A performative lecture on a non-binary transfeminine body negotiating religious classification, self-representation and the right to occupy space.

The same face returns across four works, each material altering the conditions under which it can still be recognised.

A black oval occupies the abdomen of a pregnant figure, replacing bodily volume with an opaque surface that stops the image at its centre.

A red face presses against the limits of the canvas, its white tears held on the surface with the same insistence as eyeliner, lashes and lipstick.

An oversized face fills the abdomen of a pregnant blonde figure, throwing the scale and coherence of her body out of balance.

A pregnant figure carries two sacred structures at once: the kabbalistic Tree of Life and the cruciform body of Catholic imagery.

A mannequin belly and a cast of the artist’s ass are turned into improbable birthing surfaces, each opening onto a face.

Faces are embedded and repeated until they begin to look less inserted into the objects than grown from within them.

A heavily pregnant figure inflected by Marilyn Monroe opens at the abdomen; paint runs and a rigid shroud passes beyond the circular edge of the canvas.

A transfeminine body enters the myth of Marilyn Monroe, turning desire, sex work and cinematic glamour into a fractured essay on visibility, violence and the cost of becoming an image.

A sonic re-edit of "Fucking with Marilyn" that turns pop music, fragmented speech and repetition into an anatomy of glamour, desire and performed femininity.

A solo exhibition bringing together works from different moments of the practice of Simona Kasprowicz as a fragmented self-portrait of image, embodiment and circulation.

A cruciform structure mounts detached heads, limbs, synthetic hair, and patent boots as relics of a trans-femme figure that has no complete body behind it.

A kinetic devotional figure convulses between self-canonizing prayer, erotic display, and the insults of men responding to the artist’s escort advertisement.

Three vertically arranged portraits repeat the codes of the Hollywood blonde, allowing glamour and distortion to sustain the icon without producing a definitive face.

A triptych attaches posthumous headlines about Marilyn Monroe to photographs of the artist’s trans-femme body, while a central panel made with her blood tests how images and bodily traces are forced to testify to a suicide narrative.

An ornate cruciform structure exposes and absorbs a body at once, turning the icon of suffering into a device that controls how harm is seen, named, and understood.

A doubled trans-femme self-portrait recasts the Pietà as an intimate encounter held beneath a shared neon halo and above a field of fragmented slurs.

A drag-transformed Madonna and Child retain the authority of a devotional icon while shifting its faces, ornament, and gendered codes toward a more unstable form of sacred representation.

A blue figure assumes the pose of sacred ecstasy as a glittering phallic form rises along the axis of her body, suspending the image between devotion, desire, exposure, and restraint.

A trans-femme self-portrait inhabits Marilyn Monroe’s pop iconography, turning a monumental face into a spectacle that withholds the gaze it appears to promise.

In a looped performance for camera, the artist fellates a banana, turning a familiar sexual gesture into an overplayed image of desire, glamour and repetition.

A poem about being abandoned at dawn, where the language of care fails and a cigarette burn turns heartbreak into a problem with the security deposit.

A poem that turns sexual self-staging and rejection into an unstable form of revenge, asking who ultimately controls the image and who is being used by whom.

Queer, trans anthem of survival and refusal blending spoken word ferocity with industrial beats.

An interdisciplinary exhibition assembling a multigenerational trans archive through testimonies, documents, sound, and artworks, positioning trans memory as a form of public infrastructure.

A fluorescent afterimage of performance in which religious rapture becomes a graphic study of bodily pressure, queer exposure, and collapse.

A painted return to Sweet Nothing Love I, bringing fragments once separated by editing into a single image of multiplied bodies, flowers and interrupted gestures.

A performer cuts away the props of intimacy—mannequins, a stained wedding dress, a video double—without turning loss into a neat ending.

A moving-image work that examines love as residue rather than narrative — intimacy that lingers in the body after its ending, refusing closure, healing, or disappearance.

An experimental film examining trans and nonbinary embodiment as a site of enforced legibility, where visibility, damage, and desire coexist without narrative resolution.

A reverse striptease turning nudity into the starting point and clothing into the climax—armor assembled in public.

A performance triptych engaging the autobiographical writings of Krystyna Modrzewska, using performance as a tool of queer historiography and intergenerational continuity.

A drag cabaret runs headfirst into war and border regimes, turning glamour into a live test of what it means to watch.

A closing manifesto from Ave demanding a culture built with — and not at the expense of — those pushed to its margins.

A performance that reworks the language of religious devotion into a controlled collapse of drag, voice, and gesture, staging prayer as refusal rather than redemption.

A lo-fi, hi-camp anthem for overworked and underpaid queers. Pop-art visuals meet danceable despair in Brokatowe Kocyki's second release.

A stripped-back video returns to a post-violence text as the camera studies skin up close—tracking how words lodge in the body, resurface in rhythm and texture, and refuse closure.

A DIY queer protest track and video that uses disco, drag, and repetition to assert collective presence under conditions of political pressure and exhaustion.

An intermedial live performance combining voice, sound, and movement to examine how coherence, identity, and exposure are produced—and fail—in real time.