XXIV WROCŁAW INDUSTRIAL FESTIVAL

Stefania Pedretti  has lived in Milan, Berlin, and Ravenna, where she currently resides.
A musician, performer, and artist active since 1998. She is the co-founder of the noise duo OvO with Bruno Dorella and the Allun collective with Natalia Saurin. She started her solo project Alos in 2003.
With over a thousand concerts performed (6 albums as Alos and 10 albums as OvO), she has played in Italy, Europe, the United States, Canada, Russia, China, Vietnam, and Mexico.
From 2015 to 2024, she collaborated as a musician/performer and Music Producer with Swedish theater director Markus Ohrn on the Azdora project, a site-specific production at the Santarcangelo Festival curated by Silvia Bottiroli.
From 2017 to 2019, she was the music curator, alongside Francesca Morello, for the Santarcangelo Festival, the historic Italian contemporary theater festival. During this period, the festival had Eva Neklyaeva and Lisa Gilardino as artistic directors.
In 2021, the collaboration between contemporary dance company Gruppo Nanou and OvO began with the project Canto Primo.

Unlike many repetitive, almost banal projects that exploit the area of power electronics, Am Not immediately draws the listener’s attention with its quality. The success of the project headed by Tamon Miyakita consists in the awareness of the medium, proper proportions, and accuracy – qualities which are quite rare in the sphere of radical power electronics. Am Not made its début in 2010 in London, under the wings of Unrest Productions, a label specializing in this genre. First Morbid Vibrations and Unpunished were an original offering that went beyond the mould that probably anyone who speaks the language of noise has to fight. Am Not is a skilfully composed, carefully dosed display of anger and ideological opposition. An inherent ingredient of the live act is video montages devoid of chance and nonsense. The result is a solid and shallow-free explosive audiovisual material. The output of Am Not can be situated close to projects such as Anenzephalia and Genocide Organ. Hermann Kopp himself appears on the last cassette, entitled Incursions. [ws]

Ancient Methods, the founder of the Persephonic Sirens Label, has cemented his status as a steadfast presence within the electronic music sphere for nearly two decades. His venture embodies an unyielding and resolute passion for otherworldly, multifaceted music, underpinned by his distinctive “pitch black techno war funk.“  The project emblem, the fall of Jericho, is more than a symbol; it represents Ancient Methods’ firm conviction that innovation arises from breaking down barriers. This approach is perhaps most apparent in his kaleidoscopic DJ mixes, which use techno as a mere transmitter to celebrate the wide spectrum of musical diversity. This take is also evident in his numerous remixes, including those for Yello, The Soft Moon, Wishmountain, or Die Wilde Jagd: Industrialized beats embrace synth-pop, dark wave melodies, trans-traditional kraut- and experimental folk elements. Similarly, his collaborative endeavors with Regis, Orphx, and Cindytalk seamlessly navigate across diverse auditory realms while preserving his defining musical imprint. His versatility is also evident in his performances, which range from Berlin’s local venues such as Berghain, RSO, and Tresor to global festivals the likes of ADE, Atonal, Dekmantel over Maschinenfest, and WGT all the way to Monegros and culminating in his residency at the hallowed Khidi Club. In seeming contradictions, Ancient Methods embodies a sonic journey that touches the soul with mechanical music and stands as a perpetual force of nonconformist renewal, unconcerned with fleeting fashions.

Although William Bennett has proven himself chiefly as one of the founders of the (in)famous group Whitehouse, the fathers of the whole power electronics aesthetic, currently his main vehicle is Cut Hands – a product of his fascination with the Haitian voodoo, in which the core sound is created with traditional percussion rhythms from Central Africa presented in a radically novel manner. Inspired by the ritualistic sounds of this syncretic religious system, where musicians had the ability of creating powerful music without any technology, the artist in fact originated a new genre, which was given the name of afro noise (such as the title of one of Cut Hands releases). The project, whose name was taken from one of Whitehouse’s tracks entitled Cut Hands Has the Solution, introduced a new quality not only to the industrial music scene but also to techno and other dance oriented genres. Few projects can boast such a unique and original sound, and it’s very hard to find music with such powerful intensity, both physically and emotionally.

Düsseldorf is undoubtedly one of the pioneering projects in EBM stylistics in Poland. Started in 1989 in Katowice by a singer Adam Białoń and a keyboardist Adam Radecki, the group were an expression of their fascination with experiments in style of early Kraftwerk, Cabaret Voltaire and Front 242. Making music was only a departure point. Later emerged ideas for happenings of typically industrial character, taking place in industrial buildings. What dominated there – apart from voice and spoken manifestos – was the music of machines, “played” live and being 100% acoustic (i.e. gears, wheels and other mechanisms that make sound). In addition to performing, the group published leaflets, experimented with photography and recorded a lot of studio music, gradually departing from the initial assumptions of primitive, spontaneous industrial rhythm and sound. In 1993 the band went on hiatus to realize themselves in different projects. After a 20-year break, Düsseldorf have been revived.

Labeling the band as EBM is an oversimplification – in their music one can hear echoes of new wave and early industrial, completed with Suicide’s synth-punk rhythm, minimalistic and aggressive beats associated with DAF, march-like energy bringing to mind works by Laibach, poesy of lyrics in the spirit of Soft Cell, and all of that flavoured with very punk motility. Düsseldorf are a synthesis ad quintessence of what was most interesting about postindustrial music of the 1980s.

Galaxy of Flesh (Galaktyka Mięsa) is a sound-visual duo operating at the intersection of experimental music, performance, and post-internet body horror. The artists come from Wrocław’s independent scene and co-founded the label Ubocze, through which they consistently redefine the boundaries of sonic narration within the context of contemporary auditory practices. Their work addresses themes of corporeality, transformation, alienation, and ritual in a world of degraded everyday life. They create alternative languages of expression inspired by the aesthetics of early sci-fi, glitch art, and the absurdities of corporate culture. Their recording debut, Galaxy Of Flesh OST (2023), was conceived as a soundtrack to a non-existent film—an AI-generated piece whose visuals serve both as point of departure and a constellation of references for the entire project. In 2024, the duo released their second full-length album, Lejek bólu (The Funnel of Pain), through Zoharum and Ubocze Rec. The album is an amalgam of post-industrial, krautrock, and electronic avant-garde, layered with texts and vocal samples from films and radio plays that revolve around themes of pain, decay, and spiritual surgery. Galaxy of Flesh’s live performances are performative rituals—audio-visual ceremonies where raw beats, repetition, and vocal expression collide with filmic collages assembled from commercials, documentaries, and forgotten monsters of cinema.

Hastings of Malawi were formed during industrial music’s nascent period in 1980s London. They sit on the fringe of the industrial genre carving out a space for themselves within the more experimental corners of the scene. Their work challenges the tedious, peurile, repetitive beats that populate the insipid sonic environment that is popular music.

Theirs is an anti music of eclectic diverse elements – they follow their own rules.

They have been variously described as dada, underground, industrial, post-industrial, musique concrete, DIY, punk, countercultural, anti-melodic, scrappy, abstract expressionist, fluxus, surreal, futurist, post-modernist, avant-garde, provocative, improvised, experimental, dissonant, cerebral, mechanical, immersive, disorienting, handmade and rough.

They create low-resolution, lo fi, dissonant sounds that they have described as films without light and poems without words, and that others have described as untrammelled, explorative madness with an uncompromising artistic vision.

They create music out of old records, computers, custom-built sound machines, telephones tape manipulation, distortion, found sounds, machinery, spoken-word and telephone switchboards.

Describing one of their albums Wire magazine wrote “Rarely has an album so consistently made me question what the actual fuck is going on”

The Dresden duo Heimstatt Yipotash was founded in 2001, has been permanently based at the Dortmund scene label HANDS Productions since 2004 and has given over seventy concerts during its ongoing career. In addition to many club gigs their live history also includes appearances at the major German festivals of the scene (Elektroanschlag, Forms of Hands, Maschinenfest, NCN Festival, Noize Of Live, Wave Gotik Treffen), as well as at festivals abroad like Infest (UK) and Shadowplay Festival (B). Musically, the band most likely belongs to the genre „Experimental / Rhythm Noise“. However, Heimstatt Yipotash have always experimented with elements of other musical genres and reinvented themselves from release to release. What remains constant in their work is the largely rhythmic and danceable interpretation of their unconventional mixture of rhythm noise, industrial, drum’n’bass, techno, dubstep, breakbeats and often the use of deliberately „unconventional“ samples and sounds.

Hermann Kopp started making music in the late seventies of the XX century but he only reached a broader public in the eighties when he participated in the soundtracks of Jörg Buttgereit’s films Nekromantik and Der Todesking. In the nineties he exiled from Germany and remained far from the public eye until the label Vinyl On Demand rediscovered him and released two albums with his music. He then became one of the artists of the German industrial label Galakthorrö which wrote about him as follows:“Hermann Kopp plays Angst melodies of godlike beauty. The sounds of horror to perfection: Not just on the violin – alongside mallets, and all sorts of unusual instruments – electronics play a great role in Hermann Kopp’s musical happenings. Synthesizer, vocoder, theremin, loops and sound design – genially combined with the transporting rhythms of delicately clattering metal percussion. Mixed all together, sometimes also with vocals, it becomes a form of industrial-music which stands on its own merits.”

Job Karma treats industrial as a starting point for artistic freedom, exploration and unlimited experiments. As a codeword which involves industrial noise, elaborate, multilayer ambient as well as dance beat. The principle behind the music of Job Karma was always: no limits. A distinctive, immediately recognizable aspect of Job Karma’s music is the sound created from age-old low and high frequency generators and oscillators, sine waves. Unique sounds of devices, which were not originally designed to be musical instruments, links with modulated by timbres of old analog synthesizers. The pieces are constructed on loops, timbre spots, blends and sequences. The integral element of Job Karma’s tracks are samples discovered in the archives and those recorded by the sound artists themselves, on different continents. Mostly in North Africa and Asia Minor. In trance forms, rituals of vision and sound, Job Karma’s music work joins urban primitivism and reflects cyivilisation overload. The project debuted in 1997 as a duo formed by Maciej Frett and Aurelisz Pisarzewski, with permanent collaboration of a visual artist Arkadiusz Baginski, enriching their concerts with video projections of his auteur films. Musical activity comes along with popularisation activity. The members of Job Karma are also the curators of the festival we are attending now

John Duncan has lived and worked in Los Angeles, Tokyo, and Amsterdam, currently based in Bologna. His creative activity remains highly influential in the arena of contemporary music and art, with a pivotal role in the development of experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. He has also produced a number of audio works, many of which incorporate found sounds, shortwave radio signals and field recordings. Over the years, his work has become increasingly focused on spirituality, ritual, and the subconscious mind.

Active for almost 30 years, MOAN is a one-man project for which Rafał Sądej is responsible. Although his work is mainly described as industrial ambient, Sądej often experiments with musique concrète, drone or noise. Computer manipulation of field recordings, classical instruments or found objects plays an important part in MOAN’s compositions, giving his music the characteristics of acoustic sound and digital coldness.

In addition to several solo releases, MOAN’s discography includes collaborations with Genetic Transmission (“Collaboration 1”, “Dedicated to Luigi Russolo”), Dead Factory (“Onset of Oblivion/Abandoned Heritage”), Innovative Landscapes Laboratory (“Caught in Time”) plus remixes of songs for, among others, WHALESONG, BISCLAVERET, PALSECAM and C.H. DISTRICT. Rafał Sądej was also a co-founder of the Hated Bruit Kollektiv project.

Apart from creating his music as MOAN, he is also involved in production and mastering for other bands associated with labels such as Zoharum Records or Sublime Retreat.

MOAN has performed in numerous concerts in Poland, the UK, Ireland, the Czech Republic and Germany, both as part of festivals (Wroclaw Industrial Festival, Temple of Silence, Prague Industrial Festival) and in intimate and unusual places such as an abandoned church, a zinc mill museum, a Napoleonic fort or in a cave at Ballintoy Harbour.

MOAN’s performance at the XXIV edition of Wroclaw Industrial Festival will be his third, and a recording from the first WIF edition (in 2001) is documented on the album “Live in Wroclaw”.

Mono No Aware started in autumn 1995 by Leif Künzel as a solo project and self released a tape in early 96. From 99 to 2002 Stefan Böhm (Nullvektor and S.I.N.A.) supported L.Künzel. In End of 1999 Hands Productions signed mono no aware and 11 albums and countless tracks on compilations released since that.

The sound is basically best to describe as beats and noises, often with several layers of sounds which results is polyrhythmic structures. 

Live shows by mono no aware are often a very emotional experience that lives from a constant exchange of both sides of the stage.

NAJAKOTIVA was formed in Warsaw’s Żoliborz district in the first half of the 1990s by teenagers with classical musical education. With roots in the hardcore punk scene, under the influence of their fascination with sounds bordering on acid rave and industrial avant-garde, they swapped distorted guitars for glitchy sounds from Amiga and Atari computers.
The phenomenon of NAJAKOTIVA was the addition of a cello and a violin to the line-up, creating unique sound together with computers and samplers. The band’s initial activity was based on musical and psychedelic spontaneous home sessions, during which subsequent albums were recorded. NAJAKOTIVA’s work, stemming from electro-industrial roots, was firmly rooted in the chaotic and threatening reality of the mid-90s and rave culture – acid sounds, breakbeats processed by mutiple effects, dark ambients and disturbing synth backgrounds met with repetitive loops played by the string section, reminiscent of minimalist film music in the style of Phillip Glass or dark folk from unspecified steppe areas of the globe, somewhere between Romania and Mongolia. In 1995, the band began to actively perform in Warsaw and its surroundings. Its base was the already legendary Tęcza cinema – theater.
NAJAKOTIVA’s live acts were multimedia performances, during which televisions were smashed with hammers, and at other times, a car was seen being cut apart with saws on stage. The band’s activities could be seen at the Centre for Contemporary Art in Warsaw, but also in illegal squatter locations at underground rave parties. In the basements of the Warsaw Academy of Music, where the band’s musicians studied sound engineering.
NAJAKOTIVA recorded two albums that never saw the light of day… until 2025. After thirty years of activity (with breaks), on the occasion of the first ever release of NAJAKOTIVA’s archive recordings by Requiem Records on the double album 993/998, the band resumed its concert activity as a quartet – electronics, synthesizers, cello and live drums.

Ordo Rosarius Equilibrio (ORE) is a haute couture apocalyptic pop group originating from Sweden.

The band is composed of its founding member and vocalist Tomas Pettersson, and his muse in arms Rose-Marie Larsen.

The band’s musical style has been described as “pop music for the non-conformist”, but with period of musical activity that spans from 1993 until today, Ordo Rosarius Equilibrio is so much more.

In their strident, contemplative, or sombre lyrics, Ordo Rosarius Equilibrio combines philosophical and conceptual  polarities, such as “creation and destruction, dark and light, joy and sorrow, sex and war, love and indifference” and on and on, allegedly incompatible subject that congregate and start to make sense in the universe of Rose and Tomas.

Come, behold and partake in the orgies of roses and equilibrium.

Uncompromising attitude filled with punk rebelliousness and heavy rhythmics electronics – this is the best decription of Portion Control, warhorses of british industrial scene. The band calls its music style electropunk or hard rhythmic electronics. They have been honored and name checked by the likes of Depeche Mode, Skinny Puppy, Front Line Assembly, Nine Inch Nails among others and also as being responsible for sound tracking the entire cyber-goth genre, and helping craft early techno. The energy, dynamics, creativity and immediacy of Portion Control does not waste any time getting right to the point. After all this years since their beginnings in 1979 music of the project is still fresh and powerful. Their songs, incorporating drum’n’bass, electro, noise and ambience are still unequalled standard in merging of experiment with non-pop dance music. This lasting for over 40 years living legend is one of the most important milestones on the path of industrial movement and connected stylistics of electronic music.

Schloss Tegal’s music delves deeply into unsettling and thought-provoking themes, ranging from psychological disorders and occult practices to cryptic government experiments and supernatural phenomena. Their work combines aural aesthetics with intellectual depth, creating soundscapes that challenge listeners to explore the unknown. They successfully merge dark ambient textures with disturbing audio samples, creating a haunting and  deep ark atmosphere. Their music is often described as cinematic psychogenics, like witnessing a car accident or horrifying event with each track unfolding like a scene from a cosmic horror film or dystopian narrative blending field recordings, modular synthesis, and manipulated samples to construct their unique sound. 

   Schloss Tegal’s music is not for casual listening—it is an invitation to journey into the unknown, to confront the uncanny, and to explore the limits of perception. Whether through their albums, live performances, or conceptual projects, Schloss Tegal continues to push the boundaries of experimental music, cementing their place as one of the most innovative and enduring acts in the genre.

The french musician-performer Shantidas, guitarist of Aluk Todolo (who played the WIF XII) come back with his “Requiem pour un caddie” !
Chained to the cart, he battles it head-on with a dystopian soundscape of drones.
Using sound as a weapon, this absurd fight turns into a symphony of noise, chanting the death of capitalism in pain and fire.
Who will win, who will pay ?

Slow Slow Loris uses voice and electronics to play avant garde industrial noise melodies. Their songs explore the intersections where melody meets noise, emotional meets avant-garde, feminine meets industrial, and raw meets craft.

They have released albums on Cloister Recordings, Zaetraom, & Staaltape and have toured in Europe, Russia, and the USA. They are currently based in both Berlin, Germany and NC, USA.

They named themselves after an endangered species, an animal that symbolizes certain aspects of our society that are also endangered such as the feminine, the sacred, and the supernatural.

“The animal slow loris is believed to be the gatekeepers for the heavens and is used in traditional medicine to ward off evil, but a slow loris is continually seeing ghosts, that is why it hides its face in its hands.”

The Navigator of Chaos delivers a performance using three modular systems in live mode, crafting a complex sonic tapestry where control and chaos coexist in an ongoing state of flux. Each element, from ethereal ambient passages and vocals to monolithic synthesizers, is designed to evoke a sense of perpetual transformation.

SLPWK endeavors to dissolve the boundaries between technology and mysticism, with the music serving as a medium for transcendental and ritualistic experiences

Formed in the early 1980s in the UK, Test Dept is regarded as one of the pioneering forces of ‘industrial music’, recognised for their ground-breaking sound and powerful performances. Their fearless and confrontational approach pushes the boundaries of music, art and protest, exploring themes of politics, social issues, and activism.

They are renowned for their innovative use of found objects, scrap metal and industrial detritus as instruments. Their unique blend of aggressive percussion, industrial noise, distorted samples and experimental soundscapes creates a visceral and immersive experience that reflects their commitment to challenging the status quo and seducing the listener into critical reflection.

In 1984 they ventured into the industrial communities of Britain performing live withthe South Wales Striking Miner’s Choir, raising money and awareness for that cause. This collaborative instinct led to the formation of The Ministry of Power an umbrella organisation for working collectively on multidisciplinary projects integrating music, movement, theatre, film and political activism, to create large scale multi-media productions in disused industrial spaces and unusual found environments.

Test Dept envisioned themselves as part of a broader cultural movement exploring the intersection of art and social change. Never standing-still, always evolving, TD are auditory explorers. Their powerful presence combines raw energy with thought-provoking visuals, creating an immersive and politically charged experience that resonates long after a performance ends. In 2014 they re-surfaced as a live entity, and published the comprehensive book Total Sate Machine a chronicle of the history, philosophy and work of Test Dept in 2015. They released the Disturbance album in 2019, incorporating their early industrial steel with expansive electronic production and touring with a new line up. In 2023 they were commissioned by the arts organisation A/POLITICAL to create a new large-scale work Furnace at an old iron foundry in southern France, this is an active relationship with new works in the pipeline.
So, 2025 sees new plans being hatched including a step back into performing at WIF . They re-emerge now as an electronic duo remixing early TD tracks alongside new material. Expect their ordered cacophony to generate an oasis of sense and reason from the madness that surrounds us all. Their commitment to addressing social and political issues through their music – support for activism, dissent and freedom of speech – is in their blood. Their spirit remains undaunted and their vision frighteningly focussed, bold and uncompromising.

What is the meaning of the word juggernaut? It is a literal or metaphorical force regarded as mercilessly destructive and unstoppable, an unstoppable antagonist, an unbeatable opponent; it is large, overpowering, destructive force or object, one that destroys or that demands complete self-sacrifice. You can imagine that a music project that took this name does not offers easy listening. Musicians behind Belgian act The Juggernauts say: Don’t expect us to play acoustic guitars, flutes or bagpipes and we will also not claim we have come up with a brand new style and sound. This declaration is a pure truth and is reflected in compositions of Borg (from The Klinik and Vomito Negro) and Glenn (Radical G.). Almost complete lack of melodies, accent on extremely strong rhythmics, cold and precise machine beats – The Juggernauts with their uncompromising attitude are one of the most radical EBM acts.

Thorofon, German industrial/power-electronics project, was founded by Daniel Hofmann (known also as Anton Knilpert) in 1995 with support of charismatic vocalist Geneviève Pasquier. The project stood in the artistic and musicial tradition of Throbbing Gristle and SPK, but soon developed an own easy-to-recognize style. Their prolific career in the international post-industrial scene began with Maximum Punishment Solutions back in 1997. With Anton Knilpert & Geneviève Pasquier being the coremembers of Thorofon, they worked regularly with guests musicians like Julius Gospodard & Tikki Nagual amongst others. Thorofon transformed into The Musick Wreckers at the end of 2005 while Knilpert changed his artist name into Dan Courtman. Thorofon reformed in late 2010.

Shock Factory will be presented during the 2025 edition of the Wrocław Industrial Festival, with the members of Test Dept. This event will be an opportunity to explore Test Dept. historical works, featured in the book, as well as the artists’ more recent productions. The discussion will be followed by a Q&A session with the audience.

Shock Factory: The Visual Culture of Industrial Music
Description: 

Industrial music appeared in the mid-1970s, and far from being a simple sound experimentation phenomenon, it quickly spawned a coherent visual culture operating at the intersection of a multitude of media (collage, mail art, installation, film, performance, sound, video) and initiated a close inspection of the legacy of modernity and the growing, pervasive influence of technology. 

Originally British, the movement soon outgrew Europe, extending into the United States and Japan during the 1980s. The sound experiments conducted by industrial bands – designing synthesizers, manipulating and transforming recorded sounds from audio tapes, either recycled or laid down by the artists – were backed up by a rich array of radical visual productions, deriving their sources from the modernist utopias of the first part of the 20th century. Such saturated sounds were translated into abrasive images, manipulated through the détournement of reprographic techniques (Xerox art), that investigated polemical themes: mind control, criminality, occultism, pornography, psychiatry and totalitarianism, among others. 

This book introduces the visual and aesthetic elements of 1970s and 1980s industrial culture to a general history of contemporary art by analysing the different approaches taken and topics addressed by the primary protagonists of the movement, who perceptively anticipated the current discourse concerning the media and their collective coercive power. 

Author Bio: 

Nicolas Ballet is an art historian and attaché de conservation in the New Media Department of the Centre Pompidou in Paris, France. He is the author of books and articles exploring the visual and sonic contributions of countercultures and experimental artistic practices. In 2023, he curated the exhibition “Who You Staring At?” Visual Culture of the No Wave Scene in the 1970s and 1980s at the Centre Pompidou. He is currently leading a research project for the Centre Pompidou on pro-sex perspectives in art, from the 1960s to the present. 

Endorsements: 

“Nicolas Ballet’s in-depth analysis and comprehensive research provides a valuable insight into the objectives, attitudes and motives behind the imagery used by exponents of the many forms of industrial music.” – Cosey Fanni Tutti 

“Most publications concerning industrial music dealt with the old cliché of sex, drugs and rock ’n’ roll. For sure there was sex and drugs but rock ’n’ roll was the enemy. So I’m very happy with this very deep dive into the iconography of industrial music. It will give you a much better understanding of what it was/is all about.” – F.M. Einheit 

“If future generations really want to know how it happened, they will now be able to explore the dopamine darkness of this extraordinary history.” – Graeme Revell 

“This book is a thoroughly researched catalogue of ideas, suggestions, gestures, all intended to push existential issues to the front of your mind. To act on them, to truly explore your own. Z’EV sums it up: ‘it’s about being.’” – John Duncan 

“BLACK CELEBRATION

From Nature to Abstraction

Black immediately raises the question of light, since it is only in its presence that black reveals itself. To celebrate black is to celebrate light. Black is also the night—a time of dreams, visions, and the exploration of the boundaries of consciousness.

Galerie L’Escalier, located in France, presents an exhibition/dialogue between Jolanta Anton and Patrick Rimond… featuring Jolanta’s graphics, where white plays upon black, alongside Patrick’s photographs, for example from his Hypnagogies series—experimental images that lead us into the inner city, down to the depths of a railway excavation. »

venue: Oficyna Graficzna TYSZKIEWICZ, 6 Sw Antoniego street

open:
Tuesday
11:00am – 6:00pm
Wednesday
11:00am – 6:00pm
Thursday
11:00am – 6:00pm
Friday
11:00am – 6:00pm
Saturday
12:00pm – 7:00pm
Sunday
12:00pm – 7:00pm

ZPAF Gallery, ul Świętego Marcina 4.
opening: 16.10. Thursday. 17:30h