Andrzej Pakuła
A Planetary Reconfiguration

a young man in a baseball cap - conversation graphic
Andrzej Pakuła
Andrzej Pakuła
A Planetary Reconfiguration

I believe you're involved in one of the most queer cultural institutions in Poznań if not in all of Poland. Would you agree?

Some people would argue with that - maybe even quite vocally - and they'd start by questioning what it even means to be a queer institution. But if you're asking me, then yes, I absolutely agree that Pawilon is a queer cultural institution. What makes it queer is that we consider the LGBTQ+ community as central to our understanding of art. We always aim to look at the world through a queer lens, and also through feminist and minority perspectives. So if that's how you see Pawilon too, I take it as a huge compliment - thank you.

How did it come to be?

It's all thanks to the dedicationof the people who've helped create this space - people for whom queer was never just a tick-box, but something more: a way of seeing and engaging with the world. That is a fundamental difference between us and other institutions in Poznań that might also feature queer events. For us, it's about something much broader - a long-term vision of the social and political landscape. And that requires a constant effort, because while we're doing pretty well on the queer front, members of our team are still lacking on ethnic diversity representation. Solidarity doesn't mean throwing together a one-off project with a minority group or flying a particular flag - it's about systemic action: hiring people, integrating them into the organisation and into the programme. But that's a long, demanding process that requires commitment.

That process seems to be starting in many places across Poland now.

But it's moving far too slowly. Everything else is accelerating, and so we need to step up, both as institutions and individuals. I've always been drawn to socially engaged art - the kind that tries to make a difference. Especially in tough times, and let's face it, we've been living through them constantly. LGBTQ+ people were targeted by the previous government, and now we're in the crosshairs of rising global fascism. We can all see what's happening in the US on that front.

Let's rewind for a moment and go back to the beginning. Did your journey begin in Poznań?

I like to say I'm a bit of a mix - my parents come from different regions of Poland, and I was born in Słupsk. But there's no doubt I'm a Poznań native - I've been here pretty much my whole life. We moved when I was just over a year old. I grew up in the Rusa housing estate in a flat packed with books (both my parents were Polish teachers, so that's not surprising). Culture, including theatre, was always around me. So you probably won't be surprised that it was through theatre that my queer journey began, when my parents took me to see 4.48 Psychosis by Sarah Kane at Polski Theatre, directed by Grzegorz Jarzyna.

How old were you?

I was in junior high, so younger than I should've been. But that show was a turning point for me - it steered me towards experimental and queer art. For me, queerness and art have always been connected, even though we used different language back then. We spoke of art with "homosexual themes," and that kind of work was basically non-existent in Poznań. So I quickly realised I'd have to start travelling around Poland - and to Berlin.

Polski Theatre didn't last long. People in Poznań hated it. Paweł Wodziński and Paweł Łysak, who ran it, were basically banished from the city.

It's true - Poznań kicked them out, and made a real show of it too. But before that, they managed to build a space that really challenged how people thought about theatre. Besides Polski Theatre, there was one other space that meant a lot to me at the time - the Old Brewery. Sure, people mostly associate it with big money, rich people, and capitalism, but the truth is, when I was in sixth form, it was the place to catch queer films series curated by Raman Tratsiuk, or groundbreaking performance art under the banner of the Old Brewery/New Dance programme. Back then, the Brewery was doing the work that was neglected by Poznań's public institutions, which, to put it mildly, were incredibly conservative. And let's not forget - it was in front of the Brewery that the police cracked down on the now-famous Equality March. That's worth remembering.

You were born in the late "80s. Do you see yourself as part of the transition generation?

Definitely. I'm old enough to remember the old world - where homosexuality in Polish culture was often masked in metaphor, that whole Iwaszkiewicz-style tradition. But I also entered the new world when I got to university - that's when queer studies really showed up in my life.

When did you first realise you were different from most other boys?

It wasn't one big revelation - more like a series of moments that built up over time. The first one hit in primary school, but that journey towards self-awareness really took off in sixth form, when my friends and I created this artistic and, deep down, very queer collective called Inny Teatr  (Different Theatre). Wojtek Kaniewski actually mentioned it in A Different City. Now I see it for what it was: a natural need to carve out an alternative world for ourselves, because Poznań back then wasn't like it is now. There were barely any spaces for non-hetero people. We'd hang out at Pokusa on ul. Święty Marcin - a totally iconic dive - and later at Voliera on ul. Garbary and a few other places that came and went just as fast.

Did you feel stifled in Poznań?

All through sixth form, all I thought about was leaving. When I was applying to universities, it was literally "anywhere but Poznań". The city felt closed, deeply conservative, and didn't offer the kind of artistic scene that I would find attractive. There may have been some visual arts, but that was about it. So I was thrilled to get accepted to the Interdepartmental Individual Humanities Programme at the University of Warsaw. That gave me the freedom to pursue a bunch of interests in a truly flexible way. Looking back, it was a fantastic decision, especially because my academic advisor was Dorota Sajewska, who's now professor of theatre studies at Ruhr University in Bochum. Honestly, I couldn't have hoped for a better mentor. I learned so much from her, including when she invited me to work with her at Dramatyczny Theatre in Warsaw where she was deputy director under Paweł Miśkiewicz.

I remember your debut - it was the queer production of Eytan Fox's The Bubble.

And I remember you didn't like it.

Was that when you started your Theatre Corporation?

No, that actually dates back to sixth form. We felt Different Theatre sounded a bit too pretentious, and so we went with Theatre Corporation instead, which had a more serious ring to it. Ironically, it couldn't have sounded more neoliberal if we'd tried. Eventually, we turned it into a formal association and managed to secure our first bits of funding. That's how we staged Asthma by Etgar Keret, which we performed at the MASKI Theatre Festival in Poznań, and later in an artsy tenement on ul. Inżynierska in Warsaw, where artists like Karol Radziszewski had their studios.

Why did you come back to Poznań, the city you'd been so desperate to leave?

It's hard to pin it down precisely. A big part of it was people encouraging me to go into video art. I applied to the intermedia programme at the Poznań University of Fine Arts, which had a strong reputation at the time. And honestly, it wasn't a bad choice. The programme was stimulating, although looking back, I think part of me used it to delay having to face the harsh realities of working in the cultural sector. In the end, I stayed at the University longer than I expected. After my MA, I went for a PhD and ended up teaching for two years. I really enjoyed that job and even started thinking I might want to do it more permanently. There's nothing better than being around young, creative people, and that's something that academia gives you. But at the same time, the whole system is bogged down by bureaucracy, power plays, and constant roadblocks. The PhD is a whole other story. A lot of things pulled me away: the launch of Pawilon, the pandemic, and eventually my mum's illness. Life got messy, deadlines piled up, and in the end, I had to let go. But who knows - maybe I'll come back to it someday.

Since 2015, Poznań's been shifting culturally and becoming much more liberal. What's your take on that?

It really was a game changer - not just socially, but also in terms of cultural policy. I remember clearly how, up to that point, the majority of funding for NGOs went to just three festivals: Malta, Transatlantyk, and the Mediation Biennale. I got involved with the Citizens' Dialogue Committee for Culture to try to change the city's approach. And while the cultural sector is still plagued by underfunding, we're in a very different place now compared to ten years ago.

I feel the same. I moved to Poznań seven years ago. And when you look at queer activists, lots of them weren't born here, but chose to make Poznań their home.

That doesn't surprise me at all. It's the same in visual arts, especially among independent galleries. But I do get the sense that for a long time, Poznań had all these amazing initiatives popping up and even thriving for a bit-but there was never anyone around to nurture them. That's starting to change now. The same goes for the LGBTQ+ community, which has become part of a really exciting process - a planetary reconfiguration of sorts. By that I mean a shift that happened all at once across several different places: the local government, a new ruling party, the emergence of Stonewall Group and other collectives. All of that injected new energy into Poznań and sparked a gradual social transformation. It feels like Poznań has come back to life and is reinventing itself - which is amazing. I don't think any other Polish city has done it so profoundly.

Do you think that change is visible from the outside?

Totally. We recently hosted an artist from Zimbabwe at a Pawilon opening. She's based in Berlin now, and she was blown away by Poznań. And it's not that I claim everything is perfect here, because it is not. But you can clearly see things are moving in the right direction. One clear sign of that is that a municipal institution can now run an independent, queer programme and use it to support not just local or Polish artists, but also those from across Europe. It is about building alliances between LGBTQ+ communities across different countries. And that's definitely something we can take real pride in.