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	<title>Agata Jarosławiec</title>
	<link>https://agatajaroslawiec.com</link>
	<description>Agata Jarosławiec</description>
	<pubDate>Fri, 10 Apr 2026 11:52:11 +0000</pubDate>
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		<title>FRONT PAGE 1</title>
				
		<link>https://agatajaroslawiec.com/FRONT-PAGE-1</link>

		<pubDate>Sun, 23 Jun 2024 10:17:36 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

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AGATA JAROSŁAWIEC
ABOUT&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;EXHIBITIONS &#38;nbsp; &#38;nbsp; CONTACT &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;




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		<title>FRONT PAGE 1 copy</title>
				
		<link>https://agatajaroslawiec.com/FRONT-PAGE-1-copy</link>

		<pubDate>Wed, 26 Feb 2025 11:43:04 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

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	work
exhibitionsabout

blogcontact




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		<title>FOOTER</title>
				
		<link>https://agatajaroslawiec.com/FOOTER</link>

		<pubDate>Sun, 17 Sep 2023 16:59:01 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

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		<description>






&#38;nbsp; &#38;nbsp; INSTAGRAM</description>
		
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		<title>contact</title>
				
		<link>https://agatajaroslawiec.com/contact</link>

		<pubDate>Sun, 17 Sep 2023 17:58:52 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

		<guid isPermaLink="true">https://agatajaroslawiec.com/contact</guid>

		<description>
︎





 
	&#60;img width="1664" height="2509" width_o="1664" height_o="2509" data-src="https://freight.cargo.site/t/original/i/fc9852dc4bd0063efa21656b46ac9abc399e121863a21f40b2d1e2734404fad4/_DSC9260-2-copy.jpg" data-mid="250792893" border="0" data-scale="30" src="https://freight.cargo.site/w/1000/i/fc9852dc4bd0063efa21656b46ac9abc399e121863a21f40b2d1e2734404fad4/_DSC9260-2-copy.jpg" /&#62;&#38;nbsp;&#38;nbsp;︎
 agata.jaroslawiec@gmail.com
︎&#38;nbsp;
@agata.jaroslawiec

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	<item>
		<title>about</title>
				
		<link>https://agatajaroslawiec.com/about</link>

		<pubDate>Wed, 13 Sep 2023 10:24:27 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

		<guid isPermaLink="true">https://agatajaroslawiec.com/about</guid>

		<description>
	
︎


Agata
Jaroslawiec (b. 1991) is a visual artist, currently working on her PhD at the
Academy of Fine Arts in Krakow. Her works explore the relationship between
history, the body and identity. She is particularly interested in the
phenomenon of trauma as a disturbance in the system, but also as an opportunity
for resilience and creative transformation. She is inspired by therapeutic
methods of working with the body. Her work deals with various media:
installation, object, photography and performance. She lives and works in
Krakow.






















EDUCATION




·

2021 - ongoing



Doctoral School, Academy of Fine Arts in Krakow





·

2014-2020 
Art Education, The Faculty of Painting, Academy of Fine Arts in Krakow


·

2010-2014
History of Art, Jagiellonian University in Krakow

STATEMENT

&#60;img width="1776" height="1048" width_o="1776" height_o="1048" data-src="https://freight.cargo.site/t/original/i/ce0b5fd46ff3f13d1103b1cd6d91d1ea8fc4f6e01a59a2dd5fad39b289e7155d/Screenshot-2025-03-11-at-12.39.15.png" data-mid="228036508" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/ce0b5fd46ff3f13d1103b1cd6d91d1ea8fc4f6e01a59a2dd5fad39b289e7155d/Screenshot-2025-03-11-at-12.39.15.png" /&#62;


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	<item>
		<title>Mothers carried the yoke, and daughters bent their backs</title>
				
		<link>https://agatajaroslawiec.com/Mothers-carried-the-yoke-and-daughters-bent-their-backs</link>

		<pubDate>Tue, 19 Sep 2023 09:26:46 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

		<guid isPermaLink="true">https://agatajaroslawiec.com/Mothers-carried-the-yoke-and-daughters-bent-their-backs</guid>

		<description>
︎Mothers
carried the yoke, and daughters bent their backsceramics, 24k gold, metal50x70x252022/26






	
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&#60;img width="4961" height="3508" width_o="4961" height_o="3508" data-src="https://freight.cargo.site/t/original/i/b38a2c7791a793d6a4d4a078096960840a1aaeca93fcb18bd85ca12034eb1760/MATKI-A3-KADR-.jpg" data-mid="249427844" border="0"  src="https://freight.cargo.site/w/1000/i/b38a2c7791a793d6a4d4a078096960840a1aaeca93fcb18bd85ca12034eb1760/MATKI-A3-KADR-.jpg" /&#62;
The
work consists of ceramic imprints of serf crosses, monuments erected
to commemorate the abolition of serfdom. The type of garment, which
took the form of a chainmail, is at the same time an attempt to don a
rejected identity. However, the garment made of ceramic is
characterized by a weight that is natural to itself, under which the
body wants to bend rather than straighten. The weight carried over
generations becomes a new kind of monument as an experience of the
somatic archive.




︎




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	<item>
		<title>Mothers carried the yoke, and daughters bent their backs copy</title>
				
		<link>https://agatajaroslawiec.com/Mothers-carried-the-yoke-and-daughters-bent-their-backs-copy</link>

		<pubDate>Fri, 10 Apr 2026 11:52:11 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

		<guid isPermaLink="true">https://agatajaroslawiec.com/Mothers-carried-the-yoke-and-daughters-bent-their-backs-copy</guid>

		<description>
︎Mothers
carried the yoke, and daughters bent their backsceramics, 24k gold, metal50x70x252022/26






	
&#60;img width="3159" height="4608" width_o="3159" height_o="4608" data-src="https://freight.cargo.site/t/original/i/20d4bafdd20e9a587a98548c4cb74f82071c32bd7908c1b614193f7f1002895f/P1010264-kopia.jpg" data-mid="247033642" border="0"  src="https://freight.cargo.site/w/1000/i/20d4bafdd20e9a587a98548c4cb74f82071c32bd7908c1b614193f7f1002895f/P1010264-kopia.jpg" /&#62;
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The
work consists of ceramic imprints of serf crosses, monuments erected
to commemorate the abolition of serfdom. The type of garment, which
took the form of a chainmail, is at the same time an attempt to don a
rejected identity. However, the garment made of ceramic is
characterized by a weight that is natural to itself, under which the
body wants to bend rather than straighten. The weight carried over
generations becomes a new kind of monument as an experience of the
somatic archive.




︎




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		<title>We soothe we tune we listen</title>
				
		<link>https://agatajaroslawiec.com/We-soothe-we-tune-we-listen</link>

		<pubDate>Mon, 24 Nov 2025 12:59:29 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

		<guid isPermaLink="true">https://agatajaroslawiec.com/We-soothe-we-tune-we-listen</guid>

		<description>
︎We soothe, we tune, we listenFestival Narracje #16, Gdansk2025





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︎
&#60;img width="3403" height="5302" width_o="3403" height_o="5302" data-src="https://freight.cargo.site/t/original/i/6166f71fad536bebc03a68f81b37cee9062ed789dd5a039c9b34b209ed163049/_AUT8029-copy.jpg" data-mid="241113933" border="0"  src="https://freight.cargo.site/w/1000/i/6166f71fad536bebc03a68f81b37cee9062ed789dd5a039c9b34b209ed163049/_AUT8029-copy.jpg" /&#62;

Agata Jaroslawiec’s sound sculpture is dedicated to nursing work. Within capitalist hierarchies of value, this labour is often invisible and systematically overlooked, despite frequently requiring significant emotional investment. In Poland, according to 2020 data, the vast majority of nurses – as many as 97.5 per cent – are women.

In Jarosławiec’s work, nurses’ stories intertwine to form a polyphonic narrative in which the private merges with the public, and the everyday practice of care becomes part of women’s collective history. In the context of an ‘economy of exhaustion’ – a system that demands not only physical labour but also emotional readiness and availability – nursing work reveals its dual nature. On the one hand, nurses support and save lives; on the other, they themselves are exposed to burnout. They stand as symbols of systemic marginalisation: their contribution to healthcare remains largely unseen.

The sculpture is situated directly beside the University Clinical Centre. Placed among greenery, it becomes a monument – a gesture honouring the demanding and often undervalued labour of nurses. The installation features the voices of the artist’s mother and the grandmother of one of the curators – nurses whose experiences form a transgenerational story of care passed down from one generation to the next.

We hear the voices of Krystyna Połom, a 95-year-old retired nurse who worked for forty years in psychiatric wards – and of Teresa Jarosławiec, a 66-year-old retired nurse who spent forty-two years working in a surgical ward and outpatient surgical clinic.
Curators: Karolina Połom, Maja Murawska
Listen here:

&#60;img width="1030" height="579" width_o="1030" height_o="579" data-src="https://freight.cargo.site/t/original/i/695df49f600eb36d6b3733c014ff9207eb4c52cc58f5d7d93e8bc4cacaf0b21a/SoundCloud-Logo.jpg" data-mid="241133368" border="0" data-scale="9" src="https://freight.cargo.site/w/1000/i/695df49f600eb36d6b3733c014ff9207eb4c52cc58f5d7d93e8bc4cacaf0b21a/SoundCloud-Logo.jpg" /&#62;

 




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		<title>We speak in echoes</title>
				
		<link>https://agatajaroslawiec.com/We-speak-in-echoes</link>

		<pubDate>Sun, 27 Jul 2025 06:28:20 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

		<guid isPermaLink="true">https://agatajaroslawiec.com/We-speak-in-echoes</guid>

		<description>
︎We speak in Echoes2026




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&#38;nbsp;An echo does not operate on the logic of repetition, but rather on that of displacement, which destabilizes continuity and reveals the fissures between the past and the possibility of rewriting it. What returns is never identical to what was; the echo introduces delay and distortion, making memory a process rather than a recording. The echo is also a mediated, non-autonomous voice, always entangled in a relationship. The material plays a key role here. Silicone, a material that is both soft and synthetic, imitating skin yet devoid of its history, becomes a “second skin” – a surface on which the tensions between the organic and the manufactured are revealed. As an industrial material associated with production and repeatability, silicone introduces a dimension of contemporary labor into this practice: labor separated from the body, yet reproduced by it. It is skin that does not remember, but on which memory is recreated as a trace, as an echo. 
The exhibition draws on the artist’s popular heritage not as a static repository of forms, but as a living field of practice, inextricably linked to the history of coercion, reproduction and the invisible labor of the body. Collaboration with her mother, emotional labor, and the recurring gestures of sewing, reconstructing, and touching evoke practices that for centuries have existed on the margins of visibility: as work that is necessary yet unrecognized. In this context, heritage is not neutral; it carries within it a record of economic and social violence, inscribed in the body, rhythm, and matter. 
Agata Jarosławiec’s exhibition occupies the tension between the unsaid and that which is stubbornly inscribed in the body and memory. Her practice is based not on direct articulation, but on speaking through an echo: a speech that is displaced, delayed, and not entirely her own. This activates what might be described as a somatic archive, a space in which inheritance occurs not through representation, but through the repetition of gestures, tensions, and relationships operating outside the order of language—within the realm of affect. 
The concept of the hortus conclusus (enclosed garden) featured in the exhibition organizes the exhibition space as a structure of confinement and separation. Echoes in this space do not travel freely – they bounce off the boundaries, returning distorted, trapped within a system of divisions. Historical practices of enclosure, which enabled the emergence of the capitalist order, find their continuation here as mechanisms regulating access, visibility, and the possibility of being. Enclosure not only separates but also produces subjectivities subordinated to the logic of survival. 
The theme of cultural mimicry takes on particular significance here. The experience of social advancement manifests itself as a life “echoing” the forms of others: a process of assimilating languages, gestures, and codes that are not one’s own but are necessary for functioning. It is an ambivalent survival strategy: it enables entry into new structures while simultaneously leaving a trace of a rupture. The subject does not stabilize but remains suspended between what is inherited and what is assimilated.&#38;nbsp;
The project was funded by a scholarship from the Ministry of Culture and National Heritage.

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		<title>Dream of mama</title>
				
		<link>https://agatajaroslawiec.com/Dream-of-mama</link>

		<pubDate>Sun, 27 Jul 2025 06:20:59 +0000</pubDate>

		<dc:creator>Agata Jarosławiec</dc:creator>

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︎Dream of mama
ceramics, synthetic hair
2025






	
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