The meeting of two textile worlds is taking place at Wawel Castle: the raw, spatial matter of Magdalena Abakanowicz and the intricate Renaissance tapestries from the royal collection. In the darkened Senatorial Hall, the curators have transformed the interior into an intimate stage, where huge forms made of sisal face richly woven landscapes and animalistic scenes made of wool, silk and metallic threads. This unique juxtaposition allows us to see fabric as a medium capable of manifesting power, while on the other hand opening up to the viewer’s individual experience. The exhibition ‘Abakanowicz. Without Rules. Arras and abacanas at Wawel” can be seen until 6 January 2026.
The abacanas, which have been brought out from the walls and suspended in space, revolve around the viewer; their texture, weight and negation of classical decorativeness provoke personal readings and reflection on the human condition. Alongside them, the tapestries – verdigris with animal and landscape themes and a monumental biblical scene of Noah – remind us of the role of fabric as a symbol of prestige, order and political narrative. The confrontation of these two traditions reveals unexpected parallels: the intensity of texture, the ability to tell a story, but also the diametric difference in function.
The exhibition features Abakanowicz’s key realisations: Red-Brown, Lady I, Lady II, Queen, Anita, Dorota, Dorota III, Ètroit, Abakan with Ropes, Black Garment 8 and Black (Black). Accompanying these are a selection of tapestries, including scenes such as Wolf devouring hare, Fox devouring bird and rabbit and Crane with snake in beak. The presentation layout and dimmed lighting reinforce the theatricality of the installation, encouraging a slow communing and individual aesthetic experience.
The exhibition raises questions about the dialogue between historical heritage and contemporary art in the space of the royal residence, about the shifts in meaning that occur when a traditional symbol of power is measured against a rebellious and corporeal form. The curatorial team consisting of Dr Bogumiła Wiśniewska, Natalia Koziara-Ochęduszko and Andrzej Szczepaniak arranged a show that does not so much explain as open up the field of interpretation. The curatorial team told us about the idea behind the exhibition:
The exhibition is distinguished by the bold juxtaposition of works from different eras. Where did the idea for such a narrative come from?
The idea was born out of the need to open a dialogue between ancient and contemporary art – between the heritage of the royal Wawel Castle and the 20th-century language of Magdalena Abakanowicz. We wanted the artist’s works, usually viewed in neutral gallery spaces, to penetrate the historical and symbolic context of the place where Polish tradition meets modernity. Our concept also stems from the need to talk about the continuity of the human experience – the fact that although eras, artistic languages and matter change, the human being always remains at the centre of art: his or her emotions, spirituality, uncertainty and desire to understand the world.
By juxtaposing the works of Magdalena Abakanowicz with the tapestries of Sigismund Augustus, we wanted to create a space of encounter between the past and the present – between the world of Renaissance order and the contemporary experience of fragmentation and anxiety. Wawel Castle, a place of layered histories, became a natural backdrop for such a dialogue. The exhibition ‘Abakanowicz. Without Rules’ is an invitation to reflect on the fact that art, regardless of time, is a record of the human way of being in the world – and an attempt to transcend its limitations.
What criteria determined the selection of specific abacanas and tapestries?
The selection of specific works was not random – we were guided not so much by formal similarity as by the ideological affinity and humanist message that unites textiles separated by several centuries. Both the Sigismund Augustus tapestries and Magdalena Abakanowicz’s abacanas are a story about man and his place in the world, about spirituality, nature and the fragility of existence.
The tapestries were created during the Renaissance – a time of belief in the harmony of creation, the order of the world and the divine principle guiding man’s destiny. Their rich iconography – biblical scenes, animal and landscape motifs – reflected the Renaissance worldview in which man was part of the cosmic order. The abacanas, on the other hand, created four centuries later, already bear witness to the anxiety of modern times – the loss of this harmony, an attempt to search for meaning in a world full of uncertainty and transience.
It is in this tension, in this difference of experience, that there is a profound unity. Both the tapestries and the abacanas speak in the language of matter about the human condition – about human emotions, spirituality and the need for transcendence. By juxtaposing them in one space, one can see the continuity of human questions about existence, the relationship with nature and the meaning of creativity in the face of time. It is a meeting of two eras, but one reflection: that art is a way of understanding oneself.
How does the exhibition concept take into account the functional differences of 16th and 20th century textiles – court decoration versus the sculptural autonomy of abacuses?
This difference is at the heart of the exhibition. Renaissance tapestries had a representative function – they were part of courtly ritual, a symbol of power and wealth. Abacanas, on the other hand, break with the decorative function – they are liberated textiles that become a sculpture, an organism, a metaphor for the human being. In the juxtaposition of these two worlds, one can see a transformation in thinking about art and man: from being inscribed in the order of the world to being a searching, lonely being, asking for meaning.
The concept of the exhibition does not attempt to bridge these differences – on the contrary, it exposes them as a space for dialogue. The idea is for the viewer to feel for themselves that both types of fabric are forms of spiritual experience – some speak the language of harmony, the other the language of anxiety, but both pulsate with the same need to understand the world through art.
Why was the Senator’s Room chosen in particular, and how does its history and architecture affect the perception of the juxtaposition?
The Senator’s Room is a unique space – not only representative, but also saturated with the symbolism of a place where key decisions in Polish history were made. It is here that the tradition and majesty of the royal court take on an almost sacral dimension. The introduction of abacanas into this space, modern, organic works that pulsate with emotion, creates a contrast that – paradoxically – does not destroy the harmony, but deepens it. In the darkened room, devoid of furnishings and with the windows covered, the fabrics begin to ‘breathe’ to the rhythm of the history of the place. The viewer is invited to contemplate – in silence, in semi-darkness, where past and present come together.
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Curatorial tours are scheduled for 15 and 29 November, tickets apply. In addition, an Abakanowicz lecture will be organised as part of the exhibition . Arrases and Abacanas at Wawel, which will be hosted by Dr Bogumiła Wiśniewska and Natalia Koziara-Ochęduszko. The lecture will take place on 13 November and attendance is free. The Wawel Royal Castle has also planned other events to accompany the exhibition. Their full list can be found HERE.
Abakanowicz. Without Rules. Arrases and abacanas at Wawel
Curatorial team of the exhibition: dr Bogumiła Wiśniewska, Natalia Koziara-Ochęduszko, Andrzej Szczepaniak
Time: 17 October 2025 – 6 January 2026
Place: Wawel Royal Castle – State Art Collections
31-001 Kraków, Wawel 5
source: editorial
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