Instagram story viewer> @jwfunnell> Tagged
POSTS STORIES REELS TAGGED
W tę środę zapraszamy na spotkanie w Pawilonie Tańca w Warszawie, podczas którego wraz z Agnieszką Sosnowską i Michałem Grzegorzkiem porozmawiamy wokół książki Agnieszki poświęconej choreografii Nim zakwitnie tysiąc róż (z Warszawą w tle) (2018).

Gratulacje, Agnieszko! 📕✨

ENG 

This Wednesday, at Pawilon Tańca ( the Dance pavillion of the museum of modern art) in Warsaw, I’ll be in conversation with Agnieszka Sosnowska and Michał Grzegorzek discussing Agnieszka’s new book about the choreography Until a thousand roses bloom (with Warsaw in the background) (2018).

Congratulations, Agnieszka !📕🎉

Written by Agnieszka Sosnowska, the book launches a new publishing series by the Museum of Modern Art in Warsaw, in collaboration with the Polish Academy of Sciences. The book is about and around Until a thousand roses bloom (with Warsaw in the background). It is currently only available in Polish. 

Photos: 
1,3,5,6,7,8 Spyros Rennt
2 Dawid Nickel
4,6 Karolina Zajączkowska

Credits
Choreography: Alex Baczyński-Jenkins
In collaboration with and performed by: Aaa Biczysko, Billy Morgan, Ewa Dziarnowska, Filipka Rutkowska, Jose Funnel, Katarzyna Szugajew, Rafał Pierzyński
Set design: Małgorzata Nawrocka
Thanks to: Łukasz Marcinkowski, Radosław Berent, Kwiaty i Miut
Sound research and soundscape: Filip Lech
Sound mastering and loop preparation: Lubomir Grzelak
Styling / Costumes: Rafał Domagała
Creative production: Aleksandra Knychalska
Production: Fundacja Galerii Foksal, Warsaw, 2018

At Kunsthalle Basel (2019) and Galeria Municipal do Porto (2025), the sound was mixed live by Krzysztof Bagiński.For the presentation at Galeria Municipal do Porto in 2025, the set was realised by Anna Posch.
15
Today is African Emancipation Day in the UK, an important moment to remember that, despite endless efforts to distort history, the 500-year holocaust of plantation slavery did not end because of Western benevolence. Though its logics continue in many forms of labour exploitation today, plantation slavery ended because of sustained collective struggle: through maroonage, sabotage, refusal, boycotts, radical education, the dissemination of subversive literature, and an unyielding commitment to cultural and artistic traditions that carried spiritual, political and communal significance for African and Black diasporic people.

Over the last few months we have been working together to develop a reparations learning game for our communities and the organisations that resource them. We chose to create something rooted in African heritage value systems, esoteric knowledges and divination traditions because, as Audre Lorde reminds us, “the master’s tools will never dismantle the master’s house.” We believe that play, storytelling and collective learning can become part of the ongoing work of imagining and building liberatory futures.

This game is one small contribution to that tradition, and we are filled with deep gratitude for everyone who has helped shape it so far. Thank you to everyone who joined our first and second play-throughs. We are learning so much through this process, and having a lot of fun along the way. 🐚✨🌱

Many of the beautiful pics here are taken by the incredible @denisha_anderson 📸
23
Don’t tell her to stop…. ! Isabel Muñoz-Newsome & her ranch of handlers (Fernanda Muñoz-Newsome, Jose Funnell, Robbie Ellen & Patrick Featherstone) at the EXTRACURRICULAR MADONNA ACTIVITY PROJECTIVE RECONSTRUCTION PARTY on 17th January 2026. Dance instructor: Fernanda Muñoz-Newsome
Photos: Christa Holka @christaholkastudio, Gabriela Cala-Lesina & Florence Keith-Roach
14
back to up