lives of the individual and the society.
The cartoon personification of the EU is by no means anti-European, but it can hardly be considered in line with the overly optimistic promises of EU accession supporters. It materialises the threats related with the progress of liberal democracy and the vision of unification carried out in silk gloves. The Captain's animated adventures begin with a warning, which includes, the sentence: ‘If you do not consent to be indoctrinated, you should stop broadcasting at this point.’ It is followed by another line, especially pertinent in the era of Cambridge Analytica and smartphones constantly eavesdropping on their users: ‘Continued broadcasting implies consent to recording, preventive wiretapping, industrial processing of personal data [...]’.
Over time, Twożywo earned the respect of curators and critics and exhibited more often in galleries, without giving up their public art in the form of stencils or posters, and at the same time carrying out numerous orders for murals and graphic designs for books. In the late period of their activity, the group became active on the Internet, trying out new forms, such as animations or radio pieces. Therefore, the pioneers of public art are also amongst the pioneers of Polish net art. At the same time, hopes related to interactivity and radical democratisation of not only access to culture, but also the possibility of co-creating it on the Internet, were quickly buried with the dawn of the era of social hegemony, advertising algorithms and information bubbles. As in the case of street art, the Internet activity of Twożywo coincided with a short – in this case even shorter – ‘heroic’ period and ended with it.