Simona Kasprowicz (she/her) is a Warsaw-based intermedia artist, curator, and cultural producer whose work spans performance, video, sound, text, and research-driven projects. Her practice is rooted in questions of identity, gender, memory, and embodied experience, consistently engaging with feminist, queer, and trans* perspectives. Working across disciplines, Kasprowicz develops complex, layered works that merge artistic experimentation with social and political consciousness.
Central to her practice is the relationship between body and language, personal narrative and collective memory, visibility and erasure. Her works often unfold over time through process-based formats in which different media operate interdependently — performance informs video, sound emerges from text, and research becomes a generative site for artistic production. This fluidity allows her to challenge the conventional boundaries between art forms and propose new models of interdisciplinary creation.
Performance plays a pivotal role in Kasprowicz’s work. She treats the stage as a site of embodied critical inquiry, constructing pieces that combine voice, movement, costume, sound, and vulnerability. She often performs as Simona Kozidrag — a queer demoness, post-porn angel, and counter-woman with an “anti-cock” — a persona that embodies excess, irony, rage, and softness. Works such as Sweet Nothing Love II, Cabaret, Human Nature, and Ave exemplify her ability to craft performances that are emotionally charged, formally precise, and deeply rooted in lived trans experience.
Her debut project Wiwisekcje (2016), presented at the Konfrontacje Teatralne Festival in Lublin, combined elements of alternative opera, monodrama, and sound performance. As the creator of the libretto, music, and visual concept, Kasprowicz used the piece to examine themes of isolation, memory, and self-deconstruction. Wiwisekcje laid the foundation for her distinctive artistic language, which continues to evolve in her current work.
In the field of video, Kasprowicz produces experimental and performative works that navigate the intersections of personal archive, queer subjectivity, and embodied history. Her films — including Miasto/Ciało desperacji, Sweet Nothing Love I, and Skóra 2.0 — use voiceovers, glitch aesthetics, layered editing, and archival material to explore the trauma and beauty of queer survival. Non-linear and research-based, her videos operate as affective constellations, challenging the limits of documentary and offering poetic reflections on visibility, shame, and reclamation.
Her sound practice ranges from politically charged anthems to ambient sonic meditations. Tracks like Jebać cistem (Fuck the cis-tem), Idziemy w disco, and Lublin La Vida Loca blend pop, club, and experimental genres to reflect queer anger, joy, and collective desire. Kasprowicz treats sound not only as aesthetic material but as a tool of resistance — a medium through which language, rhythm, and voice assert presence and disrupt norms.
Writing and poetry are integral to her work, often appearing as scores, scripts, manifestos, or spoken word integrated into performances or installations. Her texts — intimate, fragmented, rhythmic — explore queer affect, political tension, and the search for language adequate to trauma and desire. Rather than positioning text as a separate literary practice, Kasprowicz weaves it into her broader interdisciplinary methodology.
Alongside her solo practice, she has developed and led numerous research-based, collaborative, and curatorial projects. Between 2019 and 2024, she co-founded and co-curated Camera Femina, a feminist and queer arts foundation that fostered inclusivity, accessibility, and cross-disciplinary collaboration. During this time, she co-developed major initiatives such as Demakijaż – Women’s Art Festival, Queerz Get Loud, Włączając widzialność, and Tra(n)sowanie Warszawy — combining community archiving, artistic creation, and political education.
Her large-scale project Transposition (2024) — as curator and artist — centered on the voices and lived experiences of trans people in Warsaw, combining interviews, archival research, and artistic responses into a collective trans* narrative. The exhibition featured site-specific installations, soundworks, and visual pieces by over 30 artists, alongside oral histories and materials from the Lambda and Trans-Fuzja archives. The project reclaimed public space for trans memory, offering both critical reflection and community affirmation.
In Three Times Modrzewska, Kasprowicz explored the autobiographical writings of Krystyna Modrzewska — a Jewish trans person born in 1919 — whose life and work had remained largely unrecognized. By collaborating with performers, researchers, and activists, she staged a three-part theatrical portrait connecting historical fragments with contemporary queer realities. This project activated archives as living sites of knowledge and emphasized trans intergenerational continuity.
Six Verbs Movement (2023) examined urban memory and embodied presence through sound installations, performative walks, and site-specific interventions in Lublin. By activating the city’s Jewish history and invisible topographies, the project invited audiences to re-listen to spaces marked by displacement, silence, and transformation.
Her work has been recognized with several honors, including the Żurawie Cultural Award (2021) for Cultural Animation and a nomination for the LGBT+ Diamond Awards (2022) for Queerz Get Loud. She received an Artistic Grant from the City of Lublin in 2016.
Simona Kasprowicz’s work has been shown at numerous festivals, exhibitions, and public programs in Poland and internationally. As an independent artist, she continues to explore radical methodologies of queer archiving, sonic storytelling, and performance-based research. Her practice insists on the political force of vulnerability and intimacy, creating worlds where trans* and queer lives are not just represented — but centered, celebrated, and expanded.