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Gunia Nowik Gallery

Strona główna
Polska
Warsaw
Gunia Nowik Gallery

Founded in 2021, Gunia Nowik Gallery in Warsaw’s Brzozowski Palace is led by an all-women team.

With a feminist ethos, it bridges art scenes in Warsaw, Berlin, and Kyiv, showing artists exploring identity, society, and shared human experience.

18/09/2026

Warsaw Gallery Weekend 2026 starts now!

From today through Sunday, join us for the opening weekend of Sana Shahmuradova Tanska’s new solo exhibition 𝙒𝙝𝙤 𝙋𝙧𝙤𝙢𝙞𝙨𝙚𝙙 𝙄𝙩 𝙒𝙖𝙨 𝙂𝙤𝙞𝙣𝙜 𝙩𝙤 𝘽𝙚 𝘼𝙡𝙧𝙞𝙜𝙝𝙩? 𝙒𝙚 𝙉𝙚𝙫𝙚𝙧 𝘿𝙞𝙙. 𝙄𝙣𝙙𝙚𝙚𝙙 (𝙃𝙞𝙨𝙩𝙤𝙧𝙮 𝙆𝙣𝙤𝙬𝙨 𝙉𝙤 “𝙄𝙛”) at Gunia Nowik Gallery.

For her second solo exhibition with the gallery, Shahmuradova Tanska presents a new body of works drawing on Ukrainian mythology, ancestral memory, and the lived experience of war. Moving between prophecy and political reality, the paintings reflect on broken promises, inherited histories, and what persists when certainty collapses.

Warsaw Gallery Weekend Fri, Sep 18 – Sun, Sep 20 11 am – 7 pm

Come spend one of the last warm days of the season with us at Pałac Brzozowskich, Bracka 20a, and see the exhibition during Warsaw Gallery Weekend!

The exhibition remains on view through Nov 7, 2026.

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Sana Shahmuradova Tanska, 𝙒𝙝𝙤 𝙋𝙧𝙤𝙢𝙞𝙨𝙚𝙙 𝙄𝙩 𝙒𝙖𝙨 𝙂𝙤𝙞𝙣𝙜 𝙩𝙤 𝘽𝙚 𝘼𝙡𝙧𝙞𝙜𝙝𝙩? 𝙒𝙚 𝙉𝙚𝙫𝙚𝙧 𝘿𝙞𝙙. 𝙄𝙣𝙙𝙚𝙚𝙙 (𝙃𝙞𝙨𝙩𝙤𝙧𝙮 𝙆𝙣𝙤𝙬𝙨 𝙉𝙤 “𝙄𝙛”), 2026, Gunia Nowik Gallery, Warsaw, Poland, exhibition view 📷 𝖋𝖗𝖆𝖚𝖑𝖊𝖎𝖓 𝖑𝖊𝖉𝖟𝖎

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sana_shahmuradova_tanska Warsaw Gallery Weekend

15/09/2026

Warsaw Gallery Weekend 2026: Sana Shahmuradova Tanska Who Promised It Was Going to Be Alright?
We Never Did. Indeed (History Knows No “If”) Gunia Nowik Gallery Sep 18 ― Nov 7, 2026

Warsaw Gallery Weekend Sep 18 ― 20, 2026 11 am ― 7 pm

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𝙏𝙝𝙞𝙨 𝙚𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 𝙗𝙚𝙜𝙞𝙣𝙨 𝙬𝙝𝙚𝙧𝙚 𝙥𝙧𝙤𝙢𝙞𝙨𝙚𝙨 𝙘𝙤𝙡𝙡𝙖𝙥𝙨𝙚. 𝙍𝙖𝙩𝙝𝙚𝙧 𝙩𝙝𝙖𝙣 𝙖𝙨𝙠𝙞𝙣𝙜 𝙒𝙝𝙖𝙩 𝙞𝙛?, 𝙞𝙩 𝙖𝙨𝙠𝙨 𝙖 𝙙𝙞𝙛𝙛𝙚𝙧𝙚𝙣𝙩 𝙦𝙪𝙚𝙨𝙩𝙞𝙤𝙣: 𝙒𝙝𝙤 𝙨𝙖𝙞𝙙 𝙞𝙩 𝙬𝙖𝙨 𝙜𝙤𝙞𝙣𝙜 𝙩𝙤 𝙗𝙚 𝙖𝙡𝙧𝙞𝙜𝙝𝙩? 𝙏𝙝𝙚 𝙖𝙣𝙨𝙬𝙚𝙧 𝙘𝙤𝙢𝙚𝙨 𝙛𝙧𝙤𝙢 𝙩𝙝𝙚 𝙨𝙖𝙢𝙚 𝙫𝙤𝙞𝙘𝙚: 𝙒𝙚 𝙣𝙚𝙫𝙚𝙧 𝙙𝙞𝙙. 𝙄𝙣𝙙𝙚𝙚𝙙.

― 𝗦𝗮𝗻𝗮 𝗦𝗵𝗮𝗵𝗺𝘂𝗿𝗮𝗱𝗼𝘃𝗮 𝗧𝗮𝗻𝘀𝗸𝗮

For her second solo exhibition at Gunia Nowik Gallery, Sana Shahmuradova Tanska presents a new body of works drawing on Ukrainian mythology, ancestral memory, and the lived experience of war. Reflecting on broken promises, inherited histories, and the fragile space between prophecy and political reality, the exhibition imagines what persists after certainty collapses. Rather than offering an escape from history, Shahmuradova Tanska’s paintings turn to myth as a way of confronting violence, carrying memory, imagining forms of care and resistance, and opening space for possibilities that dominant historical narratives cannot contain.

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Sana Shahmuradova Tanska, Expulsion (Archangel Michael, Adam, and Eve), after Bosch, 2026, oil on canvas, 111 × 80 cm; detail

Sana Shahmuradova Tanska, Kyiv, 2026. Photo: Garry Efimov

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sana_shahmuradova_tanska Warsaw Gallery Weekend

15/09/2026

Built through successive layers of gesture, reproduction, and material intervention, the composition brings spontaneous mark-making into dialogue with more structured elements. Images, surfaces, and repeated forms accumulate without resolving into a single stable reading, leaving the work open to revision, adjustment, and transformation.

For CRASH CLUB 2026, Jakub Gliński presents a new work combining painting, silkscreen, and ceramic tiles. The piece continues his interest in how images shift through repetition, material change, and changing contexts, while allowing different visual registers to coexist within one surface.

Presented at Bracka 5A as part of CRASH CLUB 2026.

Wed, Thu | Sep 16 – 17: 7 – 11 pm Fri, Sat | Sep 18 – 19: 4 – 11 pm Sun | Sep 20: 4 – 9 pm

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Jakub Gliński, Untitled, 2026, acrylic, silkscreen, and tiles on canvas, mounted on metal frame, 130 × 140 cm

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Jakub Gliński 𝐂𝐑𝐀𝐒𝐇 𝐂𝐋𝐔𝐁

14/09/2026

Historic ploughs and agricultural tools become theatrical sculptural figures in Daniel Rycharski’s ’The Ploughing’. Draped with sheer, elaborately extended forms, the heavy implements shift from symbols of labor and subjugation toward q***r visibility, pride, and emancipation.

For CRASH CLUB 2026, Rycharski presents the work as part of his ongoing engagement with Polish peasant history and the political meanings carried by rural materials and symbols. Drawing on folk songs, revolutionary traditions, and the memory of serfdom, the installation unsettles romanticized images of the countryside and brings histories of labor, resistance, and collective memory into an unexpected register.

Presented at Bracka 5A as part of CRASH CLUB 2026.

Wed, Thu | Sep 16 – 17: 7 – 11 pm
Fri, Sat | Sep 18 – 19: 4 – 11 pm
Sun | Sep 20: 4 – 9 pm

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Daniel Rycharski, The Ploughing, 2025, wooden wheels, metal shovels, sheer fabric, 4 pieces, 155 × 235 × 125 cm each; plough, 75 × 240 × 80 cm

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Daniel Rycharski 𝐂𝐑𝐀𝐒𝐇 𝐂𝐋𝐔𝐁

04/09/2026

Gunia Nowik Gallery
at Hotel Warszawa Art Fair
Sep 4 — 6, 2026

Jędrzej Bieńko
Agata Bogacka
Hannah Sophie Dunkelberg
Anna Orłowska

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It’s on! HWAF 2026 starts today, and we’re ready for you in Room 215!

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As a co-organizer of Hotel Warszawa Art Fair, Gunia Nowik Gallery warmly invites you to the fifth edition of the fair, where we’re pleased to present works by Jędrzej Bieńko, Agata Bogacka, Hannah Sophie Dunkelberg, and Anna Orłowska. Bringing together painting, sculpture, and photography, the presentation explores how materials carry traces of experience, gesture, and time, revealing forms shaped through accumulation and process rather than fixed narratives.

Jędrzej Bieńko's atmospheric paintings unfold through muted airbrushed forms that hover between appearance and disappearance, evoking fragility, impermanence, and the instability of perception. Agata Bogacka's layered abstractions reflect on the tensions that shape contemporary experience, where gradients and subtle shifts in color become visual records of resistance, dependency, and transformation. Hannah Sophie Dunkelberg's sculptural reliefs merge handcrafted gestures with industrial production, turning familiar symbols of beauty into objects that question labor, artifice, and cultural convention. Anna Orłowska's photographs consider the ways in which personal histories become inseparable from place, material culture, and collective memory.

Together, the four artists reveal how meaning is not fixed within an image or object, but emerges through material, process, and time. The presentation invites viewers to consider painting, sculpture, and photography as sites where processes of making, memory, and transformation remain visible, even as their meanings continue to evolve.

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Hotel Warszawa Art Fair
Powstańców Warszawy Sq. 9
Warsaw

VIP Preview:
Fri, Sep 4
3 — 7 pm

Open to the public:
Sat, Sep 5
& Sun, Sep 6
12 — 7 pm

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Agata Bogacka, Jędrzej Bieńko, Hannah Sophie Dunkelberg, Anna Orłowska, HWAF 2026, Gunia Nowik Gallery, room 215, exhibition views

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.warszawa.artfair

20/08/2026

Anna Orłowska Unreal Estate: Chapter III, Shifting Strata Kraków Photomonth Gallery of Potocki Palace, Kraków, Poland curated by Krzysztof Pijarski & Anna Voswinckel May 14 – August 30, 2026

In ‘Shifting Strata’, curators Krzysztof Pijarski and Anna Voswinckel consider landscape and photography as conventions of representation. Across the exhibition, the human encounters the inhuman, while historical narratives collide with symbolic ones. Landscape appears as something continually shaped by memory, political power, material transformation, ritual, and acts of interpretation.
Anna Orłowska’s ‘Sankt Anna’ enters precisely this unstable terrain. St Anne’s Mountain in Upper Silesia is at once an extinct volcano, a Catholic pilgrimage site, a territory marked by Polish and German histories, and a stage for competing political and religious narratives.
Orłowska brings these layers into dialogue with intimate and familial histories, particularly those carried through generations of women. The figure of St Anne, grandmother, mother, and child held within one symbolic order, becomes a point of resonance for questions of inheritance, care, reproduction, memory, and continuity.
Across different iterations of ‘Sankt Anna’, the mountain emerges less as a fixed site than as an accumulation of overlapping temporalities and identities. Geological, historical, religious, and personal narratives continually shift against one another, making the landscape itself a contested field of representation.

See ‘Shifting Strata’ at Kraków Photomonth through August 30.

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Anna Orłowska, Unreal Estate: Chapter III, Shifting Strata, 2026, Gallery of Potocki Palace, Kraków, Poland, exhibition views, photo 𝖋𝖗𝖆𝖚𝖑𝖊𝖎𝖓 𝖑𝖊𝖉𝖟𝖎

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Anna Orlowska Krakow Photomonth / Miesiąc Fotografii Krzysztof Pijarski Anna Voswinckel

31/07/2026

Alina Kleytman
𝘛𝘙𝘐𝘎𝘎𝘌𝘙 𝘞𝘈𝘙𝘕𝘐𝘕𝘎
Kunstverein Friedrichshafen
Friedrichshafen, Germany
Jul 3 – Aug 30, 2026

𝘛𝘙𝘐𝘎𝘎𝘌𝘙 𝘞𝘈𝘙𝘕𝘐𝘕𝘎, Alina Kleytman’s first institutional solo exhibition in Germany, is on view all summer at Kunstverein Friedrichshafen.

Through newly produced sculptures and video works, Kleytman examines violence, war, trauma, and collective memory. Political power appears as a grotesque bodily ritual, shaped by vulnerability, spectacle, dependency, and coercion.

In Growing the Crown (2026, white bronze, 74 × 30 × 34 cm), a ceremonial symbol of authority is assembled from casts of the bodies of the artist’s friends, some of whom have since been killed in the war, while others continue to fight. The work transforms the crown from an emblem of sovereignty into a memorial to friendship, survival, and irreversible loss.

Close Your Eyes and Open Your Mouth (2026, body bags, white bronze, 120 × 160 × 120 cm) takes the form of a wounded, unfinished hybrid body suspended between survivor, cadaver, shell, and creature. Its materials collapse the distinction between protection and violence, tenderness and control.

The exhibition also includes three 4K video works. In Cradle of Democracy (2026, 7’04”), Kleytman appears as a blood-covered newborn performing before an applauding audience that throws coins at her, turning political participation into spectacle and currency. Thank You, Daddy! (2026, 21’17”) adopts the format of a pornographic livestream to satirize geopolitical dependency and the transactional logic of international support. In Are u tired? (2026, 6’55”), a barrage of questions, bureaucratic demands, and fetishized military imagery implicates the viewer in the seductive mechanisms through which power demands allegiance.

Across these works, war enters bodies, intimate relationships, political symbols, and collective imaginaries. Kleytman replaces abstract narratives of heroism with flesh, grief, exhaustion, dependency, and survival.

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31/07/2026

Summer Break: Aug 1 — 17, 2026

We are closed for our summer break during the first half of August. Gunia Nowik Gallery will reopen on Tuesday, August 18. Our current exhibition, Daniel Rycharski’s Wolf’s Hole, will remain on view through September 6, with its closing coinciding with the weekend of Hotel Warszawa Art Fair 2026. We will get back to you as soon as possible. Have a beautiful summer!

18/07/2026

Agata Bogacka
Hannah Sophie Dunkelberg
Iza Tarasewicz
Katarzyna Korzeniecka
Anna Orłowska
Sana Shahmuradova Tanska
'Within the Circle'
Wałbrzyska Galeria Sztuki BWA
Wałbrzych, Poland
May 30 – Aug 30, 2026

If your summer takes you to Lower Silesia, 'Within the Circle' is well worth a visit. Curated by Anna Fronckiewicz-Spodnik, the show presents works from the collection of Eliza Łoś-Strychowska, built around a sustained commitment to women artists. Rather than following a single narrative, the exhibition unfolds through affinities, echoes, and unexpected encounters between artistic practices, revealing new relationships between works brought together in one space.

Works by Agata Bogacka, Hannah Sophie Dunkelberg, Iza Tarasewicz, Katarzyna Korzeniecka, Anna Orłowska, and Sana Shahmuradova Tanska trace different paths through painting, sculpture, photography, and installation. Bogacka distills emotional and social tensions into luminous abstract compositions, where gradients and delicate imbalances become reflections on human relationships; Shahmuradova Tanska approaches landscape as a vessel of memory, where personal experience intertwines with histories embedded in place; Orłowska layers photography, textiles, and archival material to weave together family narratives and the cultural landscape of Silesia; Dunkelberg transforms industrial materials into sculptural forms that balance monumentality with vulnerability; Korzeniecka connects cosmic phenomena with meticulous craftsmanship; and Tarasewicz reimagines agricultural matter as living systems shaped by labor, rhythm, and collective interdependence.

Whether you're passing through Wałbrzych or spending longer in the region, 'Within the Circle' rewards a slow visit, allowing these distinct artistic languages to unfold at their own pace, with each work quietly reshaping the experience of the next. On view through August 30.

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Within the Circle, 2026, group show at Wałbrzyska Galeria Sztuki BWA, Wałbrzych, Poland, exhibition views, 📷

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Adres

Ulica Bracka 20a
Warsaw
00-028

Godziny Otwarcia

Wtorek	12:00 - 18:00
Środa	12:00 - 18:00
Czwartek	12:00 - 18:00
Piątek	12:00 - 18:00
Sobota	12:00 - 18:00

Telefon

+48516044272

Strona Internetowa

https://gunianowikgallery.com/

Ostrzeżenia

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