{"id":8158,"date":"2025-11-05T16:41:24","date_gmt":"2025-11-05T15:41:24","guid":{"rendered":"https:\/\/labiennale.art.pl\/?post_type=wystawy&#038;p=8158"},"modified":"2026-09-09T10:12:05","modified_gmt":"2026-09-09T08:12:05","slug":"liquid-tongues","status":"publish","type":"wystawy","link":"https:\/\/labiennale.art.pl\/en\/wystawy\/liquid-tongues\/","title":{"rendered":"Liquid Tongues"},"content":{"rendered":"<p><em>Liquid Tongues<\/em> is an audio-video installation in which Bogna Burska and Daniel Kotowski seek alternative ways of communicating inspired by more-than-human life. The social Choir in Motion (Ch\u00f3r w Ruchu), made up of hearing and Deaf people, perform interpretations of the communication codes and songs of whales, simultaneously in English phonic and international sign (IS) languages, building visual-spatial-sonic fantasias on the theme of possible translations. The installation operates on multiple levels: image (cinematography by Magda Mosiewicz), movement (choreography by Alicja Czyczel), sound (music composed by Aleksandra Gryka), and the physical experience of acoustic waves.<\/p>\n<p>The project was inspired by Roger Payne\u2019s legendary recordings,\u00a0<em>Songs of the Humpback Whale<\/em>\u00a0(1970), which led to a ban on whale hunting and saved them from extinction. The complex sounds of these songs reminded the world of the intelligence and richness of animal culture, showing art could save voices that were once inaudible.<\/p>\n<p><em>Liquid Tongues<\/em> is a tale of loss, but also of the reconstruction of cultures and modern-day work to retrieve languages marginalised by the dominant narratives. It is a story of Payne\u2019s work and the significance of his recordings. It recounts new and unknown (or perhaps old and reborn) collections of hundreds of generally solitary humpbacks on the west coast of Africa. It involves works created on the <em>qilaat <\/em>\u2013 a ritual drum used by the natives of Greenland, although no one knows how it sounded prior to the island\u2019s brutal colonisation. As well as work on restoring Hand Talk \u2013 Plains Indian Sign Language \u2013 the universal sign language of hearing and Deaf native inhabitants of the Great Plains of North America. It is a tale about breaking with the oppression of phonetic training and building Deaf subjecthood. It is the recurring feminist figure of the whalerider, inspired by the New Zealand myth. The stories evoked here allow us to imagine, in spite of everything, alternatives for the world \u2013 opportunities to rebuild what has collapsed or been destroyed by the dominant voices. We might join Sabrina Imbler in asking: \u2018How shall you regrow, and in how many ways?\u2019<\/p>\n<p>According to the idea of Deaf Gain, deafness is understood not as a disability, but as a separate culture and identity offering new perspectives and forms of expression. Much of the material has been gathered in the water, an environment where Deaf people can communicate freely in sign language, while hearing people can only produce warped sounds. The line between air and water is a space for communication experiments, a mirror of sorts where various languages, bodies and sensibilities meet.<\/p>\n<p>In the curatorial concept for Biennale 2026, based on the musical metaphor of a \u2018minor key\u2019, Koyo Kouoh extends an invitation to contemplatively encounter what is delicate and generally overlooked \u2013 softer voices, neglected narratives, micro-memories. She encourages us to develop subtle forms of resistance, sensitive experiments, to build polyphonic scores of mutually resonating societies.\u00a0The <em>Liquid Tongues<\/em> installation explores this idea, attempting to break through what we imagine to be the limits of communication and to create subjective communities, taking various perspectives into account. In a projected version of the future \u2013 including animal perspectives.<\/p>\n","protected":false},"featured_media":8164,"template":"","class_list":["post-8158","wystawy","type-wystawy","status-publish","has-post-thumbnail","hentry","archiwum-art-biennale"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Liquid Tongues - Pawilon Polski w Wenecji<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/labiennale.art.pl\/en\/wystawy\/liquid-tongues\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Liquid Tongues - Pawilon Polski w Wenecji\" \/>\n<meta property=\"og:description\" content=\"Liquid Tongues is an audio-video installation in which Bogna Burska and Daniel Kotowski seek alternative ways of communicating inspired by more-than-human life. 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Tongues, 2026, video still","ex_year":"2026","ex_edition":"61.","ex_durance":"9.05-22.11.2026","ex_commissioner":"Agnieszka Pindera","ex_curator":"Ewa Chomicka, Jolanta Woszczenko","ex_partners":"Bogna Burska, Daniel Kotowski","ex_team":"organiser: Zach\u0119ta \u2014 National Gallery of Art<br \/>\r\nPolish Pavilion Office: Anna Kowalska, Micha\u0142 Kubiak (deputy commissioner)<br \/>\r\n<br \/>\r\nexhibition design: Marcin Kwietowicz, Natalia Bober<br \/>\r\nexhibition visual identification: Noemi Markwas<br \/>\r\n<br \/>\r\nfilm written and directed by: Bogna Burska, Daniel Kotowski<br \/>\r\ncinematographer: Magda Mosiewicz<br \/>\r\nchoreographer: Alicja Czyczel<br \/>\r\ncomposer and conductor: Aleksandra Gryka<br \/>\r\nsecond conductor: Sean Palmer<br \/>\r\nfilm editor: Maja Ziarkowska<br \/>\r\nsound designer: Katarzyna Szczerba<br \/>\r\nacoustic consultant: Micha\u0142 Kupicz<br \/>\r\nperformers: Natalia Wilk and Choir in Motion: Camila Bine Aliste, Beata Akbas, El\u017cbieta Balano, Barbara Baranowska, Ma\u0142gorzata J. Berwid, Maria Bonarowska, Ewa Chomicka, Cura, Paulina Gojtka, Paulina Gul, Urszula Iwi\u0144ska, Julia Ka\u017amierczak, Irena Klein, Ma\u0142gorzata Kozek, Natalia Lidwa, Aleksandra Lipska, Lesia Lupookova, Maria Jolanta Na\u0142\u0119cz-Jawecka, Teona Moz, Tomasz Nowakowski, Aleksandra Olszowska, Justyna Orli\u0144ska, Natalia Pacyga, Kasia Paterek, Katarzyna Pawluk, Edyta Paw\u0142owska, Dagmara Siwczyk, Julia Supe\u0142, Urszula Szwed-Strych, Natalia Trybu\u0142a, Piotr Wo\u017aniakiewicz<br \/>\r\n<br \/>\r\nexecutive producer: MX35 Mateusz Wajda, Pawe\u0142 Ziemilski<br \/>\r\nproduction manager: Agata Terpia\u0142<br \/>\r\nassistant director: Karolina Przeklasa<br \/>\r\nset manager: Jakub Chomiczewski<br \/>\r\nproduction assistant: Karol Makowski<br \/>\r\ncinematographers: Piotr Bielaszka, Mateusz Wajda<br \/>\r\ncamera operator assistant: Jakub Turek<br \/>\r\nunderwater photography coordinator: Jan Szlagowski<br \/>\r\nfocus puller: Micha\u0142 Chrz\u0105stek<br \/>\r\ncamera assistants: Piotr Bronisz, Maksymilian \u0141obaczewski, Micha\u0142 Konopka, Noel Kotela, Tobiasz Romaszkan<br \/>\r\ngaffers: Dariusz Nidzi\u0144ski, Pawe\u0142 Szastak <br \/>\r\nlighting technicians: Micha\u0142 Michalski, Robert Nidzi\u0144ski<br \/>\r\nset supervisor: Adam W\u0105siel<br \/>\r\nsound technicians: Konrad B\u0142aszczyk, Maria Krzyszkowska, Liliana Waszkiewicz<br \/>\r\ncolor grading: Magdalena Nizel<br \/>\r\n<br \/>\r\nexhibition production and assembly: Studio Projektowe Pracownia\u2014J\u0119drzej Iwanicki, Jacek Rembiewski and Jakub Cholewi\u0144ski, Mateusz Czapigo, Andrzej Ko\u0144ski, Pawe\u0142 Krzywi\u0144ski, Micha\u0142 Nie\u0107ko, Kamil Melon; collaboration: Andrzej Bialik<br \/>\r\nmultimedia production: Eidotech Polska\u2014Rafa\u0142 Kr\u00f3l, Pawe\u0142 Wolski<br \/>\r\n<br \/>\r\nresearch support: Michelle Fournet, Ellen C. 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14:42:36","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/labiennale.art.pl\/wp-includes\/images\/media\/default.png","width":1240,"height":1754,"sizes":{"thumbnail":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN-340x340.png","thumbnail-width":340,"thumbnail-height":340,"medium":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN-240x340.png","medium-width":240,"medium-height":340,"medium_large":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN-768x1086.png","medium_large-width":768,"medium_large-height":1086,"large":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN-724x1024.png","large-width":724,"large-height":1024,"1536x1536":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN-1086x1536.png","1536x1536-width":1086,"1536x1536-height":1536,"2048x2048":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN.png","2048x2048-width":1240,"2048x2048-height":1754,"archive_thumbnail":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN-680x454.png","archive_thumbnail-width":680,"archive_thumbnail-height":454,"poster_thumbnail":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN-605x856.png","poster_thumbnail-width":605,"poster_thumbnail-height":856,"large_thumbnail":"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/JZW_PLAKAT_EN.png","large_thumbnail-width":1240,"large_thumbnail-height":1754}},"ex_poster_download":false}],"ex_text_repeater":[{"ex_tblock_title":"Authors","ex_tblock_title_navi":"Authors","ex_text_block":"<p><strong>Bogna Burska<\/strong> \u2013 a co-author of the work\u00a0<em>Liquid Tongues<\/em>. She is a visual artist using many forms of expression and a writer of dramas, presently a professor at the Academy of Fine Arts in Warsaw. Her works address themes of physicality, memory and emotion, often drawing from social narratives and visual pop-culture cliches. She juxtaposes what is beautiful with what is widely considered to be ugly, revolting or rejected. As of late, she has mainly been working with themes of communication and structures of mutual understanding in changing ecosystems. She has taken part in many exhibitions in Poland and abroad; her work combines an artistic perspective with research and teaching.<\/p>\n<p><strong>Daniel Kotowski<\/strong> \u2013 a co-author of the work\u00a0<em>Liquid Tongues<\/em>. An artist and a performer. His practice focuses on the experiences of the Deaf, issues of language, communication, biopower and biopolitics. His work explores the limits of physicality and means of expression that go beyond the dominant speech structure. He has appeared and presented his work in the Museum of Modern Art in Warsaw, Zach\u0119ta \u2013 National Gallery of Art, Studio Theatre, and Pickle Bar in Berlin.<\/p>\n<p><strong>Ewa Chomicka<\/strong> \u2013 a co-curator of the exhibition\u00a0<em>Liquid Tongues<\/em>, curator of the Choir in Motion. She is a cultural anthropologist, curator of contemporary art, and facilitator. She runs the Museum Practices Lab at the POLIN Museum of the History of Polish Jews. She develops interdisciplinary projects, joining contemporary art, research and activism, often of a performative, interventional or social nature. Engaged in environmental initiatives, co-founder of the Culture for Climate collective.<\/p>\n<p><strong>Jolanta Woszczenko <\/strong>\u2013 a co-curator of the exhibition\u00a0<em>Liquid Tongues<\/em>. A curator of contemporary art, tied to the Gda\u0144sk Centre for Contemporary Art since 2008. She is interested in experimental forms of film and video, and in communication processes \u2013 both between artist and viewer and between various media and disciplines in art.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-8179\" src=\"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-1024x683.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-1024x683.jpg 1024w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-340x227.jpg 340w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-768x512.jpg 768w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-1536x1024.jpg 1536w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-2048x1365.jpg 2048w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-680x454.jpg 680w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-605x403.jpg 605w, https:\/\/labiennale.art.pl\/wp-content\/uploads\/2025\/11\/zache\u0328ta_biennale_fot.Filip-Preis_34-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p style=\"text-align: right;\"><span style=\"font-size: 8pt;\">photo by Filip Preis\/Zach\u0119ta Archive<\/span><\/p>\n"},{"ex_tblock_title":"Accessibility of the exhibition","ex_tblock_title_navi":"Accesibility","ex_text_block":"<p>The film screening lasts 30 minutes, beginning on every half hour, but you may enter at any time.<\/p>\n<p>&nbsp;<\/p>\n<p>The film has enhanced subtitles, including the descriptions of the sounds.<\/p>\n<p>The curatorial texts in international (IS), Italian (LIS), and Polish sign language (PJM) are available through the QR codes situated directly below them.<\/p>\n<p>Textual audiodescription of the exhibition in English is available through a QR code situated at the entrance of the exhibition.<\/p>\n<p>Materials regarding the accesibility of the exhibition are published online on the Polish Pavilion website through &#8216;media&#8217; page.<\/p>\n<p>The brochure accompanying the exhibition written in Plain English language is available at the entrance of the Pavilion.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Architectural accesibility of the building<\/strong><\/p>\n<p>The Polish Pavilion building has a ramp with handrails leading to a terrace-like area.<\/p>\n<p>There is a low step just before the entrance from the terrace into the building.<\/p>\n<p>The exhibition space is accessible to people in wheelchairs.<\/p>\n<p>&nbsp;<\/p>\n"}],"show_media":true,"ex_media":[{"ex_medium":{"ID":8427,"post_author":"1","post_date":"2026-04-16 11:27:49","post_date_gmt":"2026-04-16 09:27:49","post_content":"","post_title":"Liquid Tongues - IS translation","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"liquid-tongues-is-translation","to_ping":"","pinged":"","post_modified":"2026-05-05 15:42:47","post_modified_gmt":"2026-05-05 13:42:47","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&#038;p=8427","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8810,"post_author":"1","post_date":"2026-06-17 16:41:41","post_date_gmt":"2026-06-17 14:41:41","post_content":"","post_title":"Lingue d'acqua - traduzione LIS","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"lingue-dacqua-traduzione-lis","to_ping":"","pinged":"","post_modified":"2026-06-17 16:41:41","post_modified_gmt":"2026-06-17 14:41:41","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&#038;p=8810","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8495,"post_author":"1","post_date":"2026-04-23 12:39:00","post_date_gmt":"2026-04-23 10:39:00","post_content":"","post_title":"Trailer - Liquid Tongues","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"trailer-liquid-tongues","to_ping":"","pinged":"","post_modified":"2026-05-05 16:45:41","post_modified_gmt":"2026-05-05 14:45:41","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&#038;p=8495","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8698,"post_author":"1","post_date":"2026-05-14 14:49:08","post_date_gmt":"2026-05-14 12:49:08","post_content":"","post_title":"Liquid Tongues - brochure","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"liquid-tongues-brochure","to_ping":"","pinged":"","post_modified":"2026-05-14 14:49:08","post_modified_gmt":"2026-05-14 12:49:08","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&#038;p=8698","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8773,"post_author":"1","post_date":"2026-05-25 15:55:54","post_date_gmt":"2026-05-25 13:55:54","post_content":"","post_title":"Liquid Tongues - Installation Views","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"liquid-tongues-installation-views","to_ping":"","pinged":"","post_modified":"2026-07-17 11:13:47","post_modified_gmt":"2026-07-17 09:13:47","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&#038;p=8773","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":8789,"post_author":"1","post_date":"2026-05-25 16:22:18","post_date_gmt":"2026-05-25 14:22:18","post_content":"","post_title":"Liquid Tongues - Authors' Portraits","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"liquid-tongues-authors-portraits","to_ping":"","pinged":"","post_modified":"2026-07-17 11:12:00","post_modified_gmt":"2026-07-17 09:12:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&#038;p=8789","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}},{"ex_medium":{"ID":9085,"post_author":"1","post_date":"2026-09-09 10:09:52","post_date_gmt":"2026-09-09 08:09:52","post_content":"The graphic design of the brochure, created in a red-blue-beige visual identity, consists of photos\/shots taken underwater in a pool. The photos show members of the Choir in motion, dressed in red costumes, performing choreography.\r\n<h1>Liquid Tongues<\/h1>\r\n<h2>Bogna Burska, Daniel Kotowski<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<em>Liquid Tongues<\/em> is an audio and video installation. In it, Bogna Burska and Daniel Kotowski explore new ways to communicate, and their inspiration extends far beyond human life. They invited the Choir in Motion (Ch\u00f3r w Ruchu) to perform. For this project, the Choir includes both hearing and Deaf performers who sing whale songs and sign in International Sign Language (IS). The result is a mix of visual, spatial, and sound fantasies about the meaning of communication.\r\n\r\nRoger Payne's legendary <em>Songs of the Humpback Whale<\/em> (1970) inspired the project. His recordings showed the whales' intelligence and rich cultures, which led to a ban on whale hunting and helped save them from dying out. At the same time, Payne's work showed that art can save unheard voices.\r\n\r\n<em>Liquid Tongues<\/em> paints a picture of loss but also of cultural rebirth. The project looks at efforts to reclaim languages pushed aside by dominant voices. It shows Payne's work and the meaning of his recordings. It tells the story of hundreds of humpback whales off West Africa. These whales usually live alone, but here, they gather in groups. This may be a new behavior or an old one returning. The project brings to life the long-lost sound of the <em>qilaat<\/em>, a ritual drum Indigenous people in Greenland once played. It highlights efforts to revive Hand Talk, the Plains Indian Sign Language. This language was used by both hearing and Deaf Indigenous people in North America. The project pictures how Deaf people are stepping back from spoken-language training and taking control. Instead, they are creating their own sense of agency. The installation revives the feminist figure of the Whale Rider, inspired by a New Zealand myth. Together, these stories help us imagine alternatives for the world. They show how we can rebuild what dominant voices have destroyed. We might ask, as Sabrina Imbler does: \"How will you regrow, and in how many ways?\"\r\n\r\nBased on the idea of Deaf Gain, deafness isn't seen as a disability. It is a separate culture. Identity which offers new perspectives and forms of expression. Most of the footage was shot in water. Deaf people can sign freely there, but hearing people can only make muffled sounds. The boundary between air and water is where artists experiment with communication. It is a mirror where different languages, bodies, and sensations meet.\r\n\r\nFor the 2026 Biennale, Koyo Kouoh uses the musical metaphor of a \"minor key.\" She invites us to listen to soft voices, hidden stories, and forgotten memories we often overlook. She encourages us to find gentle ways to resist. To try sensitive experiments. To create communities that live in harmony. Within this vision, <em>Liquid Tongues<\/em> aims to change the way we communicate. It seeks to build communities where every voice counts, including the voices of animals.\r\n\r\nCurators: EWA CHOMICKA, JOLANTA WOSZCZENKO\r\n\r\n&nbsp;\r\n<h1>Liquid Tongues: Libretto<\/h1>\r\n<h2>Bogna Burska, Daniel Kotowski<\/h2>\r\n&nbsp;\r\n\r\n<em>whup<\/em>\r\n\r\n<em>swoops<\/em>\r\n\r\n<em>swoops<\/em>\r\n\r\n<em>growl<\/em>\r\n\r\n<em>teepee<\/em>\r\n\r\n<em>ascending shriek<\/em>\r\n\r\n*\r\n\r\na dead body\r\n\r\na dead pile of meat\r\n\r\na dead mountain on the beach\r\n\r\nit lies there and people carve words in it\r\n\r\n'I love Jane'\r\n\r\npeople extinguish cigarettes in a nostril\r\n\r\nof the whale that died\r\n\r\nhis heart almost burst\r\n\r\nhe almost died of sadness\r\n\r\n*\r\n\r\nthe waves of the hand sweep across the rocks\r\n\r\nmovements carved in the rocks of the Great Plains\r\n\r\nPlain Indian Sign Language\r\n\r\na gaping Spanish coloniser wrote in his diary:\r\n\r\n'People speak with their hands'\r\n\r\nHAND TALK\r\n\r\nHAND TALK\r\n\r\nHAND TALK\r\n\r\n*\r\n\r\nDeaf and hearing equally\r\n\r\n*\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\n*\r\n\r\ntoday the sperm whales spoke to me\r\n\r\n*\r\n\r\nf-i-n-g-e-r-s-p-e-l-l-i-n-g-i-s-a-b-e-a-u-t-i-f-u-l-f-o-r-e-y-e-s\r\n\r\nf-i-n-g-e-r-s-p-e-l-l-i-n-g-i-s-a-f-r-u-s-t-r-a-t-i-n-g-f-o-r-d-e-a-f-i-e-s\r\n\r\nf-i-n-g-e-r-s-p-e-l-l-i-n-g-i-s-n-e-e-d-e-d-f-o-r-r-e-m-e-m-b-r-a-n-c-e\r\n\r\n*\r\n\r\ntoday we tried to understand\r\n\r\nwhat the sperm whales are saying to us\r\n\r\n*\r\n\r\nI see the air\r\n\r\nstraining upwards\r\n\r\nthe air in my lungs\r\n\r\n(may burst)\r\n\r\n&nbsp;\r\n\r\ny-o-u-r-e-y-e-s-a-r-e-b-e-a-u-t-i-f-u-l-l-i-k-e-a-q-u-a-m-a-r-i-n-e\r\n\r\n*\r\n\r\ntomorrow we'll talk to the whales\r\n\r\n*\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\n*\r\n\r\nI AM CO-LO-NIZED\r\n\r\nI AM CO-LO-NIZED\r\n\r\n*\r\n\r\nthe bear's stomach fell silent\r\n\r\nnot even the notes were left\r\n\r\nthe polar night lost its rhythm\r\n\r\nthe polar day lost its rhythm\r\n\r\nthe rituals melted\r\n\r\nMother Sea combed the fishes' hair\r\n\r\nseaweed and urchins, slower and slower\r\n\r\nhe brought home\r\n\r\n<em>ulu<\/em> knives big and small\r\n\r\nhe got them from one of the last shamans\r\n\r\nright after\r\n\r\nhis wife gave birth to a daughter\r\n\r\nthe <em>ulu<\/em> knives are calm\r\n\r\nagain the drums ring out from the guts\r\n\r\nhis daughter and her daughter say\r\n\r\nthat although no one remembers the old melodies\r\n\r\nwhen you hear the <em>qilaat<\/em> drum\r\n\r\nyou feel a root in your belly\r\n\r\n*\r\n\r\nyou mustn't whistle during the northern lights\r\n\r\nbecause the ghosts\r\n\r\nplay ball with skulls\r\n\r\nthey might tear off your head\r\n\r\n*\r\n\r\nyou can't play ball\r\n\r\nyou can't play ball\r\n\r\nyou can't play ball\r\n\r\n*\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n<em>whup<\/em>\r\n\r\n*\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\n*\r\n\r\nblack spines\r\n\r\nblack, black spines\r\n\r\nspiky, veiny maws\r\n\r\nsurfacing vertically\r\n\r\nagape\r\n\r\nlike great clapping clams\r\n\r\nstraining live protein with baleens\r\n\r\novergrown bulging\r\n\r\ncovered in lumps\r\n\r\na bell\r\n\r\na great mussel\r\n\r\n&nbsp;\r\n\r\nhundreds\r\n\r\nhundreds of lonely animals\r\n\r\nbegan to meet\r\n\r\nwhat are they doing there?\r\n\r\nwhat are they doing there?\r\n\r\nwhat are they doing there?\r\n\r\nwhat are they doing there?\r\n\r\n*\r\n\r\npeople depart\r\n\r\nothers take their places\r\n\r\nI sign, I sign, I sign\r\n\r\npam, pam, pam\r\n\r\nI try, but I miss\r\n\r\nothers take their places\r\n\r\nI sign, I sign, I sign\r\n\r\npam, pam, pam\r\n\r\ntime and again\r\n\r\nI try, the hollowness remains...\r\n\r\nI sign, I sign, I sign\r\n\r\nuntil someone finally notices something\r\n\r\nI sign, I sign, I sign\r\n\r\nmaybe finally they'll hear\r\n\r\nI sign, I sign, I sign\r\n\r\n&nbsp;\r\n\r\nmy patience is not in vain\r\n\r\nlike on an assembly line\r\n\r\n&nbsp;\r\n\r\nrain in the water\r\n\r\n*\r\n\r\nwhat burst\r\n\r\nwhat burst\r\n\r\nwhat bursts\r\n\r\nwhat bursts\r\n\r\nwhat bursts\r\n\r\n*\r\n\r\nsing like me\u2014you're underwater\r\n\r\nhere only the whales sing\r\n\r\nhere people sing with their hands\r\n\r\nlook like me\u2014you're underwater\r\n\r\n&nbsp;\r\n\r\nslay, slay, slay, slay\r\n\r\n&nbsp;\r\n\r\nsing like me\u2014you're underwater\r\n\r\nsing like me\u2014you're underwater\r\n\r\nsing like me\u2014you're underwater\r\n\r\n&nbsp;\r\n\r\nwater, water, water, water\r\n\r\n*\r\n\r\n<em>swops<\/em>\r\n\r\n<em>swops<\/em>\r\n\r\n<em>growl<\/em>\r\n\r\n<em>growl<\/em>\r\n\r\n*\r\n\r\nshe came on the back of the whale\r\n\r\n&nbsp;\r\n\r\nwe're not signing for you, we're signing for us\r\n\r\nnot you, not us\r\n\r\nnot you, not us\r\n\r\n&nbsp;\r\n\r\nshe came on the back of the whale\r\n\r\n&nbsp;\r\n\r\nwe're not singing for you, we're singing for us\r\n\r\nnot you, not us\r\n\r\nnot you, not us\r\n\r\n&nbsp;\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\nshe came on the back of the whale\r\n\r\n&nbsp;\r\n<h1>Selected stories from the libretto<\/h1>\r\n<h2>Whup, swoops...<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThis scene shows how humpback whales communicate. To do so, the Choir uses sound, sign language, and movement. <em>Whup, swoop, growl, teepee<\/em>, and <em>ascending shriek<\/em> are some of the calls whales make. The Choir performs them first by the swimming pool and then underwater. Scientists study these sounds as part of the humpbacks' social life. The calls featured here are from the work of Dr. Michelle Fournet. To learn more, visit her site: <a href=\"https:\/\/www.google.com\/search?q=https%3A%2F%2Fwww.michellefournet.wordpress.com&amp;authuser=1\">site of Dr. Michelle Fournet<\/a>.\r\n\r\nToday, noise pollution from ships and sea technologies distorts whale communication.\r\n<h2>A dead body<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThis part of the project is inspired by Roger Payne and his recordings. While he was walking along the shore, he found the body of a whale washed up on the beach. The body was badly hurt. Someone burned a cigarette in its blowhole, somebody else cut \"I love Jane\" into its skin. People's indifference to the animal shocked him. In 1970, he published <em>Songs of the Humpback Whale<\/em>. These legendary recordings helped lead to a ban on whale hunting and saved them from dying out.\r\n<h2>Hand Talk<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nMany people think sign languages are only 200\u2013300 years old. But Plains Indian Sign Language (PISL) is much older. Its history appears in old stone drawings (petroglyphs) on the Great Plains. In the 1500s, Spanish explorers called it \"Hand Talk.\" Deaf and hearing Indigenous Americans used PISL daily, in ceremonies, and for storytelling. It brought people together despite their differences.\r\n\r\nBy the late 1800s, U.S. government policies caused the language to fade away. Native children were forced to use English. Deaf Native Americans had to learn American Sign Language (ASL), and their native sign languages were banned. As a result, very few people continued to use PISL. Today, people are working hard to save it. Experts such as Professor Melanie McKay-Cody and Deaf Native American groups are working to keep it alive. You can still see the influence of PISL in the ASL used today.\r\n<h2>She came on the back of the whale<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nIn 1987, Witi Ihimaera wrote <em>The Whale Rider<\/em>, a book based on a M\u0101ori legend about an ancestor named Paikea. According to the myth, Paikea survived a disaster at sea because a whale carried him on its back to New Zealand. In M\u0101ori culture, whales are ancestors and protectors. <em>The Whale Rider<\/em> is a feminist version of the myth. The main character is a young girl from Paikea's family line. She has a special power: she can communicate with whales. The book was made into a movie in 2002. In 2006, a proposal was made in New Zealand's parliament to give whales \"legal personhood.\" This would give whales the right to move freely, live in a healthy environment, and grow.\r\n<h2>F-i-n-g-e-r-s-p-e-l-l-i-n-g<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nMany scientists are researching how whales communicate. Recent studies show that humpback whale sounds obey Zipf's law. This means they use some sounds more often than others. Researchers found \"codes\" in sperm whale calls. These codes act like vowels, shaping the calls' structure and rhythm.\r\n\r\nIn this scene, sound, sign language, and movement blend together. They aim to express \"sperm-whale\" and interpret vowels. The scene also refers to how Deaf people view fingerspelling. It is less seen as practical and more tied to the alphabet of spoken language. This perception makes it feel more like \"translation\" than natural communication.\r\n<h2>I AM CO-LO-NIZED<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe text talks about colonization. It is inspired by Harlan Lane and his book, <em>The Mask of Benevolence: Disabling the Deaf Community<\/em>. Lane compares the experience of Deaf people to the way Europeans colonized Africa. In both cases, a powerful people forced its language, rules, and values on others. This phrase illustrates the feeling of being controlled by others. It is about losing one's identity and the right to make choices within their culture. The scene refers to \"speech therapy,\" which many Deaf people undergo to fit into \"normal\" society.\r\n<h2>Drum qilaat!<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWhen Christian colonizers came to Greenland, they banned Indigenous rituals. This caused many traditions to fade away, like the qilaat. This shamanic frame drum was used in songs and ceremonies. Today, Greenlanders are making and using these drums again. The original melodies are gone. But making the drum helps bring back their language and culture. These instruments were once made from polar bear stomach skins. Now, makers use different materials. Many Native Greenlanders say they feel their bodies vibrate when they hear the drum.\r\n<h2>You mustn't whistle during the northern lights<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nGreenland's Inuit think that during the Northern Lights, spirits play with human skulls. You shouldn't whistle then, or you might catch their attention and risk danger. This tale about \"losing one's head\" warns: don't cross the line between our world and the unknown.\r\n<h2>Whup, whup, whup...<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nIn humpback communication, the whup call likely means \"hello\" or \"it's me.\" It is both a social signal and a way for whales to recognize each other. Dr. Michelle Fournet, a researcher of humpbacks, made her own whup sound. She then played it underwater. She probably made the first-ever exchange of information between a human and a humpback.\r\n<h2>Black spines<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nHumpbacks typically live alone. However, for over ten years, large groups have been gathering off the coast of West Africa. These are groups of up to 200 whales. We do not know if this is a new habit or an old one returning as the population grows after the end of whaling. We also don't know why they gather. Perhaps to find food (krill) or to teach social behavior to the young ones. What we do know is that they are very active together; they hunt, dive, and sing as a group.\r\n<h2>Pam, pam, pam<\/h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThis text explores the experience of a sign language user. They must fight to be noticed and understood. Their phrases repeat, just like these difficult situations. With every new space and group of people, they need to re-explain themselves. The moments of visibility are very short-lived. It is a story about an endless battle for presence and the right to use sign language.\r\n\r\n&nbsp;\r\n<h1>Roger Payne and his recordings<\/h1>\r\nIn the early 1960s, biologist and animal sound expert Roger Payne was walking along the shore. He saw a whale's body washed up on the beach. People had treated the whale with such a lack of respect that it paralyzed the scientist. Someone burned a cigarette in its blowhole, and somebody else cut \"I love Jane\" into its skin. Deeply moved, Payne felt a strong urge to show the world the true value of whales. He wanted to connect humans with these amazing creatures.\r\n\r\nWhales were once on the verge of dying out because of destructive human activity. The Industrial Revolution relied heavily on whale oil. Commercial whaling led to the loss of 90% to 99% of their population, depending on the species.\r\n\r\nRoger Payne's famous <em>Songs of the Humpback Whale<\/em> from the 1970s led to a ban on whale hunting. This saved humpback whales from dying out. Payne's recordings of complex whale sounds showed the world how intelligent they are. People realized that whale songs have a structure like musical compositions. This story shows how art has the power to save voices that were once unheard.\r\n\r\nToday, some whale species are returning, but others are still in danger of dying out.\r\n<h1>The water community<\/h1>\r\nPeople once believed water creatures mirrored those living in the air. Aristotle's seed theory claimed that all creatures came from one seed. They then grew into either land or water animals, depending on where the seed had landed. Today, Steve Mentz, who coined the term \"Blue Humanities,\" looks at Shakespeare's view of the ocean. He describes water as a \"terrifyingly lost paradise\" (<em>At the Bottom of Shakespeare's Ocean<\/em>). It's the home we all come from, but one we can't go back to. However, Astrida Neimanis (<em>Bodies of Water<\/em>) argues that this home is actually \"within us.\" She describes our bodies as \"bodies of water,\" shaped by the liquid substance that flows through us all. She sees water as an active, strong force that can control, help, and create. All at the same time. We exist in this world of water, moving across and beyond it, and living within and between it. Water is not just H\u2082O, but a complex network of relations and flows\u2014a fluid presence that is everywhere. It changes how we see identity, both human and nonhuman. It shows us a world that is fragile, ever-changing, and liquid.\r\n\r\nThe idea of a more-than-human hydro-community helps us rethink social connections and survival. It invites us to pay attention to signals from non-human animals and the environment. \"Though [sea mammals] spend most or all their time in water, they do not have gills. We, too, on land, are often navigating contexts that seem impossible for us to breathe in, and yet we must,\" writes Alexis Pauline Gumbs (<em>Undrowned: Black Feminist Lessons from Marine Mammals<\/em>).\r\n\r\nShe views sea mammals as our water cousins. By observing them, she learns lessons about care, resilience, and respecting boundaries. Gumbs' writings send a clear activist message: systemic violence and a damaged environment mean species must unite and work together more closely. As she says, we are all constantly \"undrowning.\u201d\r\n<h1>Whale communications and songs<\/h1>\r\nFor a long time, we thought oceans and seas were silent. But recordings have revealed a complex world of underwater communication. Many whales, like humpbacks, sperm whales, orcas, and dolphins, communicate in ways similar to a language. This suggests they have one of the oldest social structures on Earth, with millions of years of history. Scientists from various fields are working together to study whale communication. Recent studies show that humpback whales communicate using Zipf's law. This means they use some sounds more often than others. Almost all human languages show this pattern. Additionally, researchers found that sperm whale sounds include parts that act like vowels in human speech.\r\n\r\nHumpback whale songs are some of the most complex and interesting sounds animals make. Researcher Ellen C. Garland is among those who study them. They consist of small sound units that form phrases. These phrases create patterns that build into longer sequences. They can last anywhere from minutes to around half an hour and may repeat for longer periods. Even though the songs have a clear structure, they change over time. Whales add or remove parts as they learn from each other. This is like how birds learn songs or humans learn a language. Sometimes, a completely new song replaces the old one. This is called a \"song revolution,\" and it can spread across the ocean as whales travel.\r\n<h1>Climate crisis<\/h1>\r\nSound travels more than four times faster in water than in air. Underwater sound corridors let it travel hundreds or even thousands of kilometers. This allows whales to communicate across huge distances. However, modern oceans are full of noise pollution from ships and sea technology. As a result, whales go silent, leave their feeding areas, or change their travel routes. Some even die. Whales\u2014many of which use sound to \"see\" (echolocation)\u2014now face a major ecological and climate crisis. Another big threat to their lives is the new plan for deep-sea mining. In her book <em>Bodies of Water<\/em>, Astrida Neimanis writes that we feel the climate crisis most deeply in water.\r\n<h1>Everything is connected<\/h1>\r\nStories of exploitation mirror one another, no matter the species. We are all being divided and used\u2014human and animal bodies and even whole landscapes. In the past, people thought the underwater world was silent. They viewed whales just as a resource. A speech-centered culture marginalized Deaf people and viewed deafness as a medical issue. The Deaf minority was forced to speak and forbidden to use sign language.\r\n\r\nSunaura Taylor, the creator of \"disabled ecologies,\" connects these issues. She says that ableism and speciesism work in similar ways. One hurts disabled people, and the other harms animals. They are tied together; therefore, we must set ourselves free together as well.\r\n<h1>Deaf gain<\/h1>\r\n<em>Liquid Tongues<\/em> is inspired by the Deaf Gain concept. In it, deafness isn't seen as a problem that needs repair or a cure. Instead, it is a culture and an identity that offers us unique perspectives and potential. Deaf Gain shows how Deaf individuals enrich our world. They bring diversity and value to everyone, including those who can hear. It highlights Deaf people's innovative problem-solving and adaptation skills. Deaf individuals live in a hearing world, so they have created unique ways to communicate. They have a strong sense of their surroundings and can process many visual cues. These skills are crucial in many areas, such as technology, design, and education. For example, a Deaf driver invented car side mirrors. TV captions were first made for Deaf people, but now everyone uses them.\r\n\r\nA big part of the project takes place in water, which shows the advantage Deaf people have there. Underwater, Deaf people can communicate freely using sign language. In contrast, hearing people can only make strange, distorted sounds. The privilege and domination of hearing people end there. This shift is a key part of the project. It shows that in the right place, voices that seem \"weak\" can reveal their true strength.\r\n\r\nThis project challenges the idea that a \"real\" language must use a voice. This belief is called phonocentrism. The philosopher Jacques Derrida claimed that it isn't \"a natural, universal rule.\" He argued it's a historical prejudice. Derrida maintained that speaking is not more important than writing. His ideas, though not about sign languages, help us see the link between spoken and sign languages. H-Dirksen L. Bauman looks at Derrida's work through <em>deaf eyes<\/em>. He shows how the focus on speech was used to push sign languages and Deaf people to the margins of society. Bauman emphasizes that we must treat sign language as a full, complete, and equal language.\r\n<h1>LIQUID TONGUES \u2014 WHAT KIND OF LANGUAGES ARE THESE?<\/h1>\r\n<em>Liquid Tongues<\/em> features the Choir in Motion (Ch\u00f3r w Ruchu), a group of Deaf and hearing performers. Together, they use both voices and sign language to interpret whale songs.\r\n\r\n<em>Liquid Tongues<\/em> is always in motion between different languages. The performance uses International Sign (IS), which is a global mix of signing systems. IS uses the whole body and facial expressions to tell a story better. Here, IS is combined with singing by both hearing and Deaf performers in certain scenes. These human sounds meet the voices of whales. Finally, the group uses movement and dance as another way to speak. Sometimes, the languages separate and each tells its own story. Other times, they unite for a powerful, dynamic mix of sound and movement. Sometimes, they \"talk\" to shape one another. All of it shows that communication is a process that people create and negotiate with each other.\r\n\r\nWhale songs and codes flow through what you see and hear in this project. The Choir performs multi-layered songs, inspired by humpback whales. The electronic sounds echo the rhythmic clicks of sperm whales. The project experiments with \"speaking sperm-whale\", based on the latest science. These experiments blend with attempts to translate whale calls into sign language.\r\n\r\nDeaf artist Daniel Kotowski collaborated with a hearing interpreter to create these translations. He relied on her visual and spatial signs, as well as choreographic tools and sound vibrations, to guide him. His goal was to turn whale sounds into a visual experience. Kotowski used facial expressions and gestures to interpret the codes and animal behavior. These are likely the first translations of their kind in International Sign (IS). In this project, \"translation\" means more than just swapping words between languages. It is a creative and critical act. A tool for imagination that invites us to look beyond ourselves and see the world in new ways.\r\n\r\nA key part of <em>Liquid Tongues<\/em> is a series of sound experiments. In one of them, the project explores how human breath and voice change between air and water. Much of the video and audio was recorded underwater. This setting shows that Deaf people can use sign language freely in the water. In contrast, hearing people can only make broken and distorted sounds.\r\n\r\n<em>Liquid Tongues<\/em> are languages that go beyond \"normal\" rules. This is the space for voices that are usually quiet. For non-verbal language systems and non-standard ways to build relationships. A space where all of them get an equal say and grow stronger. Alexis Pauline Gumbs (<em>Undrowned<\/em>) explains that they can learn how to survive from marine mammals. They learn that resistance can come from play and love. You can find it in refusal, but also in respecting each other's limits. The animals teach us how to stay on the surface together and remain \"undrowned.\"\r\n\r\n<em>Liquid Tongues<\/em> is a project about songs and singing, including signing-as-singing. But at the core, it's about listening and mindfulness. Whales were saved because their songs were finally \"heard.\" This proves that listening leads to change. In this project, listening is not just about the physical ability to hear. It is a transformative resource. It comes from being open to other voices, silences, vibrations, and \"tuning in\" to others. It is about truly hearing what is around us.\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\n<strong>Bogna Burska and Daniel Kotowski<\/strong> teamed up in 2018 for the play <em>Rebellion of the Deaf<\/em>. Burska directed, and Kotowski served as a consultant. The play was inspired by the 1988 protests at Gallaudet University in Washington, D.C. Because of these events, the first Deaf university president was appointed. The project looked at how language shapes society. It also studied universal languages and what accessibility means. After that, Burska and Kotowski continued collaborating. In 2025, they launched the <em>Rebellion of the Deaf. Renewal<\/em>. This project featured a large choir with both hearing and Deaf performers. They also appeared together in the video <em>Breathe<\/em> (2025). In it, they looked at how communication changes underwater for Deaf and hearing people. Kotowski also completed his doctoral studies under Burska's supervision at the Academy of Fine Arts in Gda\u0144sk (2021\u20132024). <em>Liquid Tongues<\/em> is their latest collaboration. In their cooperation they always focus on how people communicate despite their differences. Alongside their joint efforts, they pursue their own unique art careers.\r\n<h1>Bogna Burska<\/h1>\r\n<strong>Bogna Burska<\/strong> is a versatile artist. She works with painting, photography, video, and installation. She is also a playwright and a director of experimental films and theater. In 2025, she decided to become a performer herself. Her work explores the body, memory, and emotions. She often challenges popular culture and the way we look at the world. She enjoys blending things that are beautiful with elements often seen as \"ugly.\" Recently, she has concentrated on communication. This helps her understand our connections in changing environments. She graduated with a painting degree from the Academy of Fine Arts in Warsaw. Then, she worked at the Academy of Fine Arts in Gda\u0144sk from 2006 to 2024. She is now a professor back at the Academy of Fine Arts in Warsaw.\r\n<h1>Daniel Kotowski<\/h1>\r\n<strong>Daniel Kotowski<\/strong> is a multimedia and intermedia artist. He creates videos, performances, installations, photographs, and objects. He also directs plays. His work examines social and linguistic communication, biopower, and biopolitics. He questions social norms. He shows how hierarchies support some people and leave others behind. He describes himself by saying: \"I am a marker of incompleteness. I don't fit the norm because I am Deaf and I do not speak.\" He creates his own communication strategies and art by navigating the \"in between.\" This includes the worlds of Deaf and hearing people, as well as queer and heteronormative spaces. He got his degree from the Polish-Japanese Academy of Information Technology and the Academy of Fine Arts in Warsaw. Currently, he is preparing to defend his PhD dissertation.\r\n<h1>Choir in Motion<\/h1>\r\nChoir in Motion (Ch\u00f3r w Ruchu) is a social and experimental group. It mixes music, performance, visual arts, and spatial work. For nine years, the group developed under a different name at one of Warsaw's museums. They created musical performances, art interventions, and soundtracks for films and plays. When they lost their original home at the institution, they chose to rebuild the group as a grassroots movement. In early 2024, the Choir was reborn in its current form. It is an independently organized effort outside institutional frameworks. It stays open to new ideas and experiments.\r\n\r\nThe Choir first sang and signed for the project <em>Rebellion of the Deaf. Renewal<\/em> (2025). It was directed by Bogna Burska, with Daniel Kotowski's collaboration. In that project, the artists explored the themes of communication and accessibility. This collaboration built a special community of hearing and Deaf people. They learned from each other, even with language barriers. They performed together, using both phonic and sign languages. <em>Liquid Tongues<\/em> continues this process. It pushes the limits of how we view communication. It also reshapes our ideas about communities and worlds, including those that are more-than-human.\r\n<h1>The Polish Pavilion<\/h1>\r\nFor the last seventy years the caretaker of the Polish Pavilion has been Zach\u0119ta\u2014National Gallery of Art, the organizer of the exhibition during the 61st International Art Exhibition\u2014La Biennale di Venezia. Poland has been participating at Biennale Arte since 1932, and at the Biennale Architettura since 1991. The construction of the Polish Pavilion in Venice was financed in the 1930s by the Polish government, whose property it remains to this day. The Pavilion's mission is focused on the promotion of contemporary art, the exchange of artistic ideas and drawing attention to problems of the contemporary world.\r\n\r\n<strong>\u00a0<\/strong>\r\n<h2>The Polish Pavilion at the 61st International Art Exhibition\u2014La Biennale di Venezia<\/h2>\r\nMay 9\u2013November 22, 2026\r\n\r\n<strong><em>Liquid Tongues<\/em><\/strong>\r\n\r\nArtists:\r\n\r\nBogna Burska, Daniel Kotowski\r\n\r\nCurators:\r\n\r\nEwa Chomicka, Jolanta Woszczenko\r\n\r\nPolish Pavilion commissioner:\r\n\r\nAgnieszka Pindera, director of Zach\u0119ta\u2014National Gallery of Art\r\n\r\nTexts:\r\n\r\nEwa Chomicka, Jolanta Woszczenko, Bogna Burska, Daniel Kotowski\r\n\r\nPlain Language expert:\r\n\r\nAlicja Sekret\r\n\r\nStills:\r\n\r\n<em>Liquid Tongues<\/em>, Bogna Burska, Daniel Kotowski, 2026\r\n\r\nFeatured in the photographs:\r\n\r\nNatalia Wilk and Choir in Motion\r\n\r\nGraphic design:\r\n\r\nNoemi Markwas\r\n\r\nPress release available here\r\n\r\nWebsite: <a href=\"http:\/\/www.labiennale.art.pl\/\">Polish Pavilion Venice Official Website<\/a>\r\n\r\nFacebook: <a href=\"https:\/\/www.google.com\/search?q=https:\/\/facebook.com\/polishpavilion&amp;authuser=1\">Polish Pavilion Facebook Page<\/a>\r\n\r\nInstagram: <a href=\"https:\/\/www.google.com\/search?q=https:\/\/instagram.com\/polishpavilionvenice&amp;authuser=1\">Polish Pavilion Instagram Profile<\/a>\r\n\r\nISBN: 978-83-66979-58-1\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\nOrganizer and Financing\r\n\r\n<strong>Organizer:<\/strong> Zach\u0119ta\u2014National Gallery of Art\r\n<ol>\r\n \t<li>Ma\u0142achowskiego 3, 00-916 Warsaw<\/li>\r\n<\/ol>\r\n<strong>\u00a0<\/strong>\r\n\r\nPoland's participation in the 61st International Art Exhibition\u2014La Biennale di Venezia is financed by the Ministry of Culture and National Heritage of the Republic of Poland.\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\nPatron of the Polish Pavilion:\r\n\r\nORLEN\r\n\r\n&nbsp;\r\n\r\nMain Partners of the Exhibition\r\n\r\nPolish National Foundation\r\n\r\nPKO Bank Polski Fundacja\r\n\r\nAdam Mickiewicz Institute\r\n\r\nExhibition Partners\r\n\r\ndela.art collection\r\n\r\nGda\u0144sk Centre for Contemporary Art\r\n\r\nInstytut R\u00f3\u017cnorodno\u015bci J\u0119zykowej Rzeczypospolitej\r\n\r\nJ\u00f3zef Pi\u0142sudski University of Physical Education in Warsaw\r\n\r\nPerlage Arte Foundation\r\n\r\n&nbsp;\r\n\r\nSupported By\r\n\r\nIstituto Polacco Roma\r\n\r\nTowarzystwo Zach\u0119ty Sztuk Pi\u0119knych\r\n\r\n&nbsp;\r\n\r\nMedia Patrons\r\n\r\nPolskie Radio\r\n\r\nTVP Kultura\r\n\r\nPolish Press Agency (PAP)\r\n\r\nVogue Poland","post_title":"Liquid Tongues - accessible brochure","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"liquid-tongues-brochure-2","to_ping":"","pinged":"","post_modified":"2026-09-09 10:32:42","post_modified_gmt":"2026-09-09 08:32:42","post_content_filtered":"","post_parent":0,"guid":"https:\/\/labiennale.art.pl\/?post_type=media&#038;p=9085","menu_order":0,"post_type":"media","post_mime_type":"","comment_count":"0","filter":"raw"}}],"show_events":false,"ex_related_events":false,"show_publications":false,"header_pub":"","ex_publications":false,"ex_commissioner_title":"","ex_curator_title":"CURATORS","ex_partners_title":"","ex_team_title":""},"_links":{"self":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/wystawy\/8158","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/wystawy"}],"about":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/types\/wystawy"}],"version-history":[{"count":64,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/wystawy\/8158\/revisions"}],"predecessor-version":[{"id":9090,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/wystawy\/8158\/revisions\/9090"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/media\/8164"}],"wp:attachment":[{"href":"https:\/\/labiennale.art.pl\/en\/wp-json\/wp\/v2\/media?parent=8158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}