00.
01.
02.
03.
04.
05.
06.















STAY ON THIS WEBPAGE ONLY IF YOU ARE AN ADULT!
AND ONLY IF YOU ARE FINE
WITH SEXUALLY EXPLICIT VISUALS













index: selected projects

contact
kissing a rock
un-tower tryouts
PAIN GAME
how to darn
BREASTMILK
cv
BLOG

traces of the Kissing a Rock exhibition,                                                     04.08 - 13.09.2026


        working on a zine about the walking cane dildos

Participated in The Hydrosexual Clinic

July 17 (Friday) and July 18 (Saturday), 2026

Participants: Ewelina Jarosz, Justyna Górowska, Jessica Kufa, Tomasz Dąbrowski, Olga Kaszlewicz, mariia lemperk
Rawa River, Katowice
Curatorial text – Ewelina Jarosz, created as part of the art-reseach duo cyber_nymphs:

 You arrange a hydrosexual date with the Rawa River – at 1 p.m., in the height of a scorching summer, on the blazing concrete of Katowice’s Market Square. Rawa whispers: “Don’t take pictures of me, sweetie. Don’t post me on your Insta stories. Let this be our experience.” Rawa is ugly and profoundly unphotogenic. She resembles a sewage canal. She is nothing like the San, the Krutynia, or the Wda. And yet you feel there is something that binds the two of you. Perhaps you, too, possess that repulsive charm? Perhaps you, too, are like a thin, foul-smelling thread only briefly attached to the Earth?
Katowice was founded on the banks of the Rawa. Yet it would be difficult to find another river with a longer history of deprivation in this region. Over the past two centuries, almost everything has been taken from her: her source, her riverbed, her natural current, her vegetation, her animals, her surface open to sunlight, and even her right to be called a river. Unlike the Oder, Rawa has never become a spectacular symbol of ecological disaster. She is described instead as a watercourse, a drain, a canal, a sewage infrastructure, or simply a “non-river.” Hidden beneath concrete, straightened, accelerated, confined within pipes, she has become one of the most radical inscriptions of the Anthropocene in the urban landscape. Today she survives as a hybrid organism with a narrow concrete smile.

The Hydrosexual Clinic is a performative patainstitution of collective healing, rest, and regeneration, initiated by do cyber_nymph Justyna Górowska and Ewelina Jarosz. Through playful, grassroots, and ironic appropriations of medical conventions, it proposes non-anthropocentric and non-ableist practices of care for both human and more-than-human bodies, while foregrounding public health in the context of climate and environmental crises. At the heart of the project lies hydrosexuality – a framework that reimagines embodiment and water while inviting playful, sensual relationships with the Blue Planet.

The third edition of the Hydrosexual Clinic invites participants to encounter the Rawa through affective, sensual, and embodied perspectives. We ask about the secret life of a river with whom we wish to enter into an intimate relationship. How can we love a river that has evoked disgust and revulsion for decades? How do we cultivate tenderness toward a degraded landscape? How might we expand our ecological imagination for a being whose subjectivity has been systematically destroyed? What lies beneath the layers of human shame surrounding the slow violence inflicted upon the river?

An affair with a non-river inevitably risks romanticizing – or Instagramming – ecological catastrophe. That is not the story we wish to tell. Instead, we embrace a practice of conscious anthropomorphization that allows us to approach an industrial river as a partner in co-creating infrastructures of more-than-human dialogue. We are interested in the river’s secret life: her memory, her currents, her whispers, her hidden desires, and the possibilities of future revitalization.

The third edition will take the form of the spectral clinic dedicated to the human and more-than-human inhabitants of the Rawa – those who are present, absent, and those who have not had the opportunity to exist. Through performative consultations, we will collectively diagnose our relationships with the river, prescribe hydrosexual remedies, and practice new ways of sensing dirty urban water. Together we will imagine the river’s future beyond the Anthropocene: slower, more permeable, inhabited once again by plants, animals, and humans who have learned to listen to her voice.

Costiums: Paweł Włodarski
Photo documentation: Jadwiga Janowska



Bread Baking records



Contributions: 
Process, installation, performance: @minografia and @mariia_lemperk, Sound: @digital.data_, Documentation: @kajajaloza, @_uwertura_ , @art_as_it_should_be, Support: @polak_ and the @bwa_katowice team Location: BWA Katowice


May 21, 2026, 2:00 PM – 6:00 PM 
Performative action with Milena Novak and mariia lemperk.

May 22, 2026, 6:00 PM – 8 PM 
concert and performative action with Digital Data, Milena Novak and mariia lemperk.



This pain game we bake and tie.

PAIN GAME is a series of performative actions dedicated to individual and socio-political perspectives on pain. Pain, approached neutrally as a symptom, illuminates spaces of (un)controlled tension and/or rupture. The manifestation of pain becomes particularly visible within unbalanced structures: power dynamics, institutions, relationships, (non-)hierarchical groups, and individual as well as collective bodies. This act of unveiling is inherently tied to risk. The discomfort of seeing, facing, confronting, 
and witnessing what we call pain may itself be worth the game. PAIN GAME suggests that pain is not treated here as something to be hidden or immediately neutralized, but rather as a tool to be tested through play.

The project emerges from the chronicity/inevitability of pain, mapped through personal experience. 
The inability to perceive pain is a fragile privilege.

PAIN GAME: BREAD BAKING is a long process of working with the body, bacteria, flour and ropes.







FUCKING WALKING CANES



Date: June 25, 2026

Contributions: 
noise: D.Kowalik, performance: mariia lemperk, documentation: Łukasz Trzciński with Tomasz Dąbrowski, coordination: Bartek Kos and Jessika Kufa. Location: BWA Katowice


Walking canes are also disco balls and dildos. 

A concert, a post-p_rn filming session on the stairs. 
Coming from the experience of chronic pain /daily pain management/ we are working on demedicalization of the mobility devises. Which means that in order to touch a walking cane we have to start playing with them. Subversion aims to restore agency. The brutal infusion of pleasure into painful places is intended to give them different perspectives, both physical and semantic. 





hi, i’m working on a Kissing a Rock gazette now. 
we’re having a contributions column there. contact via email mariia.lemperk@proton.me to participate