About
Marysia Lewandowska is a Polish born, since 1985 London-based artist who has been exploring the public function of archives, museums and exhibitions, focussing on the missing voices of women. She has initiated projects involving the property of others to create new relations between forms of knowledge and ownership, activating reflections on the social and immaterial public realm. She is co-editor with Laurel Ptak of Undoing Property? Sternberg Press 2013. In 2009 The Women’s Audio Archive was launched with recordings made in the 1980s reflecting the value of alternative histories and the female voice. How Public is the Public Museum? Moderna Museet (2010); Film Triple C. Editing the Century(2015) Vienna Biennale, MAK; Re-Negotiation Artspace, Auckland (2015). Property, Protest, Commons Asia Art Archive, Hong Kong (2015); Comment is Free Institute of Modern Art, Brisbane (2016); Millions Will Thank You commemorated 50th anniversary of naming the Hayward Gallery, London (2017); Her film Rehearsing the Museum (2018) Entrée Gallery, Bergen (2018) proposes new typology for a museum in China, connecting financial and property speculation with cultural transformation of capital into commons. It acts as a sequel to Museum Futures. Distributed (2008). Cinema Island consists of a film exploring the relationship between female voice and tenderness through stories present in privately obtained video footage and publicly available archival material shown inside a cinema pavilion designed in collaboration with MMI Architects for Abu Dhabi Art, UAE (2018/19). It’s About Time was a Special Project curated by Ralph Rugoff for the Pavilion of Applied Arts at the 58th International Art Exhibition La Biennale di Venezia (2019). Enthusiasts Archive (with Neil Cummings) (2019) is the result of extensive research into the film legacy of amateur film clubs in Poland under communism. Dismantling the Faculty of Law (2021) was first shown at the 11th Gothenburg Biennale (GIBCA) in 2021; She was the inaugural Artist-in-Residence at the Cosmic House, London resulting in a sound installation how to pass through a door (2022). The most recent voice based works include Welcome (2023) the Kestner Gesellschaft, Hannover and Recording_1989 at the Kunsthalle Baden Baden.
Latest publications are Ewa Mikina – Lost for Words (co-edited with Jakub Gawkowski) MS and GaMa (2023) and Institutional Healing, Kunsthalle Baden Baden (2025) edited by Çagla Ilk; In 2025 she released two newly commissioned films Impossible Becomes Possible, Cricoteka, Krakow and Let me Speak, Zachęta, Warsaw (2025).
In 2026 she has inaugurated the Gertrud Bing Research Residency conducted with the support of the Stadtkuratorin Hamburg, The Warburg Institute and Villa Romana, Florence.
Her work has been presented by Tate Modern, Moderna Museet Stockholm, Museum of Modern Art Warsaw, Muzeum Sztuki Lodz, New Museum NY, Tapies Foundation Barcelona, KW Berlin, Whitechapel Gallery London.
She has served as Professor of Art in the Public Realm at Konstfack in Stockholm (2003-2013), Chinese University of Hong Kong (2014-2016) and most recently at Goldsmiths College, London.
She is a member of Tate Modern Advisory Group, and AICA Poland.
Contact: info@marysialewandowska.com