CCAM MIX: ground || horizons – Małgorzata Kozera
CCAM MIX (Moving Image Exterior) exhibits moving images across the façade of 149 York Street, as well as inside our Leeds Studio. At the confluence of art, architecture, and public space, the system invites passersby to pause, see everyday surroundings in new ways, and enter the building to join us in our studios.
ground || horizons
In Spring 2026, CCAM MIX is being activated with ground || horizons, a project by Guest Art Directors Tusia Dabrowska and Wiktor Freifeld (MFA, Design – Projections, David Geffen School of Drama, 2026). From mid-January to mid-April, works by invited artists working in 3D environments, live performance, etc. will be presented, created or adapted for CCAM MIX. CCAM will also hold an open call for Yale community members to present work from April 13–26. Apply to the open call here.
The next invited artist in the series is Małgorzata Kozera. Małgorzata's work Gestures. Figures. Signs. will be exhibited this and next Friday and Saturday from 5–8pm. Stop by 149 York Street—or stay for a while!
About the Artist
Warsaw-based Polish filmmaker Malgorzata Kozera creates innovative documentaries that blend various media and visual styles. In 2024, she produced her first feature documentary, Faces of Agata. The film was showcased at nearly 30 film festivals worldwide, garnering numerous awards and recognitions, including the Złoty Lajkonik at the 63rd Krakow Film Festival and a nomination for Best Documentary Film at the Polish Film Awards (Orły 2024). Kozera considers her documentary work a life practice—a personal tool for exploration, understanding, and communication, with a focus primarily on her-stories and art. She is particularly interested in the inner creative process of artists, a topic she is exploring in her doctoral thesis at the Polish National Film School in Łódź. She is a member of the Polish Film Academy and the Polish Documentary Directors Guild.
From the Artist
For last two years, I have been developing a documentary devoted to Polish artist Bożenna Biskupska, who lives and creates in Sokolovsko, a little mountain village on the Polish-Czech border. In 2007, Biskupska, now 73 years old, bought a ruined post-German castle, aiming to turn the building into a center for art and creative activities. Although the ongoing reconstruction has consumed the artist's energy and time for almost two decades, Biskupska persistently follows her vision, without slowing down in her simultaneous artistic endeavors.
The emblematic symbol of her work is the humanoid figure of the One Legged, which has appeared in her sculptures and paintings since the 1980s. Her consistent exploration of this single symbol for 40 years fascinates me as a form of resistance to a world characterized by inattention, superficial content, disposable materials, and the constant pursuit of new stimuli. Observing Biskupska's art, especially the infinitely conceived system of Demarcation of the Image 01, has become a form of meditation for me.
My video is therefore a record of both a meditative and research practice. On one hand, there is a suspension of gaze and a free flow of emotions. On the other hand, I use the camera much like researchers of nature and space use telescopes, magnifying glasses, and microscopes, trying to see and understand the nature of the entities they study. In this process, I receive assistance and support from camera operators Bartosz Szura, Małgorzata Szyłak, and Marta Stysiak. Together, we form a team of researchers and contemplatives.
We discover the entities brought into being by Bożenna Biskupska—their structure, elements, textures, and interrelationships. We dissect them and insert them into the building's windows like beetles in a display case, but without invading the body or removing it from its natural habitat. We preserve the artist's gestures and gaze: a hand tenderly touching concrete, caressing iron wires, stroking bronze. Biskupska not only knows how to effectively use these seemingly crude, heavy, and graceless materials, she also knows how to respect and love them. As a sculptor and builder reconstructing a 19th-century building, she interacts with them daily and understands their nature.
Does our practice of research and contemplation, which has resulted in this work, teach us anything new or old? For me personally, it has made me feel tenderness, as defined by writer Olga Tokarczuk—the most humble form of love, a profound concern for another being, its fragility and uniqueness. Tenderness towards matter itself. Will it be possible to hold the gaze of passersby and share tenderness?
—Małgorzata Kozera
Pictured: Still from Gestures. Figures. Signs. by Małgorzata Kozera, 2026, CCAM MIX (Moving Image Exterior), Yale CCAM, 149 York Street. Photo by Wiktor Freifeld.