Don’t Stop Staring at Me
For years, the programme of artistic residencies developed by the Wrocław Institute of Culture has focused on actions that foster cooperation with local communities and bring contemporary art into urban spaces. Artists invited to such cooperation carry out projects embedded in particular places, created with other users and responding to local needs. Such an approach makes art more accessible and visible within Wrocław’s urban fabric and offers an alternative to popular murals. We applied a similar strategy to planning this year’s artistic residencies as well. The result of this attitude is the project Don’t Stop Staring at Me, created by the Lithuanian artist Marijonas Verbel, who works daily with artistic fabric on a smaller scale.
It is the second time the leading medium has been artistic fabric, created in collaboration with a community. Last year, within the Magic Carpets artistic residency, we created a large-format tapestry titled Barbara 1965–2025, undertaken by a group of women and the local artist Olga Budzan. This time, together with Marijonas Verbel, we worked at the second venue of the Wrocław Institute of Culture – the courtyard at ul. Ruska 46, where Recepcja is located. This is where meetings, concerts and exhibitions held by the Wrocław Institute of Culture and its partners take place.
The process of creating the eight-piece installation was based on workshop cooperation with the local community. The participants of the Open Art Studios – a partner of the project – had a chance to try their hand at creating an installation displayed in a public space. The artwork is the result of six meetings during which each decision about the colour layout, composition, and the final effect was discussed with the participants. Marijonas Verbel’s attitude developed from his conviction that the value of the cooperative process of creation lies in the relationships formed during it. That is why, during the residency, he often mentioned how challenging it was to create projects that were truly collaborative, thereby fostering valuable relationships with the participants. The artist treats the process as a space for negotiation, listening to and trusting one another, in which every member becomes a co-author of the project. His attitude stands out for its mindfulness and empathy toward the people he works with.
The starting point for the installation was the practice of cooperative weaving cargo straps – a material that allows for the construction of extensive structures that blend into the existing architecture. The repetitive rhythm of weaving, grounded in precision and mathematical rules, quickly became a shared language among the participants. Each braid strengthened not only the construction of the object, but also the sense of joint responsibility for the final form. The participants knew that the final project would be revealed at the community-wide celebration, which intensified their creative motivation.
The decorative character of the installation was intended to bring joy to creating and being together, as well as to foster a sense of agency in the development of urban projects. That is why a key element of the project was adapting the installation to the courtyard’s architecture: neon lights, colourful decorations, and artistic interventions that were already in place. The emerging object was designed in a close dialogue with the existing space. The subsequent stages of the project were regularly discussed with the community, and the design evolved in response to new ideas. The trust-based relationships with the artist, the coordinator, the curator, and the participants enabled a solution that naturally fit the venue’s character. A crucial role in the whole process was played by Magdalena Gołda, a representative of the Open Art Studios, who, as a member of the community, coordinated cooperation among people working at ul. Ruska 46. Her engagement, knowledge of local relations, and daily work for the integration of the community allowed for the creation of an open and cooperative atmosphere. She was the person who encouraged people to participate in the project, supported communication between the artist and the community, and co-created the conditions needed to carry out the initiative.
The collective character of the work also culminated in a symbolic gesture of the community collectively giving the installation its title. At the meeting summarising the project, the participants came up with the title Don’t Stop Staring at Me, which emphasises the object’s presence in the courtyard space and its relationship with viewers. The installation was officially revealed at a celebration with the community of ul. Ruska 46, becoming a fixed point in the courtyard. The residents and patrons warmly welcomed the project. The object, placed in the courtyard, became not only a new architectural element but also a material marker of cooperation and agency. Don’t Stop Staring at Me shows that participatory art can leave a permanent form, strengthen social bonds, and build a sense of joint responsibility for shared space.
Installation creators:
Agata Statkiewicz, Aleksandra Omelchuk, Anastasiia Makara, Diana Sorochynska, Elżbieta Żędzian, Emilia Wallis, Gama Wojak, Iwona Burmistrzak, Lilia Ivasenko, Magdalena Gołda, Magdalena Stachowiak, Małgorzata Berkowska, Małgorzata Biegańska, Marijonas Verbel, Miraslava Babich, Natalia Staniszewska, Nika Lieskova, Nikita Odosovskyi, Nikola Siwik
Partner: Open Art Studios
Curator: Paulina Brelińska-Garsztka
Coordinator of Wrocław Institute of Culture: Jutrzenka Duchnowska