:::::::::

LEGAL

Wednesday, January 28, 2026

Shelters of the Unseen: Spatial Memory, Displacement, and the Poetics of Concealment in Yuriy Biley’s Post-Artistic Interventions – Mapping invisible geographies beneath a city’s skin, Biley's spaces of refuge become poetic infrastructures of communal resilience -


In a unique reactivation of architectural remnants beneath Wrocław’s Plac Grunwaldzki, Ukrainian artist Yuriy Biley transforms disused post-war shelters into living documents of displacement, intimacy, and resistance, reclaiming obscured spaces through the multi-layered performativity of art that is both site-specific and emotionally visceral; curated within the framework of the Magic Carpets platform by an international team, the project SHELTERS, COVERS, SLITS—It’s somewhere further away. Don’t worry. Now closer, even closer becomes not only an aesthetic journey but a topographic excavation into how urban trauma is silently archived underfoot, where Biley’s decision to activate the shelter under his own tenement on Maria Skłodowska-Curie Street—through collaborative design, technical adaptation and filmic documentation—proposes a communal architecture of shared vulnerability that doubles as a socio-political proposition for future crises; in juxtaposition, the additional sites at Kacprzak Park and under the Medical University’s Faculty of Health Sciences function as counter-monuments, inviting the public to navigate and reclaim invisible infrastructures of refuge, framed through the metaphorical triad of shelters, covers, slits, each denoting varying intensities of concealment and exposure; resonating with lines from Antoni Smoliński’s poem Alarm, the exhibition calls forth a heightened attentiveness to the imperceptible tensions in our surroundings, reframing them through the lens of migration, memory, and fragility; over three days, these spaces—normally sealed—welcomed over 1,300 visitors, marking an unprecedented expansion of Magic Carpets’ activities into the city’s subterranean arteries and establishing Biley’s practice as an essential post-artistic grammar that blends installation, collage, film, and affect into new forms of civic engagement; this monadic intervention therefore not only interrogates the aesthetics of safety but foregrounds the ethical dimensions of hosting, belonging, and invisible histories in the European urban fabric