MINORIA: Active Image

Psychism and the Viewer’s Consciousness

Blaze Lojewski

Opening: Wednesday, 24 June 2026, 7:00 PM
Venue: ORAC Gallery, 27 Nowolipki Street, Warsaw
Curated by Monika Turczyńska
Presented by ORAC Gallery in collaboration with A Space Gallery

Following its presentation at A Space Gallery in Venice during Biennale Arte 2026, the work of Blaze Lojewski arrives in Warsaw.

The Warsaw edition of MINORIA: Active Image — Psychism and the Viewer’s Consciousness is not a simple repetition of the Venetian exhibition, but a further development of its conceptual and spatial logic. Relocated to ORAC Gallery, the works enter a different architectural rhythm, a new spatial order, and another situation of reception. The same field of meaning is activated once again, but under altered perceptual conditions.

MINORIA is concerned with what precedes the full presence of form: the state of suspension between possibility and revelation, between what remains undefined and what begins to acquire shape. Its field is not the artwork understood as a closed and final object, but the moment of emergence — the instant in which an image, trace, or meaning begins to enter visibility.

MINORIA also remains in a conscious resonance with the idea of In Minor Keys, the title of Biennale Arte 2026. Just as a minor key does not signify the absence or weakening of sound, but shifts it towards subtler registers of emotion, tension, and attention, MINORIA turns towards what exists at the threshold of visibility: not yet fully formed, yet already present as possibility, vibration, and the anticipation of form.

Blaze Lojewski’s practice introduces a decisive shift into this field. Form does not appear solely on the surface of the image. Its actual site becomes the consciousness of the viewer.

The artist’s concept of Psychism transforms the traditional relationship between artist, artwork, and recipient. The image is not intended to reveal the artist’s psyche or transmit a single, predetermined meaning. Instead, it becomes a structure that activates the psychological and perceptual field of the viewer. What is visible does not exhaust the image. It is only the beginning of a process that unfolds through memory, projection, intuition, fear, desire, and self-recognition.

Lojewski refers to his works as Tools. This term is central to understanding his practice. A tool is never passive. It enables action, opens a space, provokes a response, and changes the relationship between the subject and what the subject encounters. In this sense, the image becomes an instrument of perception. It is not merely observed; it acts upon the viewer and draws them into the process through which meaning is formed.

The notion of the viewer’s consciousness has a double dimension here. It refers both to the viewer’s inner field — memory, associations, projections, fears, and unrecognised contents — and to the awareness of their own role in the encounter with the work. The viewer is not a neutral observer positioned outside the image. Their presence, way of looking, and act of interpretation become part of what the image is.

The central installation, Two Rorschachs Playing Chess under Mondrian’s Supervision, condenses this logic into a particularly precise form.

Rorschach introduces the order of projection and ambiguity. The image does not contain one predetermined answer; rather, it reveals the way in which the viewer organises what remains indeterminate. Mondrian represents the opposite pole: rigour, reduction, geometric discipline, and the pursuit of order. Between them, chess emerges as a field of rules, possible moves, decisions, and tensions.

This is not, however, a simple opposition between chaos and structure. Lojewski constructs a situation in which ambiguity requires form, while form requires the activity of the viewer if it is not to remain a dead order. Rorschach opens the image to projection. Mondrian gives it rigour. Chess creates a field of relations. The viewer’s consciousness activates meaning.

It is at this point that the title Active Image reveals its full significance. The active image is neither pure form nor unrestricted projection. It is a field of tension between structure and uncertainty, in which the work and the viewer participate together in the emergence of meaning.

The Warsaw edition makes visible that form does not exist independently of place and perception. Every relocation alters the conditions of its appearance. The works that entered into dialogue in Venice with the city, the atmosphere of the Biennale, and an international audience are subjected in Warsaw to a different mode of presence — more concentrated, direct, and rooted in the gallery space.

Within MINORIA, Blaze Lojewski’s work marks a passage from the emergence of form to its activation. The image is not completed on the canvas. Its continuation unfolds within the consciousness of the viewer.

The image does not end on the canvas.

It begins again in the viewer’s consciousness.