{"id":1695,"date":"2026-09-11T21:21:51","date_gmt":"2026-09-11T21:21:51","guid":{"rendered":"https:\/\/biennalepalacstruga.pl\/?page_id=1695"},"modified":"2026-09-11T21:21:52","modified_gmt":"2026-09-11T21:21:52","slug":"laureates","status":"publish","type":"page","link":"https:\/\/biennalepalacstruga.pl\/?page_id=1695&lang=en","title":{"rendered":"Laureates"},"content":{"rendered":"\n
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LAUREATES<\/strong><\/p>\n\n\n\n

GRAND PRIX
<\/strong>MA\u0141GORZATA GORZELEWSKA-NAMIOTA<\/p>\n\n\n\n

KAMIA\u0143 NA KAMIANIU
STROLLER, ACRYLIC PAINT ON STONES | 75X140X200 | 2024<\/p>\n\n\n\n

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For an uncompromising exploration of the experience of motherhood, stripped of its cultural idealisation. Fragments of a child\u2019s body, drawn from the artist\u2019s private archive and transferred onto natural stones, confront the child\u2019s fragility and corporeality with the physical weight of matter. The work addresses motherhood also as an experience of burden, fragmentation and ambivalence, creating a powerful and deeply personal image far removed from safe and idealised representations of the subject.<\/em><\/em><\/p>\n\n\n\n

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II PLACE
<\/strong>MACIEJ ZAPI\u00d3R, ARTEM KOVAL<\/p>\n\n\n\n

CIRCUMNAVIGATION IN TIME
SOLYGRAPHY | 100X200 | 2025<\/p>\n\n\n\n

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For creating a project in which time and light become the actual material of the artwork, and art meets science on a scale extending beyond a single object or location. A global network of solargraphic cameras and a programmed rhythm of exposure transform the Earth\u2019s movement and the passage of time into a visual record. The work compellingly embodies the idea of \u201cContexts\u201d, bringing together art, science, technology and international collaboration within a single creative process.<\/em><\/em><\/p>\n\n\n\n

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III PLACE<\/strong>
WERONIKA TADAJ-KR\u00d3LIKIEWICZ<\/p>\n\n\n\n

POD\u0141OGA II
DRAWING ON PAPER | 100X70 | 2023<\/p>\n\n\n\n

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For an exceptionally conscious use of perspective and scale, resulting in a spatial paradox. The shape of the image and the construction of its perspective evoke the experience of looking through a lens or at a microscopic magnification, while within this apparent \u201cclose-up\u201d an expansive interior space opens up. The result is a compelling impossible figure in which proximity and distance, detail and space, coexist simultaneously.<\/em><\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION
<\/strong>MARTA CZ\u0141APA<\/p>\n\n\n\n

CZU\u0141E WN\u0118TRZE
SCULPTURE | 60X50X50 | 2026<\/p>\n\n\n\n

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For constructing the work around a consistent oxymoron of form and meaning. Its soft, organic structure suggests shelter and safety, while concealing inward-facing spikes that transform protection into a potential threat. The tensions between softness and aggression, isolation and protection, safety and injury give the work its unsettling ambiguity.<\/em><\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong><\/strong><\/strong>
ZUZANNA DYRDA<\/p>\n\n\n\n

MAMA TATA TEO
MOKULITO CHINE COLL\u00c9 | 3X100X70 | 2021<\/p>\n\n\n\n

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For the conscious use of the mokulito technique and an exceptional restraint of expression. Three autonomous representations do not compete with one another but form a harmonious whole in which what has been separated is brought together again. An additional dimension is introduced by inscriptions in Braille \u2014 intended to be read through touch, yet enclosed behind glass and therefore accessible only visually \u2014 creating a subtle tension between the visible and the invisible, accessibility and inaccessibility.<\/em><\/em><\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong>
<\/strong>ADRIANNA GAJDZISZEWSKA<\/p>\n\n\n\n

CZU\u0141E WN\u0118TRZE
UNTITLED | FOUND FOOTAGE VIDEO | 2024<\/p>\n\n\n\n

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For the subversive use of archival NASA footage to challenge the heroic image of great human achievement. A compilation of astronauts stumbling and falling transforms the monumental history of space exploration into an absurd, at times comic dance, revealing the awkwardness inherent in the process of achieving extraordinary things. At the same time, the work becomes an apt metaphor for the creative process itself \u2014 one filled with attempts, failures and seemingly insignificant gestures that precede the final result.<\/em><\/em><\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong><\/strong>
IZA SAWICKA<\/p>\n\n\n\n

SPOWIEDNIK \/ SPOWIEDNICZKA
HANDMADE NAKED RAKU POTTERY
100X45X45 \/ 30X15X15 | 2025<\/p>\n\n\n\n

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For creating a compelling dialogue between two ceramic forms, built upon tensions of scale, weight and fragility. The monumental, dark \u201cSpowiednik\u201d and the small, pale and cracked \u201cSpowiedniczka\u201d evoke relationships between listening and confession, enclosure and disclosure, strength and vulnerability. The economy of means and the deliberate use of the properties of ceramic material give this juxtaposition a suggestive, almost archetypal quality.<\/em><\/em><\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong>
<\/strong>GRZEGORZ TOMASIAK<\/p>\n\n\n\n

IKONOKOD JAN 24 \/ IKONOKOD JAN 01
OWN TECHNIQUE | 72X47X3 – 2 PARTS | 2023<\/p>\n\n\n\n

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For an original combination of the language of traditional iconography with digital code, and for treating the image as a system that requires active interpretation by the viewer. Two QR codes, leading respectively to the beginning and the epilogue of the Apocalypse of St John, form a conceptual frame connecting an ancient text, sacred imagery and contemporary communication technology. The work particularly aptly embodies the idea of \u201cContexts\u201d, demonstrating that meaning is not confined to a single medium but emerges at the intersection of image, text, code and the viewer\u2019s ability to interpret them.<\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong><\/strong>
KRZYSZTOF \u0141OBCZOWSKI<\/p>\n\n\n\n

STRZ\u0118P I
DRAWING, PENCIL ON PAPER | 90X50 | 2026<\/p>\n\n\n\n

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For exceptional technical discipline and mastery of execution, which become an integral part of the work\u2019s meaning. The titular \u201cfragment\u201d \u2014 a form associated with accident, fraying and disintegration \u2014 is constructed with almost surgical precision in every mark and edge. The tension between the nature of the depicted form and the absolute control of its execution gives the work its distinctive formal power.<\/em><\/em><\/em><\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong>
<\/strong>EWA \u0141UCZYWO<\/p>\n\n\n\n

ZAWIESZENIE MONUMENT
PHOTOGRAPHY | 150X900 | 2024<\/p>\n\n\n\n

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For an exceptionally conscious dialogue with the exhibition site and its history. The veiled figures are positioned above the historical portraits being uncovered at Struga Palace, creating a reversal of processes: where the architecture reveals previously hidden images and recovers memory, the contemporary work performs an act of concealment. This creates a precise loop of meanings between revealing and hiding, memory and absence, the contemporary artwork and the historical fabric of the site.<\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong><\/strong>
WIKTORIA N\u0118DZA<\/p>\n\n\n\n

NOC
MIXED MEDIA | 100X130 | 2025<\/p>\n\n\n\n

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For an original approach to colour as a phenomenon produced not only by pigment, but also by light and the material structure of the painting. Modelled bands arranged into a dynamic surface refract light, causing the colour to shift with changing conditions and the viewer\u2019s position. In this way, \u201cNoc\u201d expands the painterly understanding of colour to encompass the actual space and physicality of the artwork.<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong>
<\/strong>JOLANTA WDOWCZYK<\/p>\n\n\n\n

WODY CZERWONE
INSTALATION | 71X54X90 | 2024<\/p>\n\n\n\n

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For creating an unsettling installation, open to interpretation and resistant to any single, definitive reading. The motif of a source, traditionally associated with life-giving water, is confronted with a liquid suggestive of blood, while a floor constructed from ammunition boxes introduces a context of violence and threat. The provisional nature of the structure further destabilises any sense of security, leaving the viewer with an image whose meaning cannot be easily resolved.<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/p>\n\n\n\n

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HONOURABLE MENTION<\/strong><\/strong>
MAGDALENA WESO\u0141OWSKA – KUTA<\/p>\n\n\n\n

ZAS\u0141ONA PERCEPCJI
BATIK INSTALLATION | 250X160 | 2025<\/p>\n\n\n\n

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For using textile to create a spatial and rhythmic arrangement of anthropomorphic forms that function both individually and as parts of a larger whole. Their varying degrees of contraction and opening, together with their circular arrangement, evoke associations with cyclicality, transformation and internal circulation. The work crosses the boundaries between textile, object and installation, creating a visually powerful spatial structure.<\/em><\/em><\/em><\/p>\n\n\n\n

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SPECIAL MENTION OF THE STRUGA PALACE FOUNDATION
<\/strong>KATARZYNA LASKUS – STWORA<\/p>\n\n\n\n

DESTRUKCJA NOWOHUCKA TRYPTYK
OWN TECHNIQUE | 2019<\/p>\n\n\n\n

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For the exceptional relationship established between the work, its exhibition site and the material memory of that site. Photographic images of Nowa Huta, printed on an impermanent support and subjected to a prolonged process of natural degradation, gradually lose successive layers, legibility and the identity of the place they depict. At Struga Palace, this process encounters its opposite \u2014 the uncovering of historical layers and the recovery of the memory inscribed within them \u2014 while the materiality of the work almost merges with the fabric of the walls, blurring the boundary between artwork and site.<\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/em><\/p>\n<\/div>\n<\/div><\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

LAUREATES GRAND PRIXMA\u0141GORZATA GORZELEWSKA-NAMIOTA KAMIA\u0143 NA KAMIANIUSTROLLER, ACRYLIC PAINT ON STONES | 75X140X200 | 2024 For an uncompromising exploration of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-1695","page","type-page","status-publish","hentry"],"uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"admin1772","author_link":"https:\/\/biennalepalacstruga.pl\/?author=1"},"uagb_comment_info":0,"uagb_excerpt":"LAUREATES GRAND PRIXMA\u0141GORZATA GORZELEWSKA-NAMIOTA KAMIA\u0143 NA KAMIANIUSTROLLER, ACRYLIC PAINT ON STONES | 75X140X200 | 2024 For an uncompromising exploration of […]","_links":{"self":[{"href":"https:\/\/biennalepalacstruga.pl\/index.php?rest_route=\/wp\/v2\/pages\/1695","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/biennalepalacstruga.pl\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/biennalepalacstruga.pl\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/biennalepalacstruga.pl\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/biennalepalacstruga.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1695"}],"version-history":[{"count":1,"href":"https:\/\/biennalepalacstruga.pl\/index.php?rest_route=\/wp\/v2\/pages\/1695\/revisions"}],"predecessor-version":[{"id":1699,"href":"https:\/\/biennalepalacstruga.pl\/index.php?rest_route=\/wp\/v2\/pages\/1695\/revisions\/1699"}],"wp:attachment":[{"href":"https:\/\/biennalepalacstruga.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1695"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}