Joanna Warsza

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Joanna Warsza (1976, Warsaw) is a Polish curator, editor, and writer. Warsza works mostly outside the protection of the 'white cubes’, in the public realm examining social and political agendas. Recently, she was a co-curator of the Polish Pavilion at the 59th Venice Biennale with a work of Romani-Polish artist Malgorzata Mirga-Tas. Together with Övül Ö. Durmusoglu she also co-curated Die Balkone in Berlin, the 3rd and the 4th Autostrada Biennale in Kosovo, and the 12th Survival Kit in Riga. She was the Artistic Director of Public Art Munich 2018. Warsza curated the Public Program for Manifesta 10 in St. Petersburg (2014), which recalled Soviet legacies and took an open stance against Putin’s Russia through politically charged interventions in public spaces. In 2013 she was the curator of the Georgian Pavilion at the 55th Venice Biennale and the Göteborg Biennale. In 2012 she was associate curator of the 7th Berlin Biennale. In 2009 she curated Public Movement, exploring the phenomenon of the Israeli youth delegations in Poland. From 2006-2008 she researched the invisibility of the Vietnamese community in Warsaw with the project Finissage of Stadium X.

Other achievements include being the Program Director of CuratorLab at Konstfack University of Arts in Stockholm, founding the Laura Palmer Foundation in 2006, and recently joining the board of Fondation Pernod Ricard. Her recent publications include Red Love. A Reader on Alexandra Kollontai (co-edited with Maria Lind and Michele Masucci; Sternberg Press, Konstfack Collections, and Tensta Konsthall, 2020); And Warren Niesłuchowski Was There: Guest, Host, Ghost (co-edited with Sina Najafi 2020); I Can’t Work Like This: A Reader on Recent Boycotts and Contemporary Art (2017), among others. (2023)