In Between (Pomiędzy)

In Between by Piotr Michnikowski reflects on the condition of transition — on that particular state which is no longer the beginning, yet has not fully become arrival. Here, the space “in between” emerges as the most charged and meaningful one: a space of tension, suspension, becoming, and possibility, where form has not yet closed, but has already begun to take direction.

Michnikowski approaches this “in between” not as emptiness, but as a reality with its own density and significance. Between idea and work, between impulse and material form, between one stage of artistic practice and the beginning of another, there unfolds the creative process itself — often invisible, yet fundamental. It is this process that becomes the hidden substance of the work: not always immediately visible, but undeniably and irreversibly contained within it.

In this sense, the exhibition becomes more than a presentation of works. It is the record of a transitional moment consciously recognized by the artist as a state of creative and existential intensity. “In between” signifies uncertainty, but also openness; the absence of final resolution, yet at the same time a particular readiness for what is only beginning to emerge. It is a space in which new forms, meanings, and relations become possible.

An important dimension of the exhibition lies also in its mode of presentation. Its intimate format, unfolding over time between opening and closing, actively contributes to the meaning of the project. In place of a single concentrated event, the exhibition creates a duration of presence, conversation, and attentive encounter. In this way, “in between” is revealed not only as the subject of the works, but as a form of experience — something that takes place between the artwork and the viewer, between perception and response, between the artist’s presence and the inner movement of interpretation.

In Between is therefore a reflection on what endures within transition itself: between silence and storm, ending and beginning, past and future. It is precisely there, in what is not yet fully named but already felt, that art may reveal one of its most essential dimensions — not as a finished answer, but as the site of an actual event of meaning.