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Orac Gallery

Will & Desire


a place where you can touch art
and where art is touching you

Nowolipki Gallery

Nowolipki 27, 01-010 Warszawa

The main gallery space with curated exhibitions only.
The place where the art has its time and space to manifest itself  in its own rhythm and various aspects of being.
Laboratory of ideas and meaning.

Castello Gallery

Castello 2930, Venice 

The exhibition space of the gallery situated in the heart of the Venice, between San Marco and Arsenale. 

Koszykowa Creative Space

Koszykowa 82b
02-008 Warszawa

Creative space.
A place with a touch of history: an authentic former military casino with a preserved interior design.
A polyphonic, diverse art space to be shared with the public for various exhibitions, events, meetings and performances.

Old Town Space

Mostowa 23/25/2
00-260 Warszawa

Our gallery space which became too small for our big ideas and was transformed to the intimate art space for rent for private events. Due to its location in the heart of Warsaw's old town, it functions mainly as an art apartment for tourists becoming the place where people meet art in everyday life, which aligns with our idea of liberating art from galleries and museums.


Sztuka Józefa Krzysztofa Oraczewskiego

21 listopada 2023 – 17 marca 2024

Dawny Pałac Biskupów Krakowskich

oddział Muzeum Narodowego w Kielcach


"Zderzenia" to eksploracja napięcia powstającego z przecięcia duchowości i materialności, czasu i przestrzeni oraz dualizmu życia. Nieuchronne sprzeczności, które okazują się dźwignią transcendencji, są ukazane w wielu aspektach i wymiarach. Niemniej jednak oś wystawy koncentruje się wokół napięcia związanego z pojęciami wolności i zasad społecznych. Ten właśnie konflikt wpisany w drogę osobistych przeżyć artysty oraz perspektywa rozwoju, jaka się wiąże z jego przezwyciężeniem, są ukazane w największym przybliżeniu.

Poprzez serię obrazów i instalacji Józef Krzysztof Oraczewski stawia widza przed wyzwaniem ponownego rozważenia swoich wcześniejszych przekonań o rzeczywistości i odkrycia głębszych, często ukrytych znaczeń naszego istnienia.

Wystawa, która ma na celu zgłębienie idei kolizji, zarówno dosłownych, jak i metaforycznych, ma właśnie prowadzić do odkrycia nowych perspektyw, rozbudzenia woli przezwyciężenia dualizmu i ograniczeń, realizacji marzeń i zrywania się do lotu po porażkach, które są nieodłączną częścią życia.

Wystawa przygotowana we współpracy z artystą.

Czas trwania wystawy: 21 listopada 2023 – 17 marca 2024

Kurator: Monika Turczyńska

Koordynator: Agnieszka Dziwoń

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Current Exhibitions


Lost Shapes:

 Abstraction in the Art of Józef Krzysztof Oraczewski


       Józef Krzysztof Oraczewski leads us through the threads of abstraction to the "Lost Shapes." It's an unexpected and unavoidable journey. We all sense these lost shapes—within the labyrinth of days, matter, spirit, and memory, they emerge and vanish, encrypted in various signs. They lack a lasting form, much like a scent that intoxicates, strikes, and fades, leaving unforgettable traces in our senses. They are elusive and challenging to reach, summon, decipher, or give a more enduring form than the fleeting moment.

       The artist guides us through the labyrinth of abstraction to these elusive shapes. He invokes them because they are a necessary tool. Not to deny form, break free from perception, or detach from reality, but to transcend what seems insurmountable. Józef Krzysztof Oraczewski creates abstract works that not only oppose the material world but are contained within it, expanding it into dimensions that are usually invisible and non-obvious. In his art, he seeks to penetrate deeper and reveal the shape in all its dimensions, both visible and invisible.

      In the series "Lost Shapes," the artist primarily employs monochromatic colors, mainly black and white, to emphasize the existence of non-obvious relationships and structures simmering beneath the seemingly impenetrable surface of the observed world. Indefinite forms and colors serve as a key to discovering the mysterious essence of shape, which exists both in our perception and beyond it, in the world of matter and beyond it. Furthermore, it exists both in the shape and beyond it.

      Oraczewski doesn't reject form; on the contrary, he explores it in an unconventional and unexpected way. The absence of a clear structure doesn't equate to mere formlessness. Instead, Oraczewski uses the term "Lost Shapes," suggesting that the extraordinary structure of reality is so vast and complex that we see only a fragment of it. What is visible on the surface is just a part of the entire picture, a fragment, a faint trace, the beginning of a shape emerging from substance. The rest, the hidden part, is elusive and indescribable in the language of Euclidean geometry. However, we experience it in all its intricacies continually.

      Despite being lost in the invisible web of uncertainty, these titular shapes can be found and deciphered through the abstract language of art. The term "lost" carries the promise of search, discovery, and finding. It's an encouragement that although these shapes may remain beyond our reach, they exist. Moreover, by transcending our understanding and senses, they enter other dimensions and realms of abstraction.

      Oraczewski's art assists us on this journey. It serves as a guide, allowing us to relate to the lost possibilities of seeing and experiencing hidden shapes. It brings us closer to them, to the point where we can begin to feel and understand them, although they remain mysterious and elusive. It is an attempt to comprehend that form has more dimensions than we could imagine.

     In the deep intention of revealing what is indefinable, the artist invokes the thoughts of Aristotle. In Aristotle's concept, form is not just an observable shape but something that emerges in the creative process. In the case of "shapeless" abstract art by Oraczewski, the shape is not identical to the traditional notion of form. The shape is lost in chaos, but in the act of reception, it creates its unique form.

      "Lost Shapes" thus become a metaphor for our exploratory spirit in art. It's a challenge for us not only to look at the surface but also to delve deeper into areas that may seem lost. It's a reminder that the world of abstraction holds infinite possibilities waiting for our discovery and rediscovery. It's a shape that may be lost, but in the process of creative reception, it acquires its unique form.

Monika Turczyńska 


PEARL Chantia Malaja

See what cannot be seen

Touch what cannot be touched

Feel what cannot be felt



You decided to stay anonymous. Why? 


This is what my art is about. About seeing what cannot be seen, about touching what cannot be touched, about feeling that cannot be felt. There is something which cannot be perceived by senses or mind but it is possible to experience it by the impact that it makes. Like the fire and the smoke or like a mysterious killer and the real body. And this analogy is correct to the certain point, because we need to know the killer or the fire. But there is something that cannot be seen ever. Never. It is just because of its nature. And you can never see it because it is hidden from the direct perception. Still you can see and experience the the impact; the smoke or the body. 

But although you know that this kind of something is the reason, the beginning of the smoke, you cannot grasp it in any way. You cannot explore the form, matter of character of this reason. It is beyond the definition. 

I decided to become hidden from direct perception. But there is my art which is vivid sing of my existence as something. 


You do not want a definition?

I do not want the label. Seeing the smoke people want to know it’s origin, the fire. But the fire cannot tell anything about the nature of the smoke. It can tell something, but not too much. It is a wrong way of experiencing the smoke. It is the way to make the impact on the smoke, make it bigger or extinguish the fire, specially when you are a fireman. But to experience the smoke you do not have to know the nature of the fire. And sometimes I think that some very important things hidden from us just to not allowing us to make this impact. This is why I do not want to make the impact on myself to keep my art authentic and experience the ideas and the colours of the feeling that it contains. 



What is this something hidden? 


As I said I do not know because it is not possible to know and understand it. It is something that nobody knows and will never know, no matter how hard he tries or how much he or she convinces to know. Of course there is a huge desire to know and understand it. We are all firemen or detectives. We want to know. And we want to make impact on the hidden things. It is normal. But at same point there is time to give up and experience thing what they are. 


It is what my art is about. We are looking for the reason and the cause of the pearl. We know that there must be something what made the pearl. But is is not important. The pearl is important, its beauty and the process of  creating the pearl. 

Just experience the pearl without cursing it to get inside. 




Chantia Malaja solo presentation at Art Expo New York 

March 30 - April 2, 2023

Chantia Malaja „Pearl” - Art Expo New York presentstion.

     We arepleased to show the art of Chantia Malaja with her solo presentation at Art Expo New York. The exhibition takes place from the 30th of March to the 2nd of April 2023 at Pier 36, NYC. We kindly invite all art lovers to participate in this event. For more information and a special invitation to the show, contact us by e-mail:

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