1967

In 1967-1970, attends the Secondary School of Fine Arts in Warsaw.

1970

In 1970-1972, studies painting at the State College of Fine Arts in Poznań.

In 1970, begins a series of textiles interpreting the human figure, continued until 1980.

1972

In 1972-1976, studies at the Academy of Fine Arts in Warsaw. Majors in painting (class of Professor Tadeusz Dominik), textile art (class of Professor Zbigniew Gostomski), and works on paper (class of Professor Roman Owidzki).

1976

Receives an Honourable Mention at the 9th National Exhibition of Young Art in Sopot.

Creates a series of five sisal textile pieces with the human figure motifs measuring 3 x 3 meters and 10 textiles measuring around 100 x 100 cm: the works are featured at an exhibition at the Palace Kirke in Copenhagen.

1978

Debuts with a one-work show at the Dom Artysty Plastyka Gallery. The artist’s daughter Zuzanna is born the same year.

1980

Makes cartoon for The Meeting of Boleslaus the Brave and the Emperor Otto, the piece that would be her last tapestry (350 x 850), now in the collection of the Archaeological Museum of the Middle Odra Region in Świdnica. Her first monumental figural sculpture White Figure, made of translucent polyamide fibre, is part of the scenography of the Rocks of the Seoon River, a spectacle staged at the Stara Prochownia Community Centre in Warsaw. The sculpture is now in the collection of the Museum of Lubusz in Zielona Góra.

In 1980-1981, works on the Coexistence series of figurative paintings.

COEXISTENCE: the series of figurative paintings providing a counterpoint to the monolithic sculptures concurrently realized by the artist and simultaneously corresponding to the sculptures in terms of their physical structure built up by applying successive layers of colour. The paintings’ format is dictated by the actual dimensions of the live human figure.

1981

Wins the Second Prize at the 7^th Art Festival at the CBWA (Central Bureau for Art Exhibitions) in Warsaw.

1982-1984

Works on Duration, the series of six monolithic figures informed by the idea of organizing space by establishing relationships between individual figures based on playing with proportions and correspondences between elements of sculptures. The pieces are now in the collection of the Museum of Lubusz in Zielona Góra. During this period, the artist makes her first sculptures in bronze.

Simultaneously, the artist works on the Mystery of Time series of thirty-three sculptures that would be presented at the 41^st Venice Biennale in 1984. The series comprises free standing figures about 250 cm tall and the so-called “destructs” – elements that can be used to arrange space. The whole series is make of sawdust, tow, and sisal bound with epoxy resin. Select pieces from the series were exhibited at the Galeria Zamek at Reszel Castle in 1985, the Galeria Zachęta in Warsaw in 1986, the Im Turm Gallery in Berlin in 1989 and were also featured in Barbara Dyksińska’s film The Mystery of Time: The Elements with Elements Obsessed (1985).

In 1982-1984, works on the Non Omnis Moriar series of monumental paintings, the subject that she would later also explore in sculpture. Select paintings from the Non Omnis Moriar series are in the collection of the Museum of Lubusz in Zielona Góra and the National Museum in Kielce.

1983

Produces the first Slab Sculptures in bronze, now in the collection of the Museum of Art in Łódź and The Humboldt University in Berlin. The sculptures will be presented at the 14th International Biennale of Small Bronze Sculptures in Padua, Italy, in 1986.

1984

In 1984-1985, the artists continues the Slab Sculptures series with five monolithic pieces formed of sawdust and tow bound with epoxy resin. They showcase the artist’s search for a form to simultaneously integrate and demarcate space. She departs from the human figure to explore abstract shapes. The sculptures would be exhibited at the Museum of Lubusz in Zielona Góra in 1988.

Simultaneously, she works on the new series of Non Omnis Moriar sculptures comprising ten wall-mounted sculptures and two so-called “destructs” formed of hemp, flax, tow, and sawdust bound with resin and mounted on metal construction. The artist introduces colour: the colour red first appears. The drawing of a figure on paper is transformed into a group of figures alluding to the tragic dimension of human existence and inevitability of fate. The sculptures will be exhibited at the State Museum of Auschwitz-Birkenau in 1986.

To 1984 also dates the piece entitled Sarcophagus, the artist’s costume used in Barbara Dyksińska’s film The Mystery of Time, and the first drawings featuring the figure of The One-Legged.

In 1984, Bożenna Biskupska is honoured with the Stanisław Wyspiański Prize for Painting and Sculpture (1^st class) and receives the scholarship of the Minister of Culture and Art. She also takes part in the 5^th International Biennial of Miniature Textile Art at the Savaria Museum in Szombathely, Hungary, where she is honoured with the First Prize for textiles from the Forms series. Works from this series are in the collection of the Savaria Museum and the Historic and Ethnographic Museum in Chojnice. In the same year 1984, Biskupska’s sculptures represent Poland at the 41^st Venice Biennale.

1985-1987

Departing from monolithic form and natural materials, she begins to explore sculpture in concrete, imbuing the pieces with almost painterly expression. Figures become increasingly deformed and the artist starts using bright colours: red, turquoise, and ultramarine blue. She arranges the sculptures in clearly demarcated geometrical spaces elevating them on small pedestals filled with earth coloured with pure pigments. Sculptures Organism, The Seated One, and The One-Legged have intense, pure colours: turquoise, red, and ultramarine, respectively, and the Slab Sculpture.

1986

The artist’s retrospective is featured at the CBWA Gallery in Warsaw (presently the Zachęta National Art Gallery).

1987-1988

The On the Way series of sculptures become a bridge between her earlier sculptural oeuvre and the One-Legged figure. Simultaneously she creates the Grasping for Air sculpture connected to the future Cage series of paintings.

Exploring new approaches, she takes her sculptures outdoors. This effects a transition from organizing to demarcating space and also emphasized her relationship with nature, hitherto expressed by using natural materials.

The new series of paintings entitled Describing the Home feature a geometrically-treated human figure. At exhibitions, they are juxtaposed with concrete sculptures.

Two important individual exhibitions of the artist are presented. The one at the Museum of Lubusz in Zielona Góra features her most important series: Slab Sculptures and Mystery of Time, paintings from the Non Omnis Moriar and Describing the Home series, and sculptures: Organism, The Seated One, The One-Legged. The latter is shown for the first time: the one-legged figure would soon become the artist’s signature motif. The venue of the other exhibition is the National Museum in Kielce.

1989

The artist’s individual exhibition at the Im Turm Gallery showcases the Slab Sculptures and Mystery of Time series, paintings from the Non Omnis Moriar and Describing the Home series, and sculptures: Organism, The Seated One, The One-Legged.

Biskupska starts the series of paintings entitled Figure, featuring a larger-than-life figure often holding a box, the motif that already appeared in The One-Legged painting (1987-1988). The series comprises about forty paintings whose multilayer structure produced a subdued colour effect. The artists explores the limitations and possibilities offered by the canvas rectangle which removes the painting from the surrounding space while demarking the image. During this period likely emerges the idea of the Cage cycle that will be continued in the 1990s in sculptures, paintings, and performances. To this time likely dates the conception of the Demarcation of the Image series. The Figure series are, inter alia, in the Kokusai Koeki Co. Collection in Tokyo.

To 1989 also date two important paintings: Anticipation and Sting, showcasing a transition from figuration to abstraction and paving the way for future explorations. The diagonals and intense colours hitherto animating Biskupska’s polychrome concrete sculptures begin to appear in her paintings.

1991

The first paintings and sculptures from the Cage series reflect the artist’s reflection on space: how it can be defined, emphasized, and opened. She places her sculptures inside a lightweight, openwork, delicately vibrating “cage” of steel netting (size 300 x 100 x 100 cm). She also used a cage-like structure in the studio performance presented to Richard Demarco’s international group of artists and critics. In these two projects, she puts reflection on temporality, undertaken in the Mystery of Time and Non Omnis Moriar, in the new context of duration in demarcated space. The cage construction, used in multiple structural variants, will be featured at the Atrium Gallery of the International Monetary Fund in Washington in 1994 and the Polish Museum in Chicago in 1995. The modifications introduced by Biskupska lead to another essential element – the artist’s gesture – showcased in the Demarcation of the Image paintings done with pigments dissolved in linseed oil on the unprimed canvas, starting with an almost invisible line.

Building upon the Figure series, the multilayer structure, consistency, and density of the paint layer and the relationship between the boundaries of the canvas and its surrounding space, initially emphasized by introducing a narrow border, are further explored in the paintings of the Cage series. The artist gradually reduces the size of the figure, whose some aspects refer to The One-Legged, to finally free it from the cage and remove from the painting. From then on, the One-Legged will only appear in her sculptural projects as an element organizing or annexing space.

The paintings and works on paper from the Cage series are in the collection of the Centre of Polish Sculpture at Orońsko and in the collection of Bank Pekao S.A.

1993

Works on sculptures used in the performance of KabakaKai/Re-animations for the Lothe Lachmann Poza Videotheatre. The collaborative project realized with Jolanta Lothe and Piotr Lachmann in Reszel Castle (branch of the Museum of Warmia and Masuria in Olsztyn) brings together sculpture, live actor, video, and spectacle.

1994

The exhibition Bożenna Biskupska. Painting and Sculpture is presented at the headquarters of the International Monetary Fund in Washington.

1995

The year 1995 brings important developments. After nineteen years of exploring multiple ideas, the canon of the artist’s principal concerns has been established and with it her approach to space, trace, line, and time. Returning to the fine arts’ fundamental discourse, in the Demarcation of the Image series she defines a new departure point – the artist’s gesture. Consequently, she initially limits her colour to the white of the paper support which she marks using only linseed to introduce more colour over time. On paper, Biskupska draws horizontal and vertical lines. Or, using templates, she stamps a paper sheet with regular arrangements of hieroglyphic signs. She discovers markings left not only on the surface on which she is working but also on paper sheets piled underneath. Exploring the painterly gesture leads her to intuitive demarcation of space and focusing on the trace that will change over time – from almost colourless to tones of golden yellow of varying saturation. To this year also date the first paintings in the Demarcation of the Image series done on canvas. Initially, like the works on paper, they feature simplified signs grouped like in some hieratic scripture. In 1999, the signs will evolve into horizontal lines to change again in 2000 into vertical lines charted on the white primed or unprimed canvas. For these paintings, Biskupska chooses formats corresponding to the range of her arms and videotapes her creative process. Works from the series are in the collection of Bank Pekao S.A. and the Museum of Warmia and Masuria in Olsztyn. In 1999, the series is featured at the Demarcation of the Image exhibition at the Galeria Zamek at Reszel Castle and at the BWA Gallery in Wrocław.

To the mid-1990s date the first projects in the Tectonics series featuring a multiplied figure of the One-Legged cast in bronze and elevated on a concrete pedestal. The sculpture is in the collection of the National Museum in Gdańsk.

In 1995, the painting-and-music installation based on the Demarcation of the Image series, a collaborative project with Adam Falkiewicz, is presented at the Museum of Warmia and Masuria in Olsztyn. In the same year, Biskupska’s individual exhibition is presented at the Polish Museum in Chicago and the Relationships exhibition at the Manhattan Gallery in Łódź features the first Possible Construction arranged of recycled brick from the artist’s house and exhibition catalogues stacked to resemble brickwork. The exhibition also showcases the concrete sculpture of The One-Legged made in 1987.

Over the following years, the artist will intensify work on the Demarcation of the Image to explore the idea in other series and installations: Demarcation of the Image 343, Tectonics, Packaging, Books, Demarcation of the Image 01. Multiplied and arranged to order the composition’s space, the One-Legged figure becomes a central feature.

1996

A new take on the Possible Construction involves demarking space by building dynamic structures of 8-meter-long beams based on oblique lines, just like the paintings from the Cage series.

Begins the Drawing of Sculpture series of paintings on which work will intensify around 2017 resulting in a sculptural installation realized in 2017-2020. Sculptures from the series are in the collection of the Centre of Polish Sculpture at Orońsko.

1997

Makes the series of seven monumental concrete sculptures of The One-Legged. Having assumed its definite form, the figure becomes Biskupska’s signature motif. She develops a system of multiplying the figure based on the numeral 7 and experiments with using it to demark space. Multiplied but with each specimen retaining individuality, The One-Legged figure is placed within a steel cage: a cube defined by its metal outer edges.

Biskupska develops a series of concrete tiles measuring 41 x 26 cm, each one featuring a hieroglyphic figure of The One-Legged, entitled The Demarcation of the Image 343. It comprises 343 concrete tiles and 7 bronze casts. Thus, the artist’s conception has solidified based on The One-Legged figure and 7-fold multiplication: there are 49 figures/signs on each slab composed of tiles arranged 7×7. Multiplied by 7 slabs, there are 343 figures/signs.

1998

The artist’s two individual exhibitions showcase works from the Demarcation of the Image project: one at the Abbots’ Palace, branch of the National Museum in Gdańsk, also features the Tectonics sculpture. The other one takes place at the Centre of Polish Sculpture at Orońsko.

1999

Biskupska creates the Packaging installation comprising negative images on photographic film of the concrete slabs from the Demarcation of the Image 343 series, arranged in seven layers encased in a steel cage measuring 300 x 240 x 240 cm. Simultaneously, she makes an eponymous 17-minute-long video recording which is an autonomous record of the artist marking time and space while symbolically imprisoned in a “cage” made of sheets of translucent paper.  To the same year date the first four paintings from the Demarcation of the Image series: by 2002, it will comprise 23 canvases and a video recording showcasing the artist’s interest in time. The Packaging installation, exhibited at the Galeria Zamek at Reszel Castle in 1999 and the Galeria Wschodnia in Łódź in 2001, is now in the collection of the National Museum in Szczecin. In 1999, Biskupska also takes part in two seminal group exhibitions: The Figure in Polish Sculpture 19^th-20^th c. at the Galeria Zachęta in Warsaw and South-North. Transcultural Visions at the X. Dunikowski Museum in the Królikarnia in Warsaw.

2000

Bożenna Biskupska exhibits her works at the Internationales Kunstfestival in Magdeburg and NordArt in Büdelsdorf.

2002

Exploring the idea of the Demarcation of the Image, Biskupska develops the system of Demarcation of the Image 01: she reduces and abbreviates The One-Legged figure to a sign that, cast in bronze using the lost-wax method, can be placed on a concrete slab measuring 41 x 26 cm. Slabs are then arranged interspacing those with and without signs, hence the zero-one system. The artist assembles logical matrixes to test the structure of space for veracity or error. The project harnesses two processes of multiplication: one physical, involving handmaking of bronze sign and arranging concrete slabs in space-exploring configurations, the other concerning the potentiality of the possibly infinite whole. Demarcation of the Image will have its continuation in the Recording of an Idea video piece (2004) which likewise deals with the potential infinity of the zero-one system.

Module I of Demarcation of the Image 01 is in the collection of the Centre of Polish Sculpture at Orońsko. In 2002, the Xawery Dunikowski Museum of Sculpture in the Królikarnia – Branch of the National Museum in Warsaw hosts Biskupska’s individual exhibition Works from 1982-2002. The exhibition showcases yet another take on the Demarcation of the Image project: a sculpture with vertical steel bars mounted on a concrete base. In 2002, Biskupska participates in the group exhibition Transcultural Visions II. Polish – American Contemporary Art at the Xawery Dunikowski Museum, which subsequently travels to the National Museum in Szczecin.

2003

Works on new paintings from the Cage series: at this time, the diagonal line appears building up the composition’s inner dynamics and introducing tension. Simultaneously, she adds more oil paintings on cardboard to the Demarcation of the Image series.

Biskupska’s Works from 1982-2002 exhibition is presented at the Centre of Polish Sculpture at Orońsko. It is accompanied by a collaborative performance with Adam Falkiewicz, the musician with whom Biskupska already worked in 1995. A similar collaborative project will be presented at the Galeria Manhattan in Łódź in 2004.

In 2003, Biskupska participates in several group exhibitions providing new curatorial perspectives on her work: Structural Portraits and BROŃORBlin, or From WARhol to WARpechowski at the Museum of Industry at the former Norblin Factory in Warsaw, Mental Objects in the International Collection of the Galeria Wymiany in Łódź, and Conceptual Connections. The Art of Central Europe: Poland – Czechia, Hungary – Slovenia at the Abshire-Debecki Studio and Gallery in Chicago, and Form and Colour at the Forum+ Gallery in Chicago.

2004

The Demarcation of the Image project is presented at the Galeria Grodzka in Lublin and the Museum of Warmia and Masuria in Olsztyn. Biskupska draws a grid on the walls of the Galeria Grodzka on which she arranges the tiles from the Demarcation of the Image 01series. For the first time, the exhibition features the  photographic representation of the modular wall with the Demarcation of the Image. The latter exhibition is accompanied by a performance presented in collaboration with Adam Falkiewicz.

In 2004, Bożenna Biskupska with her daughter Zuzanna and Zygmunt Rytka establish the Contemporary Art Foundation In Situ.

2005

Three presentations of Bożenna Biskupska’s art take place this year: The Demarcation of the Image at the Ducal Castle in Szczecin, Recording of an Idea: Multiple Recording at the Zamek Community Centre in Wrocław, and On the Way at the Jüdisches Museum Westfalen in Dorsten, Germany.

2006

New paintings in the Cage series include monumental Big Cages and somewhat smaller Cut Cages. The artist starts using linseed oil which in time gives the paintings a golden yellow hue.

Participates in the Art First exhibition in Bologna.

2007

The artists moves from the Hunting Lodge in Podkowa Leśna near Warsaw, built for Count Lilpop in the mid-19^th c., to the historic climatic health resort of Sokołowsko (Gőrbersdorf) in the Sudeten Mountains in Lower Silesia. There, she devotes herself to restoring Villa Rosa and the monumental project, which has continued ever since, of restoring the dilapidated Brehmer Sanatorium, a monumental Gothic Revival structure built in the mid-19^th c.

Founded in 1854 by Doctor Hermann Brehmer, the health resort Gőrbersdorf, based on his theory of places of health outside of a city, started the sanatorium movement and became the world’s first specialized sanatorium for tuberculosis patients. The Brehmer Sanatorium was erected as a picturesque red brick castle-like structure in the Gothic Revival style. The pioneering climatic, hydrotherapeutic and dietetic treatment of consumption developed at Gőrbersdorf provided the model for Davos which inspired Thomas Mann’s novel The Magic Mountain: for this reason Gőrbersdorf, which in the later 19^th-earlier 20^th century was an internationally renowned, exclusive health resort, was often called “Silesian Davos.” To Mann’s The Magic Mountain refers Olga Tokarczuk’s Empuzjon (2022), her first novel published after receiving the Nobel Prize for Literature: it is set at Gőrbersdorf in 1913. In 1945, now belonging to Poland, Gőrbersdorf was renamed Sokołowsko in honour of Polish physician Alfred Sokołowski who was a close collaborator of the resort’s founder Hermann Brehmer. Renamed “Grunwald”, the Brehmer Sanatorium, continued to function for some time but the building’s condition gradually worsened. As antibiotics largely eliminated tuberculosis as a major social health concern, the sanatorium ceased to operate in the 1990s and by the early 21^st century the once glorious historic complex was an abandoned and dilapidated structure. In 2005, it suffered a major fire.   

Biskupska starts a new video series (Chasing Away Thoughts, For What, Sign, Chaos) realized concurrently with the revitalization of the Brehmer Sanatorium. Compulsive thoughts and associations and her involvement in the new building project provide the artist with new material for her work. She finds the motifs’ repetitive and recurrent nature corresponding to the potential infinity of the Demarcation of the Image 01 series and Possible Construction projects. The video pieces will be presented for the first time at the Chasing Away Thoughts exhibition at the Galeria FF (Photography Forum) in Łódź in 2009. In 2010, as part of the artist’s exhibition at the Miejska Galeria Sztuki in Łódź, the paintings will be projected on transparencies and the gallery’s floor and walls thus introducing the viewers into the work’s space. In 2010, the video films will be shown at the Baltic Contemporary Art Gallery Baszta Czarownic in Słupsk.   

2008

Develops the idea of the second identity of her paintings by casting oil paintings from the Cage series in bronze.

Her works are featured at several exhibitions presenting the collections of cultural institutions: XX/XXI. Polish Art in the Collection of the Warmia and Masuria Zachęta Society for Encouragement of Fine Arts; Self-Identification. Works from the Collection of the Western Pomeranian Zachęta Society for the Encouragement of Fine Arts; Authorial Collections at the Lubusz Museum in Zielona Góra.

2009

Participates in the Like a Rolling Stone exhibition co-organized by the Centre of Polish Sculpture at Orońsko and the Galeria Appendix2 in Warsaw. Her works are also featured at the SIEGesIKONen/Icons of Victory – TransFORM exhibition at The Humboldt University in Berlin.

Paintings from the Cage series are exhibited at Podkowa Leśna. The series will be shown again at the Multimedia Room at Sokołowsko in 2015 and at the contemporary art gallery l’étrangère in London in 2019.

2011-2016

Since 2011, the Contemporary Art Foundation In Situ established by Bożenna Biskupska has been organizing the Contexts International Ephemeral Art Festival accompanied by presentations of Biskupska’s works. Another festival, The Sanatorium of Sound, has been organized since 2015.

The artist’s works are featured at several exhibitions: Post Gauguin, BWA Contemporary Art Gallery in Katowice, and Meta-Weiss, Freies Museum in Berlin, both in 2011, and in 2013, at An Approach to Being at the @ckua Gallery in Kyoto, Japan. During this period, her works are also shown in Poland, at the exhibitions showcasing the collections of the National Museum in Szczecin and the Lower Silesian Zachęta Society for the Encouragement of Fine Arts.

In 2016, the Catalogue of the Entropy of Art is presented at the International Cultural Laboratory at Sokołowsko. It is a collaborative installation by ninety-three artists, among them Bożenna Biskupska and Zygmunt Rytka, comprising library card catalogue cabinets, art objects, films, and publications. Presently in the collection of the National Museum in Wrocław.

2017

After the period of intense work on the Cage project, Biskupska revisits the Drawing of Sculpture series that she started two decades before, in 1996. Now, she fills the canvas with expressive arrangements of lines painted with linseed oil or light-coloured paint: the restrained form emphasizes the paintress’ gesture. In time, the line assumes increasingly intense colour and the arrangements become increasingly dynamic. Multidimensional compositions, greyish with with golden lines painted with linseed oil, create the illusion of movement in space. The next stage brings works painted with black impastos on canvas primed only with glue. The artist also uses pencil and charcoal. The expression of these paintings leads to the series of 49 half-keeling figures formed of steel wire and placed on open-work pedestals, executed in 2017-2020. Three figures from this project are in the Collection of the Centre of Polish Sculpture at Orońsko and paintings – in the collections of the Lower Silesian Zachęta Society for the Encouragement of Arts in Wrocław and the Society of the Friends of the National Museum in Szczecin.

Pieces from the Drawing of Sculpture series will be shown at the National Exhibition ZRĄB at the “Old Mine” Centre for Science and Art in Wałbrzych in 2018 and also at two individual exhibitions of Bożenna Biskupska at Sokołowsko: From Matter to Matter (accompanying the 10^th edition of Contexts. Post-Art Congress) in 2020, and Drawing of Sculpture, in connection with the International Cultural Laboratory, in 2021.

2018

Bożenna Biskupska and the Contemporary Art Foundation In Situ are honoured with the Jerzy Stajuda Award of Art Critics. The artist participates in the National Exhibition ZRĄB at the “Old Mine” Centre for Science and Art in Wałbrzych.

2019

Bożenna Biskupska’s individual exhibition The Epitaph of Time is presented at the contemporary art gallery l’étrangère in London.

2020

A new series in the Drawing of Sculpture project consists of paintings executed on raw canvas with no ground, primed only with glue, and featuring the artist’s iconic figure of The One-Legged.

Film on Bożenna Biskupska’s art entitled From Matter to Matter.

2021

Biskupska’s individual exhibition In the Form of Expectation is shown at the Otwarta Papiernia BWA Gallery in Jelenia Góra.

2022

Systematically producing wax models to cast small figurines of The One-Legged for the Demarcation of the Image 01 series, she decides to make the figure into larger-than-life concrete sculptures, measuring about 230 cm in height. She also revisits the motif in paintings.

2023

Works on the new forms eventually named Container Sculptures. Like in the sculptures from the Drawing of Sculpture series, she uses thin steel wire to shape it into walking and sitting figures. In reference to the earlier idea of the Cage, she places the sculptures inside a built-up container.

Noticing that she has been revisiting the One-Legged increasingly often across multiple topical projects, the artist attempts to “chase him away”, like she did with compulsive thoughts in the 2007 video pieces. The result is the series of over fifty small paintings featuring the figure.

Bożenna Biskupska and Zuzanna Fogtt and their Contemporary Art Foundation In Situ are honoured with the Award of the Voivodship Marshal of Lower Silesia for outstanding cultural achievement in conservation of historic monuments.

Takes part in important group exhibitions: The Colour of Variety. Art from the Collection of Bank Pekao S.A. in the Czapski Palace in Warsaw; Seeing with the Body. The Collection of the Galeria Studio at the Galeria OP EINHEIM in Wrocław; and the jubilee exhibition of the Society of the Friends of the National Museum in Szczecin.   

2024

The monumental retrospective exhibition Bożenna Biskupska. The Artist and Possible Construction organized by the Museum of Contemporary Art, branch of the National Museum in Wrocław, opens at its seat in the historic Four Domes Pavilion designed by Hans Poelzig. She also takes part in the group exhibition Places Found Again at the BWA Gallery in Wrocław, and in an exhibition at the Centre of Polish Sculpture at Orońsko.

Compiled after: Bożenna Biskupska. Wytyczanie obrazu. Prace z lat 1982-2002, Warszawa, 2002; Bożenna Biskupska. Menument, Łódź, 2010; Files of the Zachęta National Gallery of Art