Maryna Sakowska and Mikołaj Sobotka jointly explore chaos, non-normativity, and that which has been repressed by modernist rationality. The works on display are rooted in what is wild, bodily, and uncanny. They balance between youthful fantasies of transgression and the esoteric tradition of seeking autonomy. Following the “left-hand path,” they question universal notions such as good or order. It is a fantasy of finding radical love in what society considers taboo. The goal is not to repair the world—but to let it permeate us, to allow its chaos to act within us as a counter-force. To surrender, in this sense, means to cease being a function of order.

The hut built within the gallery space is modeled after the shed in which Ted Kaczynski, one of the most infamous terrorists in U.S. history, lived and constructed bombs. Stripped of its original context, it becomes a backdrop for ideas and visualizations of radical propositions. These are not, of course, rooted in Kaczynski’s anarcho-primitivist ideology. They are not a continuation or glorification of his crimes, but rather a space for envisioning an alternative reality, one in which everyone is capable of stepping beyond social norms. The exhibition seems to be a place where fantasy can unfold in controlled and safe conditions. A similar feeling arises when looking at photographs of the Unabomber’s cabin stored in an FBI warehouse, which in itself resembles a gallery white cube. In the same way, it alienates and renders unreal crimes that were very real.

The artists invite us to collectively transgress norms, to commit the titular mortal sin. To seek beauty in decay, to immerse ourselves in networks of connections within what is incomplete and inaccessible. In her latest paintings, Maryna Sakowska uses codes and cultural references to depict systems of control and exploitation of living organisms. The numbers, arrangements, and symbols that appear in her works are undecipherable. Despite compositions that might loosely evoke associations with occult diagrams or cosmogonic representations, their fragmentariness and randomness themselves suggest the impossibility of reaching the core and viewing the world from a total, exhaustive perspective. It is only on these fragments, on our conjectures, that we can construct our attitudes—and, consequently, our reality.

Mikołaj Sobotka presents images drawn from pop culture, filtered through adolescent fantasies, sketched as if from school notebooks. They are dreams of taking control, of transgressing social norms in ways accessible only to individuals existing on the margins, against the grain of social rules. It is not only a desire but above all a need to break free from the social pattern. In one of Sobotka’s works, a rabbit is depicted in the crosshairs of a sniper rifle. Remaining meekly in place may result in the end of existence.