Perhaps the most interesting Polish work was Ania Nowak’s video To the Aching Parts! (Manifesto) (2019), made in the frame of Manifestos for Queer Futures by the Berlin theatre Hebbel am Ufer. In it we see a female figure dressed in an ancient costume, neither a Greek toga nor a gown, who, like a contemporary Temida, laments in an incomprehensible, invented language the lack of real agency and the impossibility of realizing lofty postulates of freedom.
Agata Pyzik Magazyn Szum

[A]gainst the backdrop of a romantic arcade in a park and wearing a specially designed dress, stylized somewhat as an allegory of freedom from Delacroix, the performer keeps reciting repetitive words and phrases. Among other things, she repeats the word dyke in a military rhythm for over a minute, reminding us with this simple gesture how at any moment we can be called upon to take a minority position by means of a random violent comment. However, in this unbearable persistence, the dyke in Nowak’s work is proud and does not give in to the orders monotonously recited by the performer (which oscillate around: “normalize, solidify, strengthen”). It is not only a work about the appropriation of an originally harmful language (as was the case with the English word “queer”), but above all about the fact that the meanings of language are fluid and sensitive to context – a word repeated too often ceases to mean anything and reveals its inner twistedness and the nonsense inherent in every sense.
Aleksander Kmak Magazyn Szum