At the fair

Economic growth supports the art market in Warsaw

The Art Warsaw fair brings more than 50 galleries to a historic building. Demand is shifting from Polish to international art

by Silvia Anna Barrilà

L’ingresso di Art Warsaw 2026

5' min read

Translated by AI
Versione italiana

5' min read

Translated by AI
Versione italiana

The strength of the Polish economy, with a GDP growth of 3.6 per cent in 2025, drives the art market and increases both the number of collectors and contemporary events. In addition to the Warsaw Gallery Weekend, which has already been held for 15 years and is a kind of festival involving various locations in the city, Warsaw now has two fairs. One is Art Warsaw, running from 21 to 24 May, organised by Joanna Witek-Lipka, who is also the director of Gallery Weekend, and Michał Kaczyński, who is the co-founder of the Raster gallery, and the other is Hotel Warszawa Art Fair, which is held in September in a luxury hotel and organised by four other galleries.

Lo stand di Hollybush Gardens a Art Warsaw 2026

The development of collecting

"In the first two editions we collaborated with Nada, the New Art Dealers Alliance, which also organises fairs in New York and Miami," explained Joanna Witek-Lipka, "but this year we launched our own brand, Art Warsaw. The two Warsaw fairs came into being more or less at the same time to meet the needs of collectors, who are increasingly oriented towards an international proposition. In fact, the art market was born 25-30 years ago. Initially it was very local, so Gallery Weekend, with Polish galleries, was the only event. Then came Friend of a Friend, a kind of Condo, where galleries hosted international colleagues. And then came the fairs, because in the last ten years collectors, having acquired a sufficient number of Polish artists, have been looking for international artists'.

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The centre of the Eastern European market

Of course, the Polish artist, or one of Polish origin, remains the pass, as was the case with Ada in Rome, at her first fair in the country (besides her, the other Italian present is East Contemporary in Milan). "I started working with Alicja Pakosz in 2024," said Carla Chiarchiaro of Ada, "after discovering her in a group show, then, through her, I discovered the Polish scene". During the opening of the fair, the gallery noticed a large and interested public, including young people, and recorded sales. "In June, I will show another Polish artist in the gallery, Cyryl Polakzec". At Art Warsaw, next to the enigmatic paintings by Alicja Pakosz (EUR 2-7 thousand), Ada brought the subtle sculptures of the Spanish Blanca Gracia (EUR 2-4 thousand), both of whom share the drawing as the basis of their works.

Ada Roma ad Art Warsaw Villa Róż 2026, opere di Blanca Gracia e Alicja Pakosz

The confirmation comes from Coulisse Gallery in Stockholm, which noted that the market is ripe for international offerings, but wanted to create a hook with the PolishKatarzyna Przezwańska, who already represented Poland at the Architecture Biennale last year and will be at the Museum of Modern Art in Warsaw in September (5.500 euros), and also present the Polish-born EnglishmanTom Trojanowski (11,000 euros), the young Polish painter Bartosz Kowal (5,000-6,500 euros) and the photographs ofAlina Chaiderov, a Russian based in Stockholm (2,800 euros). The fair aspires to be a reference point, above all, for the Central and Eastern European area. 'Vienna also aspired to be one,' explained Joanna, 'but it did not succeed, because it basically belongs to Western Europe. Warsaw, on the other hand, has the right cards to become the market centre of the area'.

The charm of history

There are 52 participating galleries, which pay a very low fee compared to international fairs, between one thousand and four thousand euros. The venue is the Villa Róż, a fascinating 19th-century palace, formerly home to the British Embassy, whose interior has been modified and reconstructed, and in its labyrinthine corridors and the rooms occupied by the galleries shows all the stratification of Polish history (including curiosities such as the document incinerator, the safes for weapons and cash, and the emergency buttons). The environment also contributes to emphasising the aspect of research and discovery that characterises the exhibition; it may not stay there forever, as it will have to be renovated sooner or later, but it may be there for at least next year.

Lo stand di Hunt Kastner a Art Warsaw 2026

The established artists

The offer does not only include emerging artists. Nordenhake, for example, brought artists such as Frida Orupabo and Mirosław Bałka, Carlier Gebauer Julie Mehretu, Hunt Kastner Eva Koťátková; Foksal Gallery Foundation's new ceramic works by Pawel Althamer, representing a choral portrait of today's society (all strictly with telephone in hand, approx. EUR 4,700-8,200 each). Dürst Britt & Mayhew confirmed the interest of local institutions in Jacqueline de Jong (1939 -2024). From Hollybush Gardens there is the Swedish Charlotte Johannesson, born in 1943, textile artist, pioneer of the use of information technology in art (already exhibited at the Cecilia Alemani Biennale). The artists of the Polish Pavilion at this Biennale, Bogna Burska and Daniel Kotowski, are exhibited at Lisowski's stand with the video "Breathe", from 2025 (15k in ed. 3), alongside 'sketches' on stone by the younger Przemek Branas (EUR 2,000 each) and photographs by Adam Siner (EUR 800 each) and drawings by another historic artist, Henryk Morel, who died prematurely, well known to Polish institutions, but for the first time on the market (EUR 6,500 for the sculpture drawings). Other historical works are by Gregor Podnar, who presented a dialogue between Marzena Nowak and Attila Csörgő, alongside works from the 1970s by Julije Knifer and Ion Grigorescu (works on the stand between 3.500-55,000), while Olszewski Gallery brought the only modern artist, Marek Włodarski (1903-1960), whose style reveals his studio at Léger in Paris. The offer includes only drawings, as all canvases from before the war have been lost. A survivor of the Nazi concentration camps, he also changed his identity by erasing the signature from his earlier works (approx. EUR 6,600-24,000). The gallery is now repositioning him in the market, despite the fact that demand today is more inclined towards current art.

Lo stand di Suprafinit a Art Warsaw 2026

Il collezionista Italia

"The fair has grown so much," commented Italian collector Davide Boy, who works in the capital as a medical director for a pharmaceutical company, "confirming Warsaw as an emerging capital. More than just a fair, it is a true cultural event, with a focus on artists, who are often present, rather than on sales - an approach I appreciate, because it puts dialogue and research at the centre. An interesting discovery for me was Anna Maria Zuzela, presented by Krupa Gallery in Wrocław: her depiction of non-conforming, almost anonymous female bodies, with a painting that amplifies the texture of the skin and has a strong erotic tension, impressed me a lot. The Polish and Eastern European art scene is in ferment, and I hope that more and more Italian galleries will look to Warsaw and its new cultural initiatives'.

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