Sculptor, action artist, performance artist, photographer, author of collages, objects, installations. Born on September 14th, 1947 in Wrocław. Lives in Łomianki near Warsaw.

In 1965-1971, studied in the Sculpture Department of the Academy of Fine Arts in Warsaw, in the atelier of prof. Jerzy Jarnuszkiewicz. During her studies she also attended Oskar Hansen's classes. In 1970-1987 she worked together with Przemysław Kwiek, as the artistic duo KwieKulik. In 1996 she received the Paszport "Polityki" ("Polityka" Passport) award.

Zofia Kulik "Wspaniałość siebie (Matka, Córka, Partner)" 2007, 250x180cm

Zofia Kulik "Wspaniałość siebie (Matka, Córka, Partner) / The Gorgeousness of the Self (Mother, Daughter, Partner)" (detail)

The art of Zofia Kulik, as well as of the KwieKulik duo, especially at the very beginning, remained under a great influence of Oskar Hansen's theory of Open Form; for many years the artists used terms conceived by Hansen. Already during their studies, the activities of both artists ceased to be directed towards the creation of finite material works of art and rather concentrated on the process itself. At the same time, the documentation of the process and the problem of the complex multilayered relationship between work, creative process and documentation began to play an important role. It was not by accident that in 1973, already as KwieKulik, they established the Pracownia Działań, Dokumentacji i Upowszechniania (PDDiU) [Atelier of Activities, Documentation and Popularisation] in their atelier in the Praga district of Warsaw, a kind of private institution which was compared by Jerzy Truszkowski to Andrzej Partum's Biuro Poezji [Poetry's Bureau] and called it "an alternative, private institution beyond institutions." In the course of several decades KwieKulik managed to gather a unique, exceptionally vast collection of the documentation of Polish neo-avant-garde art, stored from the 1980s in Zofia Kulik's house in Łomianki. From the very beginning the material gathered was made accessible and was presented during shows (e.g. including one for Joseph Beuys). During the 1970s exhibitions were organised also in the atelier-apartment of KwieKulik. Today, the collection is an irreplaceable source of materials and information for art historians, especially those dealing with neo-avant-garde art of the 70s (e.g. Łukasz Ronduda).

Zofia Kulik "Ekran przestrzenny / Spatial Screen" 1969-70

KwieKulik "Wycieczka / Excursion" (group action) 1970

Working on the junction of the private and the public in the PDDiU, also in their other artistic activities, the KwieKulik duo often transcended the safe field reserved for art. Already in 1970, after Przemysław Kwiek's diploma (1970), and before the diploma of Zofia Kulik (1971), together with Jan Wojciechowski and Bartek Zdrojewski, and Kwiek's teenage sister - Urszula Kwiek, they went for a documented "Excursion" around Warsaw, interacting with the encountered environment, but also (as if by chance) exposing its oppressive character - especially in the neighbourhood of the Palace of Culture and Science on Plac Defilad, where they arrived after a visit on the cemetery and the high-rise district (Bródno). Zofia Kulik took with her for the "Excursion" a piece of white cloth - a screen which she unfolded in the visited places. The artist said in an interview given by KwieKulik to Maryla Sitkowska:

"I had this concept in mind to place this screen in different real situations, but rather accidental than planned in advance. It was supposed to be a kind of neutral field in the surrounding reality which then I planned to use in the way so that I could project another slide or film on this white screen, on this internal screen on a photograph or slide (...). During the 'Excursion' my screen began to be used simply as a normal object: sometimes it was a folded screen, at other times, unfolded or waving on the wind etc."

The "Excursion" was documented by photographs and film.

"Owoce ziemi / Fruits of Earth" by Dwurnik and "Sztuka z nerwów / Art of Nerves" KwieKulik, exhibition at the PDDiU, 1975

A part of the hitherto taken photographs served Zofia Kulik to make her diploma project in the atelier of prof. Jerzy Jarnuszkiewicz. It included among others a projection of about 500 slides projected onto three screens (a spatial screen was used by Kulik also in her student projects from the end of the 60s.). On the creation of this group of photographs thus speaks Kulik in an interview:

"I was documenting all the time, in every situation and on every occasion I was creating this kind of visual diary. And this image-slide material served later on to create this slide projection."

Grzegorz Kowalski described the created installation:

"The parallel projection gave an image of three interwoven threads. In the plastic thread: material and spatial transformations, in the life thread: occurrences in time and space and among people from the nearest circle, in the record thread: operations on the slides - the medium of the message."

Zofia Kulik, making of a rug copy of "Moses" by Michelangelo - fragment of projection 1970-71

Kulik's diploma project comprised also a work on a copy of Michelangelo's "Moses", standing in the hall of the Academy. The artist made a copy of the sculpture out of rigid, colourful rugs, thus completing a long process of documented work on the statue.

An important characteristics of the work of the KwieKulik duo (and of the individual work of Zofia Kulik) was their use of documentation and motives from former activities in their artistic realisations, thus providing their re-interpretation. And so the work on the Moses statue became a fragment of the film entitled "Open Form" (1971), which was a result of the co-operation between Kwiek, Kulik, Jan Wojciechowski and Bartłomiej Zdrojewski. It further developed issues known from Hansen's atelier and the visual games partially taken up during "Excursion" (also called "alternating activities"). The footage for the "Open Form" was taken during seven days (for this number of days the artists had a professional camera at their disposal). These activities were taking place in various, arranged situations, on a table with food, in a television studio, in Hansen's atelier, on an actress' face, or in a landscape among others. Also "Work on Transparencies" realised later on was of similar character.

KwieKulik "Forma Otwarta / Open Form (Hansen)" 1971, ('work with camera' - group action)

KwieKulik "Forma Otwarta / Open Form (Mojżesz)" 1971, ('work with camera' - group action) (on the photo: Zofia Kulik and Paweł Kwiek)

KwieKulik "Forma Otwarta (Twarz) / Open Form (Face)" 1971 ('work with camera' - group action) 1971

The issues taken up almost in laboratory conditions in the film "Open Form", were elaborated upon by KwieKulik in the wider context of reality, in activities called by them "Parasite Art" or "The Art of Commentary". The first of these terms was created on the occasion of the participation of the duo in the Zjazd Marzycieli (Dreamers' Congress), organised by El Gallery in Elbląg in 1971. At the time KwieKulik's activity amounted to (photographically documented) intervention on other artists' works. On the other hand, an example of the "Art of Commentary" given by the artists themselves was their working on the painting by Edward Dwurnik, exhibited at the PDDiU in 1975. Without the artist being aware of it, KwieKulik added to the exposed painting their own canvas with a text describing their problems with the exchange of a used oil bottle in the nearby shop (the text about the bottle was entitled "Art from the Nerves"). The commentary to another artist's work became at that time also a commentary on the surrounding reality and the toil of everyday life in a centrally governed country. The surroundings of the apartment-atelier on Targowa Street was in turn described in "Around KwieKulik" (1976) - visual and textual description of the nearest neighbourhood of the PDDiU.

KwieKulik from the "Sztuka Pasożytnicza / Parasite Art" series (sculpture by Henryk Morel, bottles by Paweł Fraisler), 1971, Galeria El

KwieKulik "Koło KwieKulik / KwieKulik 's Circle" 1976

One could interpret in a similar manner a group of other activities of the duo, carried out among others on the occasion of doing hackwork, works for money commissioned by the Pracownie Sztuk Plastycznych (PSP, Visual Arts Ateliers), a monopolist enterprise in charge of the visual propaganda and artistic culture of the People's Republic of Poland. One of such activities was described by Zofia Kulik in an already quoted interview:

"While cutting an inscription in a sandstone block, commemorating the soldiers of the AK [Home Army] murdered by the Germans - a commission, for money, a so-called 'hackwork' at the PSP - at the same time we were making our own art called 'Activities.' We juxtaposed the first letter, then a word, and later on larger and larger fragments of the text emerging during the cutting with various elements, including our own texts written on stripes of paper."

KwieKulik "Człowiek-kutas / Dick-Man" (from "The Art of Commentary" series) 1975

KwieKulik "Ptak z gipsu do brązu / Bird from Gypsium to Bronze" (from "The Art of Commentary" series) 1975

The activities on the block collected in a book "Block." Cutting and activities. Earning and creating. Wilk syty i owca cała ["Both the woolves have eaten much and the sheep were left untouched"]. A list of all the hackwork made by KwieKulik was in turn included in the artists' portfolio - the main element of pomniKULTUchałtuRY ["monument of hackWork Culture"] from 1979. The publication of one of the photographs from the documentation of these activities (together with a hand-written commentary of the artists: "Plaster Bird for Bronze in the Fine Art Barracks") and the work "Dick-Man" (1974) in the catalogue of an exhibition in Malmö in 1975 caused rather sharp reaction of the authorities of the People's Republic of Poland and a "ban on representing Polish art abroad", which practically meant - refusal to give them passports. The artists' relationship with the communist authorities however was more complicated - for a few years both remained candidates for members of the PZPR [Polish United Workers' Party] (Zofia Kulik until 1981, when she returned her candidate's id), aiming from the beginning of the 70s at including her art into the process of the reparation of the socialist country (i.e. in the synchronic, double projection "Kinds of Red. The Way of Edward Gierek", 1971) - it was the party who could not accept them as its members.

"The condition of a certain impotence and social vegetation was just unbearable. The Party seemed the only path of private activity"

- said Zofia Kulik in an interview with Joanna Turowicz.

"Why were they not wanted in the PZPR?" - asked after a few years Jerzy Truszkowski - "one could suppose that people were afraid of them, knowing that they could have taken advantage of the organisation's working techniques in their art practice."

KwieKulik "Odmiany czerwieni / Kinds of Red" and "Droga Edwarda Gierka / The Way of Edward Gierek" detail (two-screen projection) 1971

The ban on travelling forced them to do mail art works (realised by them also on the occasion of invitations to the exhibitions at the PDDiU). Not being able to participate in a festival in Dutch Arnhem, KwieKulik sent to all the other participants plain postcards with their passport photographs fixed with their face to the paper. The organisers of the festival in turn carried out a performance of the duo according to the instructions sent in by them. During the time needed for boiling water and then cooling it down the viewers were writing greetings for KwieKulik on postcards distributed among them.

Among the most characteristic actions of KwieKulik are "Actions with Dobromierz" (1972-1974), a series of black and white photographs and colour slides, documenting various combinations of placing a baby - the artists' son in, among others, circles of onions or forks, in a toilet bowl, aiming at exhausting all the possibilities at their disposal, but mostly at revealing these possibilities and the functioning of art in everyday life. A development of these actions was an exhibition of drawings by Maksymilian Dobromierz at the PDDiU in 1977 - "The Use of One's Child in Art. Actions with Dobromierz", in its structure were also close to A Set of Spatial Models of the Placement of the Unknown "X" (1974), the unknown "x" appeared anyway as an element in relation to which Dobromierz was situated. During the "Body Performance" festival in Labirynt Gallery in Lublin in 1978, KwieKulik carried out "Head Actions", a series of performances, in which the head was becoming an element burdened with symbolic qualities - among others Kwiek washed his face and feet in a bowl, in which Kuliks head stuck out (through a cut out hole).

KwieKulik "Działania z Dobromierzem / Actions with Dobromierz" detail 227, 1972-74

KwieKulik "Działania na głowę (trzy odsłony) / Head Actions (three scenes)"; 'Body, Performance' Labirynt Gallery, Lublin 1978

In 1987, Zofia Kulik decided to finish her artistic co-operation with Przemysław Kwiek. This moment was recorded in the already quoted conversation with Maryla Sitkowska, at the end of which the artist stated:

"I have worked in a duo for about 17 years. I participated in realising common aims. After many attempts I ceased to believe that they can be easily realised and I ceased to believe in peaceful group work. I simply took care of myself. Now I am searching for something else, not partnership in common initiatives. I am interested in those in whom I can sense a strong accumulation of psychic tensions, some individualistic defects, in those who try to make some necessary 'shortcuts' in order to express themselves. I am also looking for wider cultural threads. I do not want to limit myself to my individual context and conditions. I do not want to be a guinea pig any longer, I would like to be a missionary."

From this moment on Zofia Kulik shares her time between individual creativity (of completely different character), the popularisation of KwieKulik's actions and care over the archive of the PDDiU.

Zofia Kulik "Motyw ludzki (dywan) / Human motif (carpet)" 1989, 240x480cm

Zofia Kulik "Motyw ludzki (mandala) / Human motif (mandala)" 1990, 50x50cm

Zofia Kulik "Gotyk Między-Narodowy (II) / Inter-National Gothic (II)" 1990, 242x152 cm

The individual art practice of Zofia Kulik, where - to use Oskar Hansen's terminology - she went from the open form to closed form, includes mostly photographic, black and white, often large format, collages, composed by the artists in the technique of multiple exposure. Usually they come in series, e.g. "Human Motif" (1990), "Idioms of the Soc-era" (1990), "International Gothic" (1987-1990), "Human Motif II" (1991), "Human Motif III" (1995), "Gardens" (2004), "Patterns" (2007).

Zofia Kulik "Budowniczy / The Builder" (medal) 1989, 50x32cm

Zofia Kulik from the "Ogród (Libera i kwiaty - 4) / Garden (Libera and Flowers - 4)" series, 2004, 120x100cm

Their structure is sometimes compared with stained-glass windows or oriental carpets - yet they are constructed of hundreds of smaller photographs that, at the same time, comprise the complicated iconography of these representations. The most often recurring motives include drapery, spearheads, cutting edges, imperial architecture, and most of all - a model assuming particular poses. For a few years an artist, Zbigniew Libera, was model for Kulik's photographs making a wide range of gestures in front of Kulik's camera. Immobilised in his poses, the model lost his individual traits. The great part of Kulik's photo-collages refers to the problem of power and domination of a system over an individual. Their influence is usually based on the contrast between the decorative character of patterns which are formed by sets of particular elements and the drastic character of motives appearing in them, legible only in a close-up, when the viewer resigns on the view of the whole in favour of particular iconographic motives.

Sometimes the artist herself describes her works in iconographic guidebooks. Such was the case during the presentation of the photo-collage entitled "All Bullets Are One Bullet" (1993) in the Polish pavilion at the Venice Biennial in 1997. In an interview the artist defined her work as

"an attempt at an analysis of the language of persuasion and propaganda; an attempt at answering the question, what kind of language builds the relationship between an individual and authority, how are media used in this process."

Zofia Kulik "Wszystkie pociski są jednym pociskiem / All the Bullets Are One Bullet" 1993, 300x850cm

Among the motives included in "Bullets..." there were among others frames from a film of an execution, Libera's poses and photographs of Soviet monuments. The experience of this famous work was continued by an other composition, elaborated over many years, "From Siberia to Cyberia". Exhibited for the first time in 1999, it was more than 8 meters long, and finally it took on the form of a twenty meter plane. It is composed of thousands of television frames photographed by Kulik and forming a geometric ornament. The critic Dorota Jarecka commented in 1999:

"At the beginning of the century, the Viennese architect Adolf Loos said: 'Ornament is crime.' After one hundred years, Zofia Kulik expresses the opposite idea in her works - crime shapes into an ornament."

Zofia Kulik, from the "Kurhany / Barrows" series (2), 1993

The title of the work points to two "imaginary poles" - Siberia (a place of deportations) and Cyberia - the first Internet café, opened in London (Cyberia Cafe). The work is complemented by a visual and textual legend in the form of a book, allowing for the identification of almost every frame used by the artist. The same issues were at the core of the works made at the beginning of the 1990s: showcases, filled with photographs, elements of visual culture, found objects, but also Kulik's "Barrows of Fame and Infamy" (1993), lit, geometric, Plexiglas forms, which are a synthesis of various buildings of totalitarian character. They refer among others to the Palace of Culture and Science [in Warsaw] or to the Moscow Lenin's Mausoleum.

Writing on the works of Kulik, Ewa Mikina points out that the

"Over-organisation of a system eludes identification: hidden among flowing though repeated visual and verbal clichés, it organises the everyday rituals of worldly pleasurable life. Kulik stretches her montages between a historically 'organised' past and a - how functionally - 'desorganised' (against the procedures of the functionaries and due to the procedures of various ideologies) contemporaneity."

On the other hand, the works of Kulik are also interpreted as disclosing

"masochism as the centre of the psychological and cultural mechanisms shaping subjectivity in the countries of Eastern Europe, the perverse pleasure of subjecting to a system of authority, of being a victim,"

as in the psychoanalytical interpretation of Ewa Lajer-Burcharth (after Piotr Piotrowski).

Zofia Kulik "Od Syberii do Cyberii / From Siberia to Cyberia" 1998-2004, 240x2100cm

Some photo-collages provoke feminist interpretations, especially the self-portraits (such as e.g. "The Gorgeousness of the Self", 1997) and draw the attention of feminist scholars (including Sarah Wilson, Izabela Kowalczyk). From this perspective, Lajer-Burcharth interpreted Kulik's works as "ironic reconfiguration of her earlier work with Kwiek," however broader conclusions in this matter are suggested by the very comparison of the female (artist) and male (model) figures in her works.

Zofia Kulik "Deseń 1 (morris 15-7) / Pattern 1 (Morris 15-7)" 2007, 120x120cm

Zofia Kulik "Deseń 3 (batik-dom 20-1) / Pattern 3 (Batik-House 20-1)" 2007, 120x120cm

Zofia Kulik "Deseń 4 (chinese 08-5) / Pattern 4 (Chinese 08-5)" 2007, 120x120cm

Lately, Zofia Kulik has been using multiplied small photographs of a model and other motives (known from her earlier works) for making "Patterns" (2007), inspired among others by the patterns of William Morris' tapestries and Arab ornamentation. A similar rule governed the creation of "Holbein's Floor" (2006), an element of composition "Made in the DDR, USSR, Czechoslovakia and Poland" (2006). It is an iconographically composed portrait of Zofia Kulik and her long time partner Przemysław Kwiek with the attributes referring to their activity, based on "The Ambassadors", the famous painting by Hans Holbein . It was not by accident that the presentation of this work in Le Guern Gallery in Warsaw was combined with an exposition of boards prepared by Zofia Kulik for the exhibition "Interrupted Histories' in Ljubljana, including material from the archive of the PDDiU. Taking care of the heritage of KwieKulik and of the PDDiU archive is yet another form of Zofia Kulik's activity. The shows and exhibitions prepared by her in today's context already are different in character than those in the 1970s, becoming a work on the archive, the process of historicisation and the image of the past.
Author: Karol Sienkiewicz, June 2008.


Photographs and list of exhibitions, courtesy of the artist.

Selected presentations of KwieKulik (performance, projections, exhibitions) until 1987

Solo:

• 1971 - Współczesna Gallery, Warsaw;
• 1978 - Labirynt Gallery, Lublin;
• 1981 - Free International University, Düsseldorf;
• 1983 - Moltkerei Werkstatt, Cologne; BWA Gallery, Lublin;
• 1986 - Dziekanka, Warsaw (also in 1984, 1985);
• 1987 - Franklin Furnance, New York.

Group:

• 1971 - "Zjazd Marzycieli" [The Dreamers' Convent] - El Gallery, Elbląg;
• 1973 - "Kino-Laboratorium" [Cinema-Laboraroty] - El Gallery, Elbląg;
• 1974 - "Nowa Generacja" [New Generation] - National Museum, Wrocław;
• 1975 - "7 Young Poles" - Malmö Konsthall, Malmö;
• 1977 - "Projects", Performances - Czekoslovakia, Poland, Knox Gallery, Buffalo;
• 1978 - "Body", Performance - Labirynt Gallery, Lublin;
• 1979 - "Works and Words" - De Appel, Amsterdam;
• 1985 - Contemporary Art from Poland - Walter Phillips Gallery, Banff.

Exhibitions of Zofia Kulik after 1988

Solo:

• 1989 - "Wizualne Idiomy Soc-Wiecza" [Visual Idioms of the Soc-Era] - Mała Galeria ZPAF, Warsaw;
• 1990
  - "Motyw ludzki" [Human Motif] - Grodzka BWA Gallery, Lublin
  - "Idioms of The Soc-ages" - Postmasters Gallery, New York
  - "Gotyk Między-Narodowy" [Inter-National Gothic] - Centre for Contemporary Art, Ujazdowski Castle, Warsaw;
• 1991 - "Motyw Ludzki II" [Human Motif II] - Galeria Wyspa, Gdańsk;
• 1992 - "Portrety Trzech" [Portraits of the Three] - FF Gallery, Łódź;
• 1993
  - "Symbolische Waffen" - Kunst und Raum, Vienna
  - "Wszystkie Pociski Są Jednym Pociskiem" [All Bullets Are One Bullet] - Państwowa Galeria Sztuki, Sopot
  - "Broń Symboliczna" [Symbolic Weapon] - Zachęta National Gallery of Art, Warsaw;
• 1994 - "Broń Symboliczna III" [Symbolic Weapon III] - Galeria u Jezuitów, Poznań;
• 1995
  - "The Human Motif III" - Duncan of Jordanstone College, Dundee, Scotland
  - Still Man - Lombard-Freid Fine Arts, New York
• 1995/6 - "The Human Motif III" - ZONE Gallery, Newcastle upon Tyne, Street Level Gallery, Glasgow Watershed Media Centra, Bristol;
• 1997 - "Symbolic Weapon IV" - Polish Pavilion, 47th Biennial, Venice;
• 1998 - "The Human Motif IV" - National Gallery, Prague;
• 1999 - "Od Syberii do Syberii" [From Siberia to Cyberia] - National Museum, Poznań;
• 2004
  - "Od Syberii do Cyberii 1998 - 2004" [From Siberia to Cyberia 1998 - 2004] - Zachęta, Warsaw, Bunkier Sztuki, Krakow
  - "Archiwum gestów (1987-1991)" [Archive of Gestures] (1987-1991) - Galeria Starmach, Kraków
  - "Szkice gestów (rysunki)" [Sketches of Gestures] (drawings) - Galeria Potocka, Kraków
  - "Autoportrety i ogród" [Autoportraits and Garden] - Le Guern Gallery, Warsaw;
• 2005 - "Od Syberii do Cyberii i inne prace" [From Siberia to Cyberia and Other Works] - Bochum Museum;
• 2006 - "Made in DDR, CCCP, Czechoslovakia and Poland" - Le Guern Gallery, Warsaw;
• 2007
  - "Desenie" [Patterns] - Le Guern Gallery, Warsaw
  - "Botschafter der Vergangenheit" - Polnische Institut, Berlin;
• 2008 - "Wspaniałość Siebie V" [The Gorgeousness of the Self] - Zak i Branicka, Berlin.
  
  Group:
  
• 1989 - "Polak, Niemiec, Rosjanin" [Pole, German, Russian] - former Zakłady Norblina, Warsaw;
• 1990 - "Bakunin in Dresden. Polnische Kunst Heute" - Kunstpalast, Düsselsdorf; Kampagelfabrik, Hamburg;
• 1991 - "Doppelte Identität" - Landesmuseum, Wiesbaden
  - "Artystki Polskie" [Polish Women Artists] - National Museum, Warsaw
  - "Nowe przestrzenie Fotografii" [New Spaces of Photography] - Museum of Architecture, Wrocław
  - "Voices of Freedom: Polish Women Artists and the Avant-Garde" - The National Museum of Women In The Arts, Washington D.C.;
• 1991-92 - "Wanderlieder" - Stedelijk Museum, Amsterdam;
• 1992
  - "Frontiera", Bozen / Bolzano
  - "Collective Memory", Rauma Biennale Balticum, Rauma;
• 1992-93 - "Dark Décor" - travelling exhibition organised by the ICI, USA Independent Curators Incorporated DePree Art Center, Hope Collage, Holland, MI, San Jose, CA; Florida Gulf Coast Art Center, Bellair, Fl; The Monmouth Museum, Lincroft, NJ; The Illingworth Kerr Gallery, Alberta College of Art, Calgary, Alberta;
• 1993 - "Krieg" - Neue Galerie am Landesmuseum Joanneum, Forum Stadtpark, Graz;
• 1994
  - "Another Continent" - Tokyo Metropolitan Museum of Photography, Tokyo
  - "Europa, Europa / Das Jahrhundert der Avantgarde in Mittel-und Osteuropa" - Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn
  - "The Rift in the Room. Positions of Art since 1945 in Germany, Poland, Slovakia And Czechia" - Martin-Gropius-Bau, Berlin
  - "Natur im Stilleben natura morta?" - Museum Bochum, Bochum;
• 1995
  - 95 Kwangju Biennale (Korea)
  - "Obsessions: From Wundercamer to Cyberspace", Enschede
  - "Fotofeis '95". International Festival of Photography In Scotland, Edinburgh;
• 1996
  - "Pushing Image Paradigms" - Portland Institute For Contemporary Art
  - "Kobieta o Kobiecie" [Woman on Woman] - Bielska BWA Gallery, Bielsko-Biała
  - 1"00 Photographs From the Collection" - Stedelijk Museum, Amsterdam;
• 1996-97
  - "New Histories" - The Institute of Contemporary Art, Boston
  - "Horyzonty" - 14 Polskich Współczesnych Artystów [Horizons - 14 Contemporary Polish Artists] - Sonje Museum of Contemporary Art, Kyongju;
• 1997 - Sztuka z Polski 1945-1995 [Art from Poland 1945-1995] - Mucsarnok Gallery, Budapest;
• 1998 - "Body and the East. From the 1960s to the Present" - Moderna Galerija, Ljubljana;
• 1999 - "Poliptyk". VII Biennale: Wobec Wartości [Poliptyk. 7th Biennial: In the Face of Values] - Contemporary Art Gallery, Katowice;
• 1999-2000 - "After The Wall" - Moderna Museet, Stockholm;
• 1999 - "East Wing Collection 1999" - Courtauld Institute of Art, London;
• 1999 - 50 Years of Central European Art 1949-1999 - Museum Moderner Kunst, Vienna;
• 2000
  - "Generacje" [Generations] - Maneż Central Exhibition Salon, St Petersburg
  - "L'Autre moitie de L'Europe' (Social Reality / Existaence / Politics)" - Jeu de Paume, Paris
  - "Negocjatorzy sztuki" [Negotiators of Art] - CSW Łaźnia, Gdańsk, Bunkier Sztuki, Krakow
  - "Polonia (KwieKulik)" - Zachęta National Gallery of Art, Warsaw
  - "2000+Arteast Collection" - Moderna Galerija Ljubljana
  - "Szare w kolorze 1956-1970" [Grey in Colour 1956-1970], (KwieKulik) - Zachęta National Gallery of Art;
• 2001 - "In Between: Art from Poland, 1945-2000", Exhibit Hall, Chicago;
• 2002
  - "Pejzaż semiotyczny" [Semiotic Landscape] - Charim Gallery, Vienna, Królikarnia, Warsaw
  - "Mare Balticum" - The Danish National Museum, Copenhagen
  - "Aktuelle Fotokunst aus Polen" - Fotohof, Salzburg;
• 2003
  - "Decade 1993-2003" - CCA Ujazdowski Castle Warsaw, District Museum, Bydgoszcz
  - Architecture of Gender - Sculpture Center, Long Island City;
• 2004 - "Czasy skończone! - historii już nie ma" [Finished Times! There Is No More History] - Hôtel des Arts, Tulon;
• 2005
  - "Warszawa - Moskwa" [Warsaw - Moscow] - Zachęta National Gallery of Art, Warsaw; Trietiakowska Gallery, Moscow;
• 2006
  - "The Interrupted Histories" - Moderna Galerja, Ljubljana, Slovenia
  - "Śniadanie w museum" [Breakfast in the Museum] - Museum of Art in Łódź
  - "Gravity in Art" - De Appel Foundation, Amsterdam;
• 2007 - "Documenta XII" - Kassel, Germany;
• 2008
  - "Revolution i Love You" - Contemporary Art Centre of Thessaloniki, Thessaloniki, Greece
  - "Lichtspuren" - Bochum Museum, Bochum, Germany.

Zofia Kulik "From the KwieKulik Archive" 2006, panel 2, 140x100cm

Zofia Kulik "From the KwieKulik Archive" 2006, panel 3, 140x100cm

Zofia Kulik "Z Archiwum KwieKulik / From the KwieKulik Archive" (fragment) 2006, 140x940cm

"Wszystkie pociski sa jednym pociskiem / All the Missiles Are One Missile" 1993, 304 x 855 cm