TBA

Lucy Ivanova’s painting practice often begins with the familiar — everyday scenes, landscapes, intimate experiences — and gradually shifts their perspective. Her works move between observation and distortion, using painting to question how reality is constructed and perceived.

At the centre of her practice is a tension between the worlds of children and adults: between the openness and immediacy of childhood and the systems, anxieties and narratives imposed by adulthood. This tension becomes a way of looking at reality differently, rather than simply representing it.

After a bouquet from Edith and Ando, 2024
Oil on canvas
150 × 110 cm

Lucy Ivanova is part of Pressures, on view at TBA until September 5.

Photography by Kuba Rodziewicz

Lucy Ivanova’s paintings start from things that feel familiar, but they rarely stay that way. She shifts and distorts what we see, playing with perspective and making everyday images feel slightly unfamiliar.

For Ivanova, painting is a way of changing our “optics” – of looking at the world from a different position and asking how much of what we see is shaped by our own experience. Rather than simply depicting reality, she takes it apart and puts it back together in a different way.

Chernozem, 2025
Oil on canvas
100 × 77 cm

Lucy Ivanova is part of Pressures, on view at TBA until September 5.

Photography by Kuba Rodziewicz

A central part of Gleb Amankulov’s practice is the search for objects. He finds them in thrift stores, flea markets, online marketplaces and sometimes in the street, while others are borrowed from friends, colleagues or the exhibition space itself. The resulting assemblages are created on site, responding to the specific conditions and social and political context of each exhibition.

“Stunt is about personal mobility as a political condition, when freedom of movement, often perceived as a given, becomes a privilege and, at the same time, a limitation.” — Gleb Amankulov

Stunt, 2026
Mixed media
110 × 30 × 2 cm

Gleb Amankulov is part of Pressures, on view at TBA until September 5.

Courtesy of the artist and COMMUNE
Photography by Kuba Rodziewicz

Said Atabekov’s Steppe Wolves is based on Kokpar, a traditional horse game popular among the nomads of Central Asia. In the game, hundreds of riders compete for a goat carcass, gathering on a field in the steppe. The artist’s work often looks at Central Asian traditions in relation to globalisation, migration, environmental issues, inequality and the natural resources-driven economy.

Atabekov connects the game with the world around us: “The game itself embodies the image of our modern world, which is governed by fierce competition.”

Steppe Wolves, 2017
Single-channel video
1 min

Said Atabekov is part of Pressures, on view at TBA until September 5.

Courtesy of the artist and QAZART

In Kyiv, two different generations of Ukrainian painting meet in the same exhibition.

Yuri Leiderman and Kateryna Lysovenko are taking part in Glimmering Connections. Ukrainian Painting at the Turn of the 1990s and Today at Mystetskyi Arsenal, bringing their work into a dialogue with artists from the late 1980s and 1990s and those working in Ukraine today.

Leiderman’s practice emerged from the late Soviet and early post-Soviet period, while Lysovenko belongs to a generation shaped by independent Ukraine. Seen together, their works reveal how certain images, symbols and approaches to painting can persist, transform and resurface across radically different historical circumstances.

As curator Oleksandr Soloviov explains, the exhibition does not seek to construct a straightforward lineage between these periods, but instead traces the less obvious connections that begin to appear between them.

On view at Mystetskyi Arsenal, Kyiv, until August 30, 2026.

Photography by Andriy Tsykota

Gleb Amankulov’s assemblages are temporary by nature. Made from found, borrowed and otherwise readily available objects, the works preserve the original materiality and function of each element. After the exhibition, they can be disassembled, returned, donated, resold or used again.

“The work is about the creative process, about the production of art under the pressure of economic and everyday instability.” — Gleb Amankulov

Untitled, 2026
Mixed media
50 × 26 × 15 cm

Gleb Amankulov is part of Pressures, on view at TBA until September 5.

Courtesy of the artist and COMMUNE
Photography by Kuba Rodziewicz

The gallery is taking a short summer break and will reopen on August 18.

We’ll be back with the continuation of Pressures, on view until September 5.

Bringing together works by Gleb Amankulov, Said Atabekov, and Lucy Ivanova, the exhibition explores the often invisible forces that shape our lives—from markets and borders to war—and how these pressures become embedded in everyday experience and shared realities.

📷: Kuba Rodziewicz

Opening this week at TBA:

Gleb Amankulov
Said Atabekov
Lucy Ivanova
in
Pressures

Saturday, July 18, 12–8 PM
Wilcza 62, Warsaw

The show brings together selected works by Gleb Amankulov, Said Atabekov, and Lucy Ivanova, examining the forces acting upon bodies, objects, and histories.

It explores how personal experiences are shaped by broader social, economic, and historical forces, and how individual stories become part of shared experiences.

For inquiries or preview requests: [email protected]

📷:
Lucy Ivanova
After a bouquet from Edith and Ando, 2024
Oil on canvas
150 × 110 cm

Kateryna Lysovenko is currently on view in “Superglue, or Inventing the Friend,” a group exhibition at CAC (Contemporary Art Centre) in Vilnius, curated by Valentinas Klimašauskas.

Marking a new chapter for CAC under its new director, the exhibition brings together historical and contemporary figurative art around questions of otherness, identity, and connection. Its title reworks Umberto Eco’s essay “Inventing the Enemy” — asking, amid growing polarisation, what might still hold together a fragmented, narcissistic society, and whether art can still offer a genuine encounter with the other rather than an enemy.

On view through 06.09.2026.

Kateryna Lysovenko
The Old Air Dependent Dream, 2026
Installation comprising a site-specific wall painting and a triptych. Oil on canvas and wall painting.
Triptych: 210 × 150 cm (each panel).
Overall installation dimensions: 24 × 9 m; height: 3 m.

Photo: Andrej Vasilenko

Stopping the Flows — Yuri Leiderman’s first exhibition in Warsaw and his first presentation with the gallery.

On view only until the end of this week, through 27 June.

Yuri Leiderman
Metaphysical Feeding of Flower, 2020
Oil on paper mounted on canvas
50 × 35 cm

Photography: Kuba Rodziewicz