By engaging in play, you cross various thresholds. Suddenly, you find yourself between safety and danger. Excitement and unease go hand in hand. A little devil in your head provokes you. Or maybe it’s all fake—maybe you’re the one in control? Anyone who dares to enter ends up in the attic, and it’s hard to come back from there. You have to trust that suspicious little creature.

Some things have no names. Play always needs an element of fiction. Step by step, the game unfolds. Scribbles begin to tell endless stories, diapers glued with latex and a bit of human milk form an archive of strange consistency. A protruding butt and remnants of gray fur on a metal paw make sense and are absurd at the same time.

Wagging tails do whatever they please. Everything lies in disobedience. Rejected hierarchies and suspended rules turn into personal poems without linearity or closure. A ram’s head bites its own horn. Or maybe it’s just a mask you can take off the stand, put on your head, and for a moment feel like a little sheep.

Even when we play alone, we always play with something—with objects, memories, imagined friends. There is no solitude; play is born between bodies, ideas, and found springs. It’s a suspension of everyday rules, an invention of alternatives, a way of reoccupying the world. It has always been tied to critique and resistance, a form of dissent against established orders. Through play we improvise, speculate, adapt, and find solutions.

Play, both comical and anarchic, resembles an all-absorbing game—free, open-ended activity. It is not separated from life but an immanent part of it. Immersion in absurdity allows us to communicate our own stories and create a space of contemporary entropy. Reality is not a rigid structure but a flow of relations in which objects and figures play with one another.

The exhibition is based on free, uncontrolled interaction between elements. It is joy and fear, experiment and representation of indeterminacy. It is a game that unfolds in process, becoming a performative study of uncertainty.

In a world oscillating between crisis and hope, play is not mere escapism but a tool for discovery. It does not rely on formulas but on the acceptance of surprises. The artists in the exhibition propose dynamic, open interaction, using fantasies and fictions to construct their own identities. They collaborate in unpredictable ways, subject to chance and emergence.

Grinning figures and cast testicles—all so that each of us can see every side of our own sensitivity. A whole room filled up; I probably won’t be able to control it.
The little devil shows you how the world twists—you’ll feel a bit lost (I know you’re already sweating).

- Kamil Mizgala