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vernacular digital cultures, and the new concepts in curatorship, literary theory, and artivism. 

Divided into several spaces spread around Poland and Portugal – as well as an interactive, digital room in Piotr Kopik’s Kliki i Obroty Gallery (www.klikiiobroty.eu) – the project engages over 30 artists and academics, while also putting in dialogue audiences from the two opposite sides of the european continent. In this sense, it is also the initiative that itself becomes a living, susceptible network, in equal parts dependent on digital and analogue media. With many works and accompanying events picking up on the notions of hybridity, recombination, multilinearity and parasitism, it also highlights different forms in which the engagement with various technologies enhances and modifies the ways in which we connect with one another. 

The official website of the Project: www.porpol.net

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Natalia Dopkoska is a Polish visual artist from Gdańsk, where she finished the Academy of Fine Arts and co-runs Galeria UL. In her creative endeavours, she happily uses traditional media – especially painting and collage – producing colourful illustrations embellished with catchy captions.

In the spaces of Fabrica Braço de Prata Dopkoska presents a work which, within the scope of three years, ended up combining three different media. It began in 2017 when she created a series of oil paintings that reinterpreted the package of a Ukrainian brand of toilet paper known for the slogan “Everything will be all right”. With the outbreak of the pandemic and – shortly after – the war in Ukraine, both becoming haunting symbols of a global crisis, the work gained an entirely new dimension.

Now, reprinted and hung in a provisionary way on the red walls of the Kandinsky Corridor in Fabrica Braço de Prata, the wo

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