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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                                        
an artist with a practice evolved on the edges of memory and body politics.
their recent interest focuses on the (un- and)controlled pain environments, collective grieving, performative archives, non-hierarchical togetherness issues, gender deconstructions and presence of queer in the political and cultural chaoses of today.




kissing rocks,
fucking walking canes,
building performative playgrounds,
romancing with mistakes,
learning pleasure,
endlessly exploring strategies of resistance,
collective choreographies,
post-pornography,
educational methodologies,
activist actions,
with performative tools
of situation and process (co)composing.




mariia Lemperk (she/he/they)
                          from Odesa, Ukraine  
based in between Kraków and Barcelona

mariia.lemperk@proton.me                        
instagram    mariialemperk.substack
chronic  pain condition fundrising



          1.Kissing a Rock

Germay / Poland / Ukraine / Spain
2023-ongoing Practice

theatrical play 
collective / solo practice
performative action / concert

Kissing a Rock is parctice explored through action, performance, writing, experimental theatrical play, short film, group somatic exploration and printed publication mediums. It's been kissed in the places of nature, galleries and theaters, shown on Porn Film Festivals, documented and undocumented since 2023.



Kissing a Rock gazette:
substack.com/@kissingarock
instagram.com/kissingarock/
kissingarock@gmail.com
2023
Kollnburg, Germany
Schiesselhaus AiR
Camera and sound: Zeynep Ayşe Hatipoglu


Documented kissing:
1. 27.05.2023 Bavarian Forest, Kollnburg, Germany.
2. 20.07.2023 Alten Spital, Viechtach, Germany.
3. 29.09.2023 Triennale Grafiki, Kraków, Poland.
4. 24.08.2023 Odesa, Ukraine.
5. 28.09.2023 Rzeka Dłubnia, Kraków, Poland.
6. 02.03.2024 Habibi Kiosk, Munich, Germany.
7. 25.07.2024 Łaźnia Nowa Theatre, Kraków, Poland.
8. 08.2024 Kem School, Teatr Cinema, Karkonosze Mountains.
9. 22.08.2024 Łaźnia Nowa Theatre, Kraków, Poland.
10 23.11.2024 Krupa Art Foundation, Wrocław, Poland.
10. 31.03.2025 SYRO, Kraków, Poland.
11. 14.06.2023 Chelva, Spain.
*Rock tattoo for Kaś, Warsaw, 2024.
*Kiosk Kissing, BREASTMILK, Kraków, 2023.
*Screenings, residencies (2023-2025): Poland: Queerowe Otwarcie, SYRO:  window sill , Germany: Sciesslhaus AiR: pillow, Greece: Satyrs and Maenads: the Athens P*rn Film Festival, 
Netherlands:  Porn Film Festival Amsterdam.
/two hours rock kissing/
29.09.2023
Kraków, Poland
Photo by @eweliinazajac
Hair by @kajajaloza
24.08.2023 Odesa, Ukraine.
Camera: T.M.
28.09.2023 Dłubnia river, Kraków, Poland.
rock gathering with Łukasz Trzciński and Dominik Stanisławski
kissing a rock, second edition, 2023
@schiesslhaus_air, Kollnburg, Germany
location: @altesspital
ph: @contanchi
22.08.2024 and 22.08.2024 theatrical experimental play inŁaźnia Nowa Theatre, Kraków, Poland.

dating rocks with @kem.warsaw
making out with rocks with @kem.warsaw
08.2024, Teatr Cinema, Karkonosze Mountains.
          02.Un-tower Tryouts

Poland
2024 - ongoing
 Process-oriented project

screen installation, piezoelectric mic nettext projection, zine publication
performative and educational practices
Key Interventions:
Dec 7 installation by Miłosz Segedyn.
Dec 12 echo writing and ephemeral memorials.
Dec 14 rope exploration with Milena Nowak.
Dec 15 a collaborative zine making. 

Participants: 
mariia Lemperk (idea), Mariia Varlygina (curator), Milena Nowak (rope artist), Miłosz Segedyn (installation).

Screens contributions:
Baszta, BREASTMILK, Cyane Findji and Genietta Varsi, Disko Peter, Eva Holts, Juliana Irene Smith, Kaja Jałoza, LUZI, Mano Glonti, Margherita Mezzetti, mariia & Lars*, mii boreck, Mo Tomaszewska, Persons supporting Bezkres Foundation, PimPa, Sara Blosseville, Sebastian Grygo, Stanisław E. Łuczak, Stefa Gosiewsk, Vitaliia Shchelkanova, Vlad Tretiak, Zuzanna Marchelewich.
opening action, performative interventions, spoken word, screens installation, text projection, two channel sound, pre/after care room. 
Dec 7 , 2024
a wall of layered notes, credintes, texts
 echo writing
 bit scanned before recycling into a new paper and dryed on the dirt of the ruins walls.
Dec 12 , 2024
scanned flayer made by Konrad Peszko
rope exploration with Milena Nowak, using the ruins walls and a walking cane. Dec 14, 2024
Photo documentatiom made by Mariia Varlygina, Dorota Halberda, mariia Lemperk.
a zine making collective try
[a tower was built here, the ruins are here now]

Untower Rituals of Disassembly
Undoing Institutional Pressure
  


Un-Tower Tryouts, a collaborative artistic project that invites participants to rethink power, connection, and creativity through questioning the possibility of non-hierarchical engagement.

Un-Tower Tryouts unfolds as a dual-action project:
On one level, it is a series of artistic interventions that bring participants together to reimagine the ruins of the tower. Participants enter the body of the ruin, bringing it closer to themselves and through tenderness toward it they make the tryouts as acts of resistance against the violent climate of vertical structures. On another level, it serves as a metaphorical deconstruction of the tower itself — a movement outward.
text by Mariia Varlygina.  

How changes the choreography of co-presence compositions with the active sense of the temporality of alliances?



notes on memory capitalism:
Memory is a practice of a non-naturalization of the oblivion. In the age of neoliberal capitalism, the oblivion of oblivion we forget that we are forgotten, forget we forgot. Reproduction of social relationships replies to the so-called ideological experientiality of time.

Let’s view capitalism as one of the many ways of organizing time, and social relationships where the multiple living reaffirmed the micro-temporality of living - review what are the temporary ways to relate to time. Our time is not our time. With the compulsory isolation the time relating becomes a separate structure.
Micro-temporality — the fragmented, fleeting experiences of the present moment — emerges as the dominant mode of living in late-stage capitalism. Micro-remembrance, the individual is subjected to a constant cycle of disjointed temporality, which reaffirms the notion that life is lived in bursts of consumable moments, shaped and structured by the demands of the patriarchy coded ideology.
The protection of memory as a communal resource, outside the forces of commodification and control often viewed as a practiced utopia.

Recomend to have a look on Carolina Ré’s, Universidad de Buenos Aires (Argentina), and Ana Carolina Barbosa’s, Universidade Federal da Bahia (Brazil), writings.




“Miss”,  sara blosseville
“ RAINBOW CATHARSIS “,  Juliana Irene Smith
Stefa Gosiewsk
“Lore”, Margherita Mezzetti
“Krwawnik” mii boreck
River archive of Mo Tomaszewska
Mano Glonti
Vlad Tretiak
Baszta
“Witch THem Watchers”, Kaja Jałoza
“Insularias“, Cyane Findji & Genietta Varsi
PinPa
Eva Holts
“PAIN GAME: Walking Cane” mariia & Lars*
Vitaliia Shchelkanova
“ Denn Sie Haben Nicht Mehr Von Mir Als Ich Von Ihnen “, LUZI
“Proposed exhibition of the Sieradz Rotunda in two variants.“, Stanisław Łuczak
“KIOSK”, BREASTMILK
“Holding Fire”, Zuzanna Marchelewicz
DiskoPeter
Sebastian Grygo
“KIOSK”, BREASTMILK
          03.PAIN GAME

Poland
2023-ongoing
 Process-oriented project

record of the editions:
docs.google.com/document/
1st edition
Location: Goethe Institute, Cracow
19.12.2023, 18:00 – opening durational action;
20.12.2023 – BREASTMILK trio appearance;
31.12.2023, 12:00 – noise concert, D. Kowalik i mariia Lemperk.

2st edition
02.07-01.09.2024
Location:Cloakroom gallery, Cricoteka, Kraków.
Curator: Kamil Kuitkowski

sound layer:
bandcamp 31st
Noise, sound/movement experiment, research-based, performative (actionist) duo.
31.12.2023 - “PAIN GAME” noise concert, Goethe Institute Krakau.
3.07–1.09 2024 - “PAIN GAME: second station” exhibition, Cricoteca.
31.12.2024 - “PAIN GAME: second station” noise concert, Cricoteca.

1. Figurine making [1,8,9.12.2023]
Location: ASP Kraków, Dom Utopii.
People involved: Dominik Stanisławski, Łukasz Trzciński, dr Tomasz Bielecki, dr Sławomir Biernat, mariia Lemperk. 
3. Opening durational action.
Location: Goethe Institute, Kraków.

People involved: Łukasz Trzciński, mariia Lemperk, Dominik Stanisławski, Dorota Krakowska, Dr. Claus Heimes, participants.
6. Noise concert with D.Kowalik.
Location: Goethe Institute, Kraków.
People involved: D. Kowalik, Łukasz Trzciński, mariia Lemperk.

Photo documnetation by Łukasz Trzciński

4. BREASTMILK trio appearance.
Location: Goethe Institute and Wisła River, Kraków.
People involved: BREASTMILK trio, Dziad.
Practice: Rearranged after the check-in emotional silent practice of burning. Lead by BREASTMILK, accompanied by Dziad.
 Shared reflections on the Christmas pain traditions, Baseball bats as a gift, smoking cigarettes with balaclavas, Supporting togetherness, intuitively chosen Dziad’s place on the Wisłas stairs.

Table transport: two approaches to entering space.
Wall washing and repainting.
D. Kowalik, Łukasz Trzciński, mariia Lemperk, Kamil Kuitkowski, participants of the action.
Preparations: 
Vase-shaped objects making, 
protecting the gallerie’s floors, 
changing the tabletop, 
collecting hair (Zuzanna, Kaja, Karolina, Ernest, Szymon, Sos, Ula, BolekiSmolek, mariia), 
A summarising conversation and sound demontage.
Next edition
PAIN GAME: Walking Cane
16.09.2025, Dresden, dasKONZERTs



          04.how to darn

Poland / Germany / Ukraine
2022 - ongoing


 practice, needlepoint on photo

4 selections, 
work with gifted and personal archives.


          05.BREASTMILK

2023 - ongoing collective



RANDOM DOCUMENTATION:


respectfuly punk
acidentaly symbolic,
BREASTMILK

(breastinpeacemilk)




          06.
Education
2024 - Kem School Warsaw, a queer-feminst educational program, performative process of learning & unlearning 
and a reflection on collective forms of resistance.
2023 - Art School workshops on Feminist Care practices, organized by the UKEN Doctoral School, Cracow, Poland.
2019-2022 - Pedagogical University, The faculty of Art and Media, Cracow, Poland.
2014-2018 - Grekov Art School, Department of fine arts, Odesa, Ukraine.


Solo [selected]
2024 - Project Un-Tower Tryouts, curated by Mariia Varlygina, made with Milena Nowak, Miłosz Segedyn and everybody involved, Cracow, Baszta gallery.
2024 - Project PAIN GAME (second station): mariia Lemperk, Łukasz Trzciński and D. Kowalik, curated by Kamil Kuitkowski, Cracow, Cloackroom, Cricoteka.
2023 - Project PAIN GAME with curatiorial support of Łukasz Trzciński, Cracow, Goethe Institut.
2023 - Project "To sew onto life" with curatorial support of Valeriya Plehotko and Sonia Yukhimova, Kyiv, Avangarden.
2023 - Personal exhibition "Underskin ruins" & BREASTMILK trio debut, Cracow, Rynek Główny, 29.
2023 - Project "To sew onto life" with curatorial support of Valeriya Plehotko and Sonia Yukhimova, Berlin, Art Space in Exile.
2022 - Personal exhibition "Not Forever" curated by Valeriya Plehotko, Cracow, I! Gallery.


Group [selected]
2025 - "Fragilities|space, memory, body", artists: Christian Rupp, Lars* Kollros, Mariia Lemperk and Patrick Topitschnig, Athens.
2025 - "CHEAPARTWEEK|Let's Connect", Athens.
2024 - "ProtestKunst & ProtestKultur", Munich, AAP Archive Artist Publications.
2024 - "If I Can Not Cry In The Subway" curated by Julia Fidder, Helsinki, Oksasenkatu11 gallery.
2023 - "COMMON SPACE: COUNTRYSIDE - CITY" , Curators: Anna-Helena Klumpen and Katrin Savvulidi, Viechtach, Altes Spital.
2022 - "Let them wave! Contemporary Polish Sewn Sculpture", Curators: Stanisław Małecki i Leszek Golec, Venice, Studio Cannaregio.
2022 - "Wiadomość z pokoju obok", Cracow, Podbrzezie art gallery, curated by Rzeczy Same collective.
2022 - Group exhibition and online-project "Skądinąd #1", Warsaw, curated by Turnus collective.
2022 - Group exhibition of Ukrainian art, Cologne, Яeclaim Award.
2021 - "CAMOUFLAGE" curated by Maria Ciborowska and Weronika Ptak, Cracow, Ufo art gallery.
2017 - "Night of museums" Odesa, Bleshchunov Museum.

Residences
2024 - SYRO, Cracow, Poland.
2024 - Artist-in-residence, Łaźnia Nowa Theatre, Cracow, Poland.
2023 - Artist-in-residence, Łaźnia Nowa Theatre, Cracow, Poland.
2023 - Artist-in-residence, Utopia Home, Cracow, Poland.
2023 - Artist-in-residence, SCHIESSLHAUS AiR in Kollburg, Germany.
2022 - Artist-in-residence, Berliner Künstlerprogramm des DAAD in PIK (Potsdam Institute for Climate Impact Research), Germany.


Public performances [selected]
2024 - Open form theatrical play/performance "Kissing a Rock", Łaźnia Nowa Theatre, Cracow, Poland.
2024 - Part of "ŁYS" choreografed by ana szopa, choreographic oders NiMIT, Kafe (NGOS), Craców, Łaźnia Nowa.
2024 - Performance of ana szopa, mariia Lemperk and D. Kowalik, Warsaw, Zachęta – National Gallery of Art.
2024 - Performance "Body-Spring-War-Teeth-Clay-IceCream", Cracow, Poczta Główna.
2024 - Performance with a random duration "Kissing a Rock", Munich, Habibi Kiosk, Munich Kammerspiele.
2024 - Pre-opening durational performance "Odesa Lemperk 05.01.24" with curatorial support of Julia Fidder, Helsinki, Oksasenkatu11 gallery.
2023 - Noise concert "PAIN GAME with Dawid Kowalik, Cracow, Goethe Institut.
2023 - BREASTMILK appearance at the "PAIN GAME", Cracow, Goethe Institut.
2023 - Participatory action "PAIN GAME" with curatiorial support of Łukasz Trzciński, Cracow, Goethe Institut.
2023 - Performance "Two hours rock kissing", Cracow, Rzeczy Kolektyw.
2023 - Performance "Table for Boichukists" with sound-artist Gizem Oruc in the framework of the UFFB screening of the "ADA" film, Berlin, Silent Green.
2023 - Performance "I am kissing a rock" in the framework of the openning of "Common Ground" exhibition, Viechtach, Sciesslhaus Air, Altes Spital.
2023 - Performance "Underskin ruins", Lublin, Performance Platform, Labirynt gallery.
2023 - Durational performance, two days of "Self-objectifing sessions", Lublin, Performance Platform, Labirynt gallery.
2023 - Performative concert "Let's call it a date" with sound-artists Zeynep Ayşe Hatipoglu and Gizem Oruc, Deggendorf, Café Holler.
2023 - Public performance "Underskin ruins", Berlin, Hatun-Sürücü-Brücke.
2023 - Performance "Krajka" and artist talk with Małgorzata Mirga-Tas with curatorial support of Natalie Keppler, moderation by Małgrzata Markiewicz, Berlin, DAAD gallery.
2022 - Performance seriess, 30 days of "Everyday single picket "?", Cracow, Rynek Glowny.


Printed publications [selected]
2023 - "Grieve with me" - Julia Fidder, artistic contribution to the book publication, 25 copies edition, PUBLICS, Helsinki.
2023 - "To sew onto life" zine publication, 2 copies edition, AAP collection.
2023 - "Galya carries water" zine publication in collaboration with Zeynep Ayse Hatipoglu, Published by Paul Wick, 20 copies edition, Supported by Shciesslhaus Air residency program, AAP collection.
2022 - "Family memory glitch" zine publication, 10 copies, supported by Andrzej Najder.
2021 - "Lydia's branch" art book publication, supported by Michał Łuczak.
2021 - "Ankieta" zine publication, 2 copies, supported by Michał Łuczak.


Collaborative practices [selected]
2025 - Collective "KLEJ"
2024 - Cross-media duo "One Vivid Orange Wall" with Ana Szopa.
2024 - Ongoing common project "Holding a Fire".
2024 - Noise-performance duo "31st" with Dawid Kowalik.
2023 - family-like BREASTMILK trio collective.
2023 - Acting in the new film of ukrainian independent filmmaker and queer-artist AntiGonna.
2023 - Embroidery participation in the "Kurtyna Kobiet" project of Małgorzata Markiewicz.
2023 - Acting performance for the Volkan Ergen's music video "The Same".
2023 - Sound-performance trio with Zeynep Ayşe Hatipoglu and Gizem Oruc.
2022 - Participation in the Małgorzata Markiewicz's "Pimoa Chthulu" performance.