The research\u2013choreographic residency is conceived as a shared space of exploration, centered around the notion of \u201cmasculinity after patriarchy.\u201d<\/em> We understand it not as a reaction, a correction, or an attempt to \u201cfix\u201d something, but as an open question: what forms of presence, care, and relations between men might emerge beyond the logic of power, domination, and hierarchy?<\/p>\n\n\n\n Our point of departure is the concept of discord<\/em>, understood as tension and fragmentation\u2014not as a problem to be solved, but as a field of attentiveness in which new qualities of being together may arise.<\/p>\n\n\n\n We aim to create space for difference and the non-homogeneity of the experiences of three men, grounded in themes that are important to us: masculinity, queerness, and migration\u2014without the need to separate them, standardize them, or close them into stable forms. We consciously move away from the pressure of outcomes, linearity, and academic hierarchy, treating fragmentation, intuition, and unreason as fully valid elements of the creative process.<\/p>\n\n\n\n Miko\u0142aj Karczewski<\/strong><\/p>\n\n\n\n Miko\u0142aj Karczewski (he\/him<\/strong>)<\/strong> is a dancer and choreographer working in Poland and internationally. His practice moves between different working systems\u2014dance, theatre, and opera\u2014focusing on spaces of encounter free from hierarchy and the dominance of a single language. For him, movement is both a tool of communication and a way of returning to the body, attentiveness, and the pleasure of inhabiting it.<\/p>\n\n\n\n As a performer, he has collaborated with many acclaimed directors and choreographers, including Cezary Tomaszewski, Magdalena Piekorz, Monika Strz\u0119pka, Mateusz Paku\u0142a, J\u0119drzej Piaskowski, as well as Colleen Thomas Young, Joe Alter, Elisabetta Consonni, and Rachel Erdos.<\/p>\n\n\n\n Since 2016, he has also been working as a choreographer in drama theatres and opera houses. In recent years, his work has been presented internationally, including in Switzerland\u2014in the six-hour finale of Wagner\u2019s G\u00f6tterd\u00e4mmerung<\/em> (Twilight of the Gods<\/em>), directed by Ewelina Marciniak at Theater B\u00fchne Bern\u2014as well as in productions such as Z\u0142ote P\u0142yty<\/em> at Teatr Capitol in Wroc\u0142aw, My Year of Rest and Relaxation<\/em> in Graz, Puppenhaus. Kuracja<\/em> at TR Warszawa, and Salome<\/em> at the Residenztheater in Munich.<\/p>\n\n\n\n Since 2012, he has been closely connected to the Danish dance scene. For 14 years, he collaborated with choreographer Palle Granh\u00f8j and the company Granh\u00f8j Dans, performing in seven productions, four of which received the prestigious Reumert Award for Best Dance Performance of the Season. For his role as the Charlatan in Petrushka \u2013 Extended<\/em>, he was nominated for Best Dancer of the Year in 2016. Together with the company, he has toured in 49 countries worldwide, and with his solo project Stone-Face-Book<\/em>, he represented Denmark twice at the Edinburgh Festival Fringe in 2022 and 2023.<\/p>\n\n\n\n In 2020, he began collaborating with another prominent Danish company, DON GNU. For his performances in two of their productions, he received a nomination for Best Dancer of the 2023 season, awarded by CPH Culture.<\/p>\n\n\n\n He is a recipient of the Polish Ministry of Culture and National Heritage\u2019s Young Poland<\/em> (M\u0142oda Polska<\/em>) scholarship (2020), within which he created his first original work, Cornerstone<\/em>. Between 2013 and 2021, he also worked as a lecturer in contemporary dance at the Faculty of Dance Theatre (PWST WTT) in Bytom.<\/p>\n\n\n\n Piotr Stanek<\/strong><\/p>\n\n\n\n Piotr Stanek<\/strong> is an actor, dancer, choreographer, and performer. He graduated from the Stanis\u0142aw Wyspia\u0144ski Academy of Theatre Arts in Krak\u00f3w, Faculty of Dance Theatre in Bytom. He works as an independent artist across theatre, choreography, film, and opera. He is a recipient of a cultural scholarship from the West Pomeranian Voivodeship.<\/p>\n\n\n\n He created the choreography for the opera Ariadne auf Naxos<\/em>, directed by Mariusz Treli\u0144ski at the Grand Theatre \u2013 Polish National Opera in Warsaw, as well as for the musical Groundhog Day<\/em> at Teatr Capitol in Wroc\u0142aw, directed by Marcin Wierzchowski. He collaborates with Teatr Dada von Bzd\u00fcl\u00f6w, Teatr O.de.la, and the Sticky Fingers Club collective. In recent years, he has also worked with, among others, Leszek Bzdyl, Simon Basani, Joe Alter, Marek Christopher Klee, Marta Bury, Dominika Knapik, Maciej Gorczy\u0144ski, Cezary Tomaszewski, Katarzyna Minkowska, Dominik Wi\u0119cek, Daniela Kom\u0119dera, and Marysia Stok\u0142osa.<\/p>\n\n\n\n Productions featuring his work have been presented internationally, including in New York, San Diego, Tijuana, Kiel, Brussels, and Osaka.<\/p>\n\n\n\n In collaboration with other artists, he creates original projects such as Scores for Yearning. The Concert<\/em>, Imaginary Archive<\/em>, the solo performance Arizona<\/em>, The Amazing World of Ob\u0142oczek<\/em>, and SONNETS \u2013 The Age of the Hypochondriac<\/em>. He co-created the choreography for the concert Walpurgisnacht<\/em> as part of the Opera Rara Festival 2024. He also assisted in the creation of choreography and performed in the films The Peasants<\/em>, Winterreise<\/em>, and The Ugly Stepsister<\/em>.<\/p>\n\n\n\n Konrad Kurowski<\/strong><\/p>\n\n\n\n Konrad Kurowski (he\/him)<\/strong> is a dramaturg, curator, and facilitator of artistic processes affiliated with the Centre for Culture in Lublin. In his practice, he combines somatic work with reflection on the social dimensions of care.<\/p>\n\n\n\n From 2014 to 2023, he was a member of the Lublin Dance Theatre, and in 2023\u20132024 he co-created the curatorial team of Lublin as the European Capital of Culture. He has also worked in the Accessibility Team as well as the Team for the Prevention of Abuse and Discrimination.<\/p>\n\n\n\n Since 2020, he has been developing an original movement-based practice focused on embodying and exploring the phenomenon of care. Its artistic manifestations include the choreographic works Exercises in Being, Looking, and Acting<\/em> (Galeria Labirynt, 2021), WORK IT!<\/em> (Przestrzenie Sztuki, 2021), and Syzygium. Practices of Active Hope<\/em> (Warsztaty Kultury, 2023). Together with Miko\u0142aj Karczewski, he co-creates Strefa P\u00f3\u0142cienia<\/em> (Penumbra Zone<\/em>), a series of dance workshops for blind and visually impaired participants (2024\u20132025).<\/p>\n\n\n\n As a dramaturg, he collaborates with artists including Miko\u0142aj Karczewski, the Sticky Fingers Club collective, Elisabetta Consonni, Marta Wo\u0142owiec, Piotr Stanek, Olga Bury, Joanna Wo\u017ana, and Magdalena Kowala. The performance Glory Game<\/em> (choreography by Dominik Wi\u0119cek), for which he created the dramaturgy, was selected among the twenty best performances of 2025 by the European network Aerowaves and was distinguished by the Polish Dance Platform 2026.<\/p>\n\n\n\n He has curated the International Dance Theatre Meetings in Lublin and co-created dance initiatives such as Przestrzenie Sztuki Lublin<\/em>, the Polish Dance Network<\/em>, the Przestrze\u0144 Wsp\u00f3lna<\/em> collective, and Aerowaves<\/em>. He holds a degree in cultural studies. Privately, he is an activist for human rights and for queer and neurodivergent communities.<\/p>\n\n\n\n ***<\/p>\n\n\n\n Co-financed by the Minister of Culture and National Heritage from the Culture Promotion Fund \u2014 a state special-purpose fund \u2014 as part of the \u201cDance\u201d programme, implemented by the National Institute of Music and Dance.<\/p>\n\n\n\n![\"\"](\"https:\/\/nck.krakow.pl\/kcc\/en\/wp-content\/uploads\/sites\/4\/2026\/01\/portret-karczewski-487x1024.jpg\")
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