Daniela Medina Poch & Agata Dyczko
Presentation of sound installations
30.10–14.11.2026
BGSW / Nawzajem & BGSW / Ustka
Free admission
As part of The Eye of the Ear project, Daniela Medina Poch and Agata Dyczko have prepared audio-sensory presentations where sounds tell the stories and experiences of the local community in Słupsk and the surrounding areas. The artists had the opportunity to meet and talk with people whose families have been connected to Słupsk for generations, as well as those who have recently moved here – many of them from as far away as Latin America. These conversations, along with shared walks and exploring the nature of the Słupsk region, served as the starting point for creating the presentations.
The presentations are adapted for neurodiversity, you can adjust the volume of the sound yourself, additionally noise-canceling headphones are available on sites, and you can leave the exhibition at any time without the need for explanation.
You can see the presentations at our two locations:
BGSW / Nawzajem in Słupsk, ul. Partyzantów 31
Monday & Wednesday – Saturday: 15:00 – 18:00
Tuesday & Sunday: 12:00 – 15:00
BGSW / Ustka, ul. Zaruskiego 1a
Tuesday: 11:00 – 19:00
Wednesday – Sunday: 10:00 – 18:00
Closed on Mondays.
Daniela Medina Poch „Paseo de olla: Soundcocho oracular”
The artist’s work was developed in Słupsk, a mid-sized city, and home to several thousand people from South America: Peru, Colombia, and Venezuela, as well as from El Salvador, Honduras, and Cuba. It is a space for many cultures: indigenous cultures rooted in the peoples from the continent, as well as African and Spanish cultures. Often described as Latin American, these cultures are nevertheless enriched by a multiplicity of influences, including Caribbean and Mesoamerican ones. The Caribbean itself is not exclusively insular. It also encompasses Colombia’s northern coast, from where many of Słupsk’s new residents originate. Can the Andean guasca grow wild in the streets of Słupsk act as a relational agent connecting Caribbean waters with those of the Słupsk river?
Paseo de olla: Soundcocho oracular is a record of the energy generated through an encounter between many voices. In Mutuamente, the community space run by BGSW, the artist invited participants to follow the tracs of the Andean plant guasca, as well as the movement of ourselves and within ourselves – attuning ourselves to the imagining of movement evoked by the paseo and the spore and listening to the sounds of the Słupsk River and the Caribbean Sea thanks to the Latin American diaspora living and working in the Baltic. It is a mixture of diverse voices, echoing different geographies that are not easily territorialized. Within that variety there is a space for opacity, the unspoken, and perhaps a common and pluralistic expression.
Daniela Medina Poch is a Colombian interdisciplinary artist, author and educator. Daniela investigates how unofficial histories and interspecies entanglements contribute to the conception of pluralistic ecologies and non-hegemonic knowledge systems.
*Paseo de olla is a Colombian tradition of gathering for a shared outing, often to the countryside, a riverbank, or another natural setting, where people prepare and share a meal together. The term derives from olla, meaning “pot,” which is traditionally brought along to cook the food on site. It is therefore not simply a walk or excursion, but a way of spending time together through cooking, eating, and sharing time in a space outside the home.
Agata Dyczko „The Ears and the Mouth of the Słupia River”
When you put your ear just above the surface of a river, you will hear its neighbors. The Słupia River brings voices together: people’s and animals’ voices, machines, and weather-related sounds. You will hear wind trying to break the surface of the water, squeeze gas particles and tiny grains of solid material between the heavy waterwalls.
When you pass Słupsk with a kayak, you hear cars engines. Behind those sounds there are others, covered, hidden they lurk like shadows or ghosts – voices of people calling their dogs, telling secrets while sitting on a solitary bench, sometimes even crying, their tears joining the body of the river water. The river would never refuse to hold their tears and their secrets but it can happen that she would randomly reveal them to a stranger a few kilometers down…
The river is not picky, she accepts TV jingles, mobile phone sounds and church bells. She cannot tell them apart from the screams of the wild ducks and some underbridge sounds that reflect your sounds of paddling. It is only our worldview and esthetics that can divide the universe of sounds; the river knows nothing about it.
The Słupia passes these sounds on to the other bank, as if making sure the world does not fall apart and she does not become the ridge.
The Słupia hears with fish ears. Bentos, plants and animals installed at the bottom of the river hear too. The sounds they perceive are those uncanny or/and relaxing, oneiric hums and rustles, tiny lips smacking. River sleeps in her bed there, or rather takes a nap, colder and darker. The Słupia River is a multi-sensoric creature deprived of eyes but sniffy and submerged in sounds.
This summer, the artist went on a kayaking trip along the Słupia River with friends to record the original sounds of the river, and created a radio story about the river and its inhabitants.
Agata Dyczko – sound and theatre artist, creating radio shows, radio plays, and sound installations. She co-hosts Pasmo dla Ziemi on Radio Kapitał. Her work engages with “underwater” environments, water-saturated landscapes, and strange subterranean spaces, recording and processing the sounds of fish. She also conducts workshops and research projects on passive acoustics and its role in human navigation and perception of underwater sounds.
The Eye of the Ear
Drawing on practices of deep listening and decolonial thought, The Eye of the Ear / Oko Ucha invites audiences to experience listening as a social, embodied, and political act. The programme opens spaces for collective imaginaries and epistemes of sounding, with offerings that bid us to listen with all of our senses, and to listen in reciprocity. In times marked by the continuities of systemic violence and division, listening enacts a methodology of relation across diverse ways of knowing and seeing—against the colonial legacies that have long determined whose sounds are heard, and how—and towards shared alliances of listening otherwise.
Agnieszka Kilian and Kelly Nayasse Krugman
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