“Przemiana” Nowy Teatr w Warszawie

Reżyseria: Grzegorz Jaremko
Scenariusz i dramaturgia: Mateusz Górniak
Muzyka: Justyna Banaszczyk

“Dystans Nieograniczony” - słuchowisko eksperymentalne we współpracy z Uniwersytetem Łódzkimhttps://www.uni.lodz.pl/dystans-nieograniczony

“We’ve Been Here, We Are Here, We Will Remain”
Diana Lelonek, 2022, sound installation

music: Justyna Banaszczyk
narrator: Klara Bielawka


SDK Warszawa
Radio Kapitał
Komuna Warszawa
experimental radio play 

director: Grzegorz Jaremko
music and sound effects: Justyna Banaszczyk
scenario: Weronika M. Lewndowska
cast: Taras Gembik, Filipka Rutkowska, Justyna Wasilewska, Jolaś Anioł

“Kar Nawał”
Teatr Nowy im. K. Dejmka w Łodzi
directing collective: Maja Luxenberg/Wera Makowskx
music: Justyna Banaszczyk

FOQL & Edka Jarząb present:
„Melting Pop“


Obscene West: In Honey
Kaunas Artists House
costumes: Martyna Konieczny

Two electronic and sound artists will meet again in a duo. Trashy post-apocalyptic divas, straight from the intergalactic junkyard of history, bring you scattered manifestos, channeling resonant lullabies for difficult times. Their performance will be also a performative tribute, melting obscene references and attributes from feminist art in the 90s – both Egle Rakauskaite and Natalia LL.

photo: Vytautas Paplauskas

Pussykrew presents: ༄ؘ ۪۪۫۫ / 𝖔𝖗𝖈𝖑 /✧:・augumented reality
Unsound 2021

New-York based Polish artist and director duo Pussykrew have created a new augmented reality experience for Unsound 2021, with QR codes placed across the city, available to anyone with a mobile device. Each marker triggers an immersive story featuring an avatar delivering an AI-generated mindful message, piece of wisdom, or encouragement. Music is by Polish artists Zamilska, FOQL, Aleksandra Słyż and Antonina Nowacka.

From Pussykrew: ‘In a time of unrest, ༄ؘ ۪۪۫۫ / 𝖔𝖗𝖈𝖑 /✧:・ provides a spark for imagining and constructing alternative futures. The shapeshifting AI-powered deities cut across the layers of society, queering the urban space, sharing their rave, rage, and wanderlust. For those searching for metamorphosis and comforting energy, ༄ؘ ۪۪۫۫ / 𝖔𝖗𝖈𝖑 /✧:・ helps to transcend the past and welcome the new. Channeling the virtual, liminal, matriarchal and mystical, utilising techno-shamanistic practices, to bend the borders of other possible worlds, the avatars invite you to unlock your senses and listen to the messages from the spaces in-between to reclaim your energy.’

The Oracle is a part of Pussykrew’s interactive odyssey - athenaeum.blue

Zuza Golińska | Body Electric
soundscape: FOQL

Exhibtion: 10.09 - 16.10.2021

Galerie Anton Janizewski
Goethestraße 69
10625 Berlin-Charlottenburg

“Temple of Urania”
Multichannel audiovisual installation (4 screens, quadrophonic sound)

Curated by Dominika Szpinda
Documentation: Olga Perkowska
Produced by ArtHouse Jersey

“Temple of Urania” is an audiovisual project by three Polish artists (Justyna Banaszczyk, Darek Pietraszewski, Tomek Popakul), based on an art residency that took place just before the outbreak of the pandemic on the Channel Island of Jersey. The final form of the installation was informed by the experience of pandemic isolation in 2020 and an attempt to find an alternative way of presentation – one that would exclude the collective nature of concerts or clubs, while still offering a space for the actual reception of an audiovisual work, ‘live’ and offline.

The project, inspired by the extraordinary life and work of the artist couple Claude Cahun (b. Lucy Schwob) and Marcel Moore (b. Suzanne Malherbe), who lived on Jersey during the Nazi occupation, will be presented in two versions: as a travelling multi-channel audiovisual installation (premiere: 13-15/08/2021, Sanatorium of Sound Festival, Sokołowsko) and a 28-minute film released by Pointless Geometry on a limited, collector’s VHS tape (premiere: 21/09/2021).

Temple of Urania is an homage of sorts to Cahun and Moore, an attempt to draw attention to their unique art and the need to introduce them to the avant-garde canon. Another of its objectives is to create a temple, a portal to a non-binary world, a space for meditation and communal experience – a shared existence. The temple of Urania is also a temple of love governed by Aphrodite Urania, who in Greek mythology symbolised mystical, spiritual and astral love – love beyond borders. Temple of Urania is the fruit of 18 months of work, a collective process prolonged through the pandemic that engulfed the world right after the artists returned from Jersey to Poland. As a result, the work has a deeply personal dimension – it is the result of many hours of discussions, a sense of frustration caused by the impossibility to meet outside the online sphere, and a portal for the artists themselves, a space of pleasure, peace, fulfilment and comfort. A projection of a world imagined by Claude and Marcel, which even today – 100 years later – remains in the sphere of surreal dreams.

The rich oeuvre of the two forgotten artists, which inspired the Polish trio to create Temple of Urania, includes Les Jeux uraniens (‘Uranian Games’) – Claude Cahun’s controversial, unfinished and unpublished manuscript, surrealist photographs, poetry, collages, and above all the absolutely pioneering philosophy, which accompanied the artists in life and art. Preceding the emergence of terms such as ‘gender’ or ‘non-binary’ by more than 40 years, Cahun sought in her works a space free from divisions, experimenting with her body, appearance and sexuality. ‘Masculine? Feminine?’, she wrote in Aveux non avenus (‘Disavowals’). ‘It depends on the situation. Neuter is the only gender that always suits me’.

The temple created by Banaszczyk, Pietraszewski and Popakul is free from divisions, transporting the viewer to the world imagined and advocated by Claude Cahun and Marcel Moore.

Temple of Urania premiered during the 7th edition of the Sanatorium of Sound Festival in Sokołowsko, whose running theme was a return to experiencing sound and new experimental forms through real and physical contact with art in situ. The artists are currently planning to present the installation in Warsaw, Łódź and Poznań. The VHS tape will be released on 21 September by the Pointless Geometry label.

“Siostry Kafki/Kafka’s sisters”
Łódź 2021
Centrum Dialogu im. Edelmana
sound design: FOQL

Wystawa towarzysząca 80. rocznicy deportacji Żydów zachodnich do Litzmannstadt Getto

Uczestniczki – grupa artystek Frakcja z Łodzi oraz grupa Endmoräne, do której należą niemieckie artystki z Brandenburgii (Monika Czarska, Roksana Kularska-Król, Alicja Kujawska, Anka Leśniak, Aurelia Mandziuk, Beata Marcinkowska, Dorothea Neumann, Marta Ostajewska, Patricia Pisani, Susanne Pittroff)

“Kostki miodu latem”
performance: Marta Ostajewska
sound design: FOQL

Pracowania Portretu
Łódź 2021

virtual art residency

“Mutual Dreaming” AV installation
comissioned by Polish Cultural Institute New York




Creating a fair and equitable space after COVID shuttered artists from residencies, travel, studio visits, exhibitions, and physical networking, UN/MUTE is an online residency that provides artists an opportunity for a critical exchange and collaboration while simultaneously connecting resources from the global cultural epicenter of New York City. This project is co-organized by Undercurrent and the European Union National Institutes for Culture’s New York Cluster. It will go live on February 12, 2021, in concurrence with the Lunar New Year, and will continue through May 9th, celebrating Europe Day.

FemLab Mexico
art residency, 2021

Casa del Lago UNAM, EUNIC/Delegación de la Unión Europea en México, Centro Cultural de España México, Embajada de Polonia en México


“Przyziemnie/Down to earth”
radio play about climate catastrophe (5 episodes)
commissioned by Łaźnia CCA (Gdańsk)

original music and sound effects: Justyna Banaszczyk


In the second half of 2020 a residency of the duo: Bogna Stefańska and Jakub Depczyński will take place in LAZNIA CCA. The residency subject will focus on the climate catastrophe and will be conducted online, through the production and publication of podcasts.
The residents about their project idea:

We wander in our dreams at the outskirts of the world that we are familiar with and we do not even see how everything turns into an uninhabitable desert. We ask ourselves: how can we notice the climate change, which according to the geological time standards is happening around us at an alarming pace? How to understand these great processes when we don’t reason in a planetary scale, but rather in terms of the next decades and territories of national states? How to acknowledge the rising oceans, melting glaciers, dwindling resources, disappearing species, drying up riverbeds? Do we have to face the lack of potable water and clean air in order to be shaken out of coma?

During our online residency at LAZNIA Center for Contemporary Art in Gdańsk, we are going to work on a five-episode podcast devoted to the climate catastrophe, happening in front of our eyes and ears. This audio drama will take a form of a multithreaded essay story based on the latest scientific research, as well as personal experiences and the individual perspective of the invited guests. Together, we will consider the most important concepts, issues and ideas related to the climate change, develop graphic metaphors, discuss local and global problems and examples of remedial solutions.

Each of the episodes will feature experts in the fields such as climate science, sociology, psychology, philosophy, economics, political science and social activism. They will be joint by an artist, who will talk about how the discussed issues are manifested in her / his creative practice and how artistic tools could be used in efforts to build a common future on planet Earth.

We see the entire project as an audio exhibition in which we present ideas, practices and people – theoreticians and creators. Therefore, the form of an audio drama will be crucial, the soundtrack of which is handled by Justyna Banaszczyk / FOQL – a sound artist, creator of electronic music, co-founder of the Oramics collective and Radio Kapitał. Field recordings and musical compositions prepared exclusively by Justyna, constitute the foundation of the whole material and the background for the narrative, creating an intellectually engaging, personal and aesthetically appealing experience.

“Kosmograf” point & click adventure game

comissioned by Wawel Royal Castle in Kraków

original soundtrack: Justyna Banaszczyk

“Cyberpunk 2077” game

music as in-game artist Mona Mitchell
track: “Ice Maddox”
Pacific Dreams Radio 88.3

Nothing Twice (Excerpt), 2018

Zuza Golińska/ Magdalena Łazarczyk
Dop: Jonasz Chlebowski
Music: Justyna Banaszczyk/ FOQL

Warszawska Jesień 2020
“Manifest: Pakt o nieagresji”

radio play

“It is a meeting of two artists who originate from very different milieus. Rafał Ryterski is a renowned composer, one of the leading voices of Poland’s new music scene. Justyna Banaszczyk comes from the world of underground noise/industrial and experimental dance music. This artistic meeting might never have happened if not for the turbulences of 2020, which appears to make reality bare as never before. Taking advantage of this catastrophic opportunity, the artists will challenge their thinking about each other and the barriers between their backgrounds, interpreting the famous text Stockhausen vs. the “Technocrats” in a radio feature written for Warszawska Jesień”

“Endgame Karaoke Sp. z o.o.” 
Nowy Teatr, Warszawa 

for festival Nowa Europa. Zbliżenia
curator: Michał Grzegorzek
sound installation

“Muscha, the central protagonist of the film Dekoder, works in a burger bar, his life filled with little more than the smell of burnt meat until he makes a surprising discovery: swapping the easy listening music in his restaurant for industrial noise, he can instigate skirmishes, even bring about a revolution against a menacing force which is approaching.

Visions of industrial music as a radical protest against patriarchal oppression appears in the work of Justyna Banaszczyk (FOQL) – the first participant in the show guesting: Sound, which accompanies performances of Markus Öhrn's show Three Scenes from a Life.

Three windmills, located in the theatre foyer, collect surrounding sounds, modifying and giving them up to audiences in the form of an odd composition, a psychedelic experience staged in a trash “cut up” aesthetic. Banaszczyk creates a work which formally refers to so-called functional music (Muzak, but also marketing jingles, elevator and background music), which piped into bars and shops was designed to not only increase employee productivity, but also encourage customers to make more purchases. Banaszczyk also sees muzak as a metaphor for patriarchal sounds and narrations, for officially approved templates, filler and something which silences other voices, along with other (than male) experiences. The female voice, functioning in the public space as an intruder, noise or pollution, is in the composition a relentlessly returning irregular chorus, which is impossible to overlook. The anger, frustration and resignation found in these looping soundscapes reflects so many contemporary female stories, as according to Anne Carson: every sound which we make is a bit of autobiography.”

Voice provided by: Edka Jarząb

Canti Spazializzati edycja #3 “Stock soundscapes for future walks” *
co-organizers: Dizajn BWA Wrocław, Sympozjum Wrocław 70/20, Żyjnia  

multichannel sound installation 


radio play in Polish and English

information: radio piece was supposed to be released on tape by MUTO by BRUD curated by Aditya Mandayam. Adi is no longer with us but his work is with us forever. Thank you Adi.

Radio piece created by J.B. in Studio Worm/Klangendum (Rotterdam) and Studio Perun (Warszawa) between April and August 2019

SIDE A: Polish version (31:29)
SIDE B: English version (31:29)

Station to station, studio to studio. Created partially at WORM / Klangendum studios, It will sound different when there are bodies in a room… is a sonic essay by FOQL about the legacy of the Polish Radio Experimental Studio. A story as scattered as the tapes used in the studio’s „Black Room”, it centers around the ghost of Eugeniusz Rudnik, a longtime engineer and producer at the studio, who only after many tears has been finally accepted within the history of New Music in Poland as a composer of experimental music. For FOQL Rudnik’s story serves as a lens for her own story of fight for a place within today’s „New Music”, as she embraces his social background and advancement, but deconstructs the whole legacy of the Studio in terms of gender and its general exclusiveness. One must note that there were many important female engineers, and producers, as well as some female composers working at the studio. FOQL samples from one of them. A story about a complicated legacy that was discarded, only to be used a few years later to build safe monuments.

released November 30, 2019

co-produced by WORM Rotterdam
Images by Copy Corpo

The Ping-Pong tapes are a series of sonic sculptures produced during Radio Juju at Rib in 2019.

Special thanks to Brud

“Ozen” directed by Emir Baigazin
film premiered at the Venice Biennale
original soundtrack: Justyna Banaszczyk


Biuro Dźwięku Katowice

Katowice, 2019
sound residency

Hotel Belle-Vue | Magdalena Samozwaniec

music for radio play
directed by Aleksandra Jakubczak
produced by Teraz Poliż


Memorymorph [Małgorzata Łuczyna, Jacek Złoczowski]
background music

“Total Solidarity” VA by Oramics
curator, originator



“Sirens’ Call”

Syrena Squat gate
site-specific AV
Warszawa, 2017

“Szkoła” opening
with Edka Jarząb

Warszawa, 2020
AV intervention

to be continued! :-)
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