Der Kopf ist rund exhibition installation view

Klaus in Vorarlberg / 2026

Der Kopf ist rund, damit das Denken die Richtung wechseln kann

Galerie Brugger

May 22 — June 01, 2026

Axial-Core

Leo Pum @La Térmica, Málaga KRVCE festival

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Seoul / 2026

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Studiya Gallery

Białystok / 2026

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Arsenal Power Station Gallery

Napoli / 2026

LIVING COLLAPSE

Madre Museum

Köln / 2026

WHAT HOLDS

Motkerei Werkstatt

Kraków / 2026

GLIMMER

Jak Zapomnieć Gallery

Porto / 2026

THE WORD FOR WORLD IS POEM

Lehmann Gallery

Stockholm / 2026

GHOSTS & GODS

Coulisse Gallery

Seoul / 2026

EUREKA

MO Gallery Seoul

Helsinki / 2026

DOG AND ANGEL

SIC

KOESY

@koesysaga

/ 2026

FROM AN UPCOMING SERIES

Olomouc / 2026

SIGNAL V

Telegraph Gallery

Prague / 2026

ROT SUMMER

Holešovická šachta

Ethereal Robes of Vulnerability exhibition view

Vilnius District Municipality / 2026

ETHEREAL ROBES OF VULNERABILITY

Aikas Žado Laboratory (Žeimiai Manor House)

Słupsk / 2026

A GENTLE KISS ON A DOUBLE FOREHEAD

BGSW / Baszta

Poznań / 2026

WE ARE DEEPLY ALARMED AND EXPRESS OUR GRAVE CONCERN

DOMIE

Poznań / 2026

MAKE ME YOURS

Łęctwo

Brussels / 2026

FIRST DATE

Lodovico Corsini

Berlin / 2026

CAGED MOVEMENTS

NADAN Berlin

Istanbul / 2026

ROOTKIT

BENTA

YIHAN PAN

@pyhii

Montpellier / 2025

METEMPSYCHOSIS

MO.CO. Montpellier Contemporain

Brno / 2025

LOVE

Zaazrak|Dornych

Lisbon / 2025

THE STAGES OF GRIEF

PADA Studios

/ 2024

EXTERNAL CRYOGENICS

Hyperlink Athens

Shanghai / 2024

CONTEMPT

Capsule Shanghai

London / 2024

TOTAL INTERNAL REFLECTION

Zerui G

/ 2025

DEEP SEA FISH

Diesel Art Gallery

Innsbruck / 2025

TIPPING POINT PHANTOMS

Künstlerinnenvereinigung Tirol

Vienna / 2025

SWEET GARDEN OF VANISHED PLEASURES

dieAngewandte

New York / 2025

LUCA

Management NYC

YEON GYEONG-SEOK

@camelostrich

Busan / 2025

AFTERLIFES

Hongti Artcenter

Berlin / 2025

WEAVING BACK TO COMMON GROUNDS

ACUD Galerie

Munich / 2026

MOTIONS TO UNFURL

Gallery Thetigerroom

Seoul / 2025-2026

GROWING BODY

Studiya Gallery

Paris / 2026

MAIN DE FER, GANT DE VELOURS

Association NOEMI — Espace Brownstone

Warsaw / 2026

PARACHUTE

Przeciag Galeria

Nurnberg / 2026

LIMINALITY

Adbk Nuernberg

Offenbach am Main / 2026

CALL SOMEONE

Ayayay

/ 2025

SWEET WORLD 1

Sweet World Gallery

Berlin / 2026

COMPANIONS: ACT I

Hours

/ 2026

PRESERVED, UNFIXED BY YASY BACHURINA

XOLO CUINTLE

@xolo_cuintle

Features

Unzucht - Kiss the Devil's Arse exhibition view

Berlin / 2026

UNZUCHT - KISS THE DEVIL'S ARSE

Kunstbrücke am Wildenbruch

Cologne / 2026

CHRONIC INFLAMMATION

Martinetz

Saarbrücken / 2026

RITUAL FOR HAPPINESS

Automat

Berlin / 2026

THE SOLEMNITY OF THE REPULSIVE

roam projects e.V.

Suwon / 2026

THE CREEPER IN THE DUSK

Gosaek Newseum

Hurup / 2026

THE JEWEL BOX

Kunsthal Thy

/ 2026

BUNNY BUNKER NO.1

KIM MYUNGCHAN

@kim.myungchan

Shanghai / 2026

TECHNO WORLDS — FINAL SAMPLING

Power Station of Art

Paris / 2026

WHAT WE SEE, WHAT LOOKS BACK AT US

Emergency Space

Brescia / 2026

IMPOTENZA

Palazzo Monti

Triangle reshapes the O of my mouth exhibition view

Munich / 2026

TRIANGLE RESHAPES THE O OF MY MOUTH

Sperling

Lima / 2026

YOU CAN'T STOP THE WORLD FROM BEING BAD

Galería Gato

Mexico City / 2026

AXES

Alvarez Chida

Cergy / Paris / 2026

NIKE, TA MÈRE (WILL FALL ON YOU)

ENSAPC / CROUS Paris

New York / 2026

ACTUALIZATION MACHINE

Silke Lindner

Düsseldorf / 2026

DON'T TRUST THE RABBIT

SSK Düsseldorf

Kraków / 2025

WHEN DOORS CLOSE, WALLS RISE

Jak Zapomnieć Gallery

EMMA BEATREZ

@emma.beatrez

Brussels / 2025-2026

WORK OF PROOF

FLⒶT$

/ 2024

METEMPSYCHOSIS: THE PASSION OF PNEUMATICS

Schinkel Pavillon

Tartu / 2024

ENTER WOODLAND SPIRITS

Estonian Literary Museum and the University of Tartu Natural History Museum

Wroclaw / 2024

EUTROPHY

Bulvary

Stockholm / 2024-2025

DIALECTS OF THE DEEP

Bonniers Konsthall

Geneva / 2024

DOWN THE RABBIT HOLE, 2024

Halle Nord Geneve

Paris / 2025

TISSU EXPANSÉ

Europa NYC

Santiago / 2025

ENCUENTRO

Sagradamercancia

Warsaw / 2025

THE LAST DRAWER ON THE LEFT

Przeciag Galeria

FANTASY VANISHES IN FLESH exhibition view

Milan / 2025

FANTASY VANISHES IN FLESH

Francesca Minini

NATHAN CARÊME

@nadaecc

Dornbirn / 2026

BUCOLICA

Kunstraumdornbirn

Prague / 2026

SOFT_SIGHS SYNTHESIS

Clauda Cz

Seoul / 2025

MASSAGE PLATZ

Shower

Buenos Aires / 2026

COAGVLA

Acéfala Galería

Seoul / 2026

MIMICKING ETERNITY

Studiya Gallery

Berlin-Schöneberg / 2025

PRESENCE BY PROXY

Schutzenverein

Białystok / 2025

PARADISE ROT

Galeria Arsenal

Lima / 2026

C.R.E.A.M. (CASH RULES EVERYTHING AROUND ME)

Mueve

Vienna / 2026

AUSGEWEIDET / GUTTED

WAF Galerie

Antwerpen / 2026

I AM JUST A DOG

temp

Within And For Each Other exhibition view

Warsaw / 2026

WITHIN AND FOR EACH OTHER

WHOISPOLA

Madrid / 2026

SUCULENTA ARAÑA

Galería Picnic

Istanbul / 2026

DEAD LETTER OFFICE

Benta

Berlin / 2026

ACACIA BLOOM

Galerie Molitor

Lladó / 2026

KIN TOO

Spiritvessel

Santiago / 2026

RAMA TORCIDA

MAC — Museo de Arte Contemporáneo

Paris / 2026

NEXUS, OPEN STUDIO

Cité internationale des arts

Tisbury / 2026

FLOOD

Messums West

Berlin / 2026

FIGHT OR FLIGHT: SEX

Kunstquartier Bethanien

Málaga / 2026

AXIAL-CORE

La Térmica (KRVCE festival)

YUKINO YAMANAKA

@yukino_yamanaka

Klaus in Vorarlberg / 2026

DER KOPF IST RUND, DAMIT DAS DENKEN DIE RICHTUNG WECHSELN KANN

Galerie Brugger

Genk / 2026

JOY RIDE

Jester

Turin / 2026

OLD SNAG

Société Interludio

Vienna / 2026

TERRITORIES OF EXTRACTION

Arka Arka

Oslo / 2026

STIAN EIDE KLUGE AT ROTHHAUS, KUNSTNERNES HUS, OSLO

Kunstnernes Hus (Rothaus)

Warsaw / 2026

HAUS DER LÜGE

Przeciąg Gallery

PROFUSION ANTAGONIST WISHLIST exhibition view

Düsseldorf / 2026

PROFUSION ANTAGONIST WISHLIST

PAW

Edges that blur, bodies that fold into something other exhibition view

Berlin / 2025

EDGES THAT BLUR, BODIES THAT FOLD INTO SOMETHING OTHER

ACUD

Shanghai / 2025

A BLADE UNHELD

Galerie Dengyun

/ 2023

KASSANDRA

Kunsthalle Ost

SOPHIA GATZKAN

@s_gatzkan

Vilnius / 2024

KETEROS

Meduza Fyi

Prague / 2024

PETRICHOR

Prám

Jung-gu, Seoul / 2025

FARM

Bio Gallery

Ljubljana / 2025

TAR STAR

Cukrarna Art

Bratislava / 2025

DISTANT, ENDLESS HUM

Vunugallery

/ 2025

THE ROOM I

Ifö Center

Bratislava / 2025

BEGONE ESTRONE

Medium Gallery

Kraków / 2025

CRASH PÆNDEMONIA

Jak Zapomniec

Milan / 2025

MYTHS FROM SMOLDERING SKIES

Limbo Contemporary

DOUBLED PRESENCE IN A DISEMBODIED SPACE exhibition view

Graz / 2026

DOUBLED PRESENCE IN A DISEMBODIED SPACE

Trost Spc

ARGHAVAN KHOSRAVI

@arghavan_khosravi

London / 2026

EVEN SPECTRES CAN TIRE

Xxijra Hii

Vorarlberg / 2026

SUPPORTED FILES

Galerie Brugger

Sardinia / 2026

BLUE BLOODED

Museo Nivola

/ 2025

LOST ENCOUNTERS, THEY CLING

PARALLEL VIENNA

Seoul / 2025

TACTICS FOR AN ERA (GROUP SHOW)

K&L Museum

Düsseldorf / 2026

SPATENPROBE

BLOOM

Submit Exhibition

Prague / 2026

BESIDES BODIES

Berlinskej model

Tokyo / 2026

INTOLERANCE

Standing Pine

DEW KIM

@dew_needs_you

Miami / 2026

COMMON SKIN FANTASY

KDR Gallery

Berlin / 2026

COSMOLOGIES AT PLAY

Neun Kelche

Norwich / 2026

AS THE SAP RISES

OUTPOST

Vilnius / 2026

SUBSURFACE

MO Museum

Brno / 2026

ANCIENT GIRL STARTER PACK

Galerie Mladých, TIC

Avigliana / 2026

I SEE YOU FALLING IN MY DEN

Una Boccata d'Arte 2026

Shanghai / 2026

THE ROOM IS EMPTY, BUT PREGNANT

Capsule Shanghai

Copenhagen / 2026

AFTER THE OFFERINGS

inter.pblc

Ciudad de México / 2026

TÁNTALO

Biblioteca Vasconcelos

Angers / 2026

THE STASIS GARDEN (OR PIXIES MEMORIES)

Ville d'Angers (Château d'Angers)

ANNA UDDENBERG

@filet_minion_thong

Kraków / 2026

PASSENGER

Szaber Gallery, Kraków, Poland

WHO COMPOSES THE SONG OF THE CRICKETS? exhibition view

Paris / 2026

WHO COMPOSES THE SONG OF THE CRICKETS?

Galerie Suzanne Tarasieve

Poznań / 2026

TANGLED IN SHADOWS FROM AN OLD DRAWER

Łęctwo

Bucharest / 2026

DISLOCATION

Arsmonitor

Tokyo / 2026

THE BEAUTIFUL REMAINS

Kohtoh

New York City (NY) / 2025

EXUVIAE

Management

Göteborg / 2025

TOMORROW'S FORECAST, WHITE CLOUDS GREY DOGS

Galleri Box

/ 2024

BIDIM BLO!

Basisfrankfurt

Lisboa / 2023

A CERTAIN INSTANCE OF VERRITION

Leal Rios Foundation

Budapest / 2024

SKELETAL SCENES

Ani Molnár Gallery

JACOPO PAGIN

@pax_aliena

Milan / 2025

FALENE

Limbo Contemporary

LUNAR ENSEMBLE FOR UPRISING SEAS exhibition view

Barcelona / 2024-2025

LUNAR ENSEMBLE FOR UPRISING SEAS

Macba Barcelona

Milan / 2025

METAL MEMORY

Limbo Contemporary

Berlin / 2025

GREEN GROWTH

Kuenstlerhaus Bethanien

Århus / 2025

JUST ABOUT AND NEVER

SpLab

Paris / 2025

PARADE

Romeropaprocki

Berlin / 2025

THRESHOLDS

Carlier | Gebauer

Seoul / 2026

THE COLLAPSE MANUAL_THE POST-HUMAN FIELD (GROUP SHOW)

Aod Museum

Leipzig / 2026

MOONLIT BOTANICAL COLOUR THEORIES

Jochen Hempel

Dornbirn / 2026

47°24’35’’N / 9°44’20’’E

Kunstraum Dornbirn

QUE.FRESCA

@que.fresca

Paris / 2026

CHEWING GUM IN THE MOTHERBOARD

La Volonte 93

Paris / 2025

PULSES WITHIN

Ds Galerie

Seoul / 2025

THIRD SKIN

Dive Seoul Art

Sherbrooke / 2026

APIS MELLIFERA CONCERTO

Sporobole

Warsaw / 2026

HAT HAPPENS ON EARTH STAYS ON EARTH

bliss

Riga / 2026

KEEPING THE PEELS

427

Brussels / 2026

LARVAL TEARS

Veranda

Berlin / 2026

P R I M O R D I A

Culterim Spaces Backshop

Munich / 2026

INNER:LICHT

SAMSA G. TUCHWAREN

ISABELLE ALBUQUERQUE

@isabellealbuquerque

Münster / 2026

THE SPIRIT IS WILLING BUT THE FLESH IS WEAK

Leonardo-Campus Münster

/ 2026

MOUTH

A Flower Is Growing Inside Me exhibition view

Warsaw / 2026

A FLOWER IS GROWING INSIDE ME

Piktogram

Seoul / 2026

BETWEEN REALITY AND THE VIRTUAL

Brussels / 2026

CALL ME GRAVITY

WIELS Contemporary Art Centre

Seoul / 2026

TANGERINE REVERIE

Bangdo

Paris / 2026

NYMPHENBRUNNEN

Espace Nonono

24 Preludes, Op. 34: No. 22 in G minor (Adagio) exhibition view

Seoul / 2026

24 PRELUDES, OP. 34: NO. 22 IN G MINOR (ADAGIO)

Studiya Gallery

London / 2026

FAULT LINES

Public Gallery

Everything comes together while pushing all apart exhibition view

Vienna / 2026

EVERYTHING COMES TOGETHER WHILE PUSHING ALL APART

Reaktor Wien

00 ZHANG

@aio0o0o0

Munich / 2026

DOUBLE STAR

nouveaux deuxdeux

Ljubljana / 2026

ACCOMPLICE

Cukrarna

Warsaw / 2024-2025

GRASS ON ROADSIDE 4

Przeciąg Gallery

London / 2025

CHOICE DIRT

Xxijra Hii

Incommunicability is itself a source of pleasures exhibition view

Brescia / 2025-2026

INCOMMUNICABILITY IS ITSELF A SOURCE OF PLEASURES

The Address

/ 2024

TRANSPARENCY REPORT

/ 2023

THE WORM AT THE CORE

SET

Berlin / 2023

HUMAN IS

Schinkel Pavillion

London / 2024

LIMO

The Split Gallery

Berlin / 2025

THE NEOLIBERAL URGE TO CURATE A FRIENDSGROUP

ACUD Galerie

DORIS SALCEDO

#DorisSalcedo

Arnsberg / 2025

VITALS VAPORS

Kunstverein Arnsberg

Hamburg / 2025

DIE SPRACHE DER VÖGEL

Westwerk Hamburg

Prague / 2025

WITH FEATHERS AND FLESH

Holešovická Šachta

Seoul / 2026

THE LANGUAGE OF THE ENEMY

Artsonje Center

London / 2025

THE SIGNAL. THE NOICE

Greatorex Street E1

Berlin / 2026

COMMON LANDSCAPE(S) (GROUP SHOW)

ACUD Galerie

Dortmund / 2026

CALL ME WE

SUPERRAUM

Kraków / 2026

THE SHAPE OF A SCAR

Bonifraterska 3/1

Lisbon / 2026

LULLABY BLOSSOMS

Cosmos CAC

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT exhibition view

New York City / 2026

AUSSERKÖRPERLICHE ERFAHRUNG: WANDERING SPIRIT

Management NYC

TAEWON AHN

@ppuri_

Madrid / 2025

DESIRING MACHINES

RÍO & MEÑAKA

WARSAW, POLAND / 2026

WITHIN AND FOR EACH OTHER

WHOISPOLA / Jan Baszak

Where does one body end and another begin? How much of us is truly ourselves, and how much of us is made up of other beings? How, in the fervor of evolution, can we discern the contours of species, reason, and feeling? And finally: what is (really) alive?

Jan Baszak’s art engages with unmediated forms - forms undergoing metamorphosis, inhabiting a shadow zone where contours blur and presence remains ambiguous. The artist creates hybrid forms from materials stitched into the guise of other bodies, using prostheses and organic fragments - hair, ground fingernails, saliva, and so on. This art draws on the idea of the “obscene,” if we return to the Latin root obscēnus, which on the one hand referred to something ominous, an ill omen, while on the other carried connotations of shamelessness and indecency.

Animals inhabit this world; it is an entire menagerie. Rabbit, dog, rat, cow, horse, swan, hare - and this time, roe deer. For centuries, these creatures have spoken for us, cast in carefully assigned roles - often as villains and messengers from the Beyond, or at least as servants of dark forces. This is a kind of cryptozoology, populated by figures who inspire in us a sense of remorse and guilt, and by others who take the initiative and haunt our dreams. They rarely arrive in peace.

This is a story of permeability, moving in many directions at once. The boundaries between bodies are indistinct. According to the theory of endosymbiosis, proposed by Lynn Margulis and once regarded in the scientific community as almost heretical, our bodies are also composed of other beings. Not only are our insides inhabited by bacteria, fungi, viruses, and archaea; we can also treat other species as building material, growing parts of our own bodies from them. Our mitochondria, after all, evolved from once free-living bacteria. We absorbed them, and they transformed into us, into our organelles. Usually, however, we reject foreign bodies, and in anaphylactic shock we recognize their presence as foreign. As obscene. The nature of our bodies is porous, but so too are the boundaries of scientific taxonomies, of knowledge and what remains unknown.

The protagonists of this story are roe deer. Two roe deer are joined in a peculiar ritual - an exchange, or perhaps an offering, of saliva. What is more, they are albinos, and therefore doubly peculiar. On the one hand, they are joined by an unknown ritual (of love, care, excess, or perhaps a psychoactive journey); on the other, they are marked, rare exceptions, apparitions. From a scientific point of view, this is quite an anomaly: an albino roe deer occurs once in every hundred thousand births. It is amiracle, but a frail one. A white creature in the forest is an easy target. Among hunters, however, there is a taboo against killing albino animals. One does not raise a hand against a messenger from the Beyond (and what else could a white creature with red eyes be?). The killer faces severe punishment; blindness may befall them. It is a paradox - the white animal is more visible to others against the dark background of the forest (while the albino itself has poor eyesight), yet one may pay for its death with the loss of sight. What is too insistently on display may become the final thing one sees.

Let us look more closely at the relationship between the two roe deer. They cling to one another. Saliva takes on the role of ectoplasm here, in its occult and spiritual sense: a sticky, gelatinous substance emitted by mediums during séances. We are dealing with a “medium.” This substance was most often faked using pieces of gauze, egg white, starch, or paper, which vividly recalls Jan Baszak’s sculptural method - they are manifestations of organic forms and bodies. During séances at the turn of the nineteenth and twentieth centuries, ectoplasm served as an esoteric lubricant: it facilitated contact between beings from two worlds. The substance emerged through openings in the medium’s body: the eyes, nose, and ears. Gates to the unknown opened. Communication took place - here, Earth; there, the Beyond. A séance, however, had to be based on an attempt to translate what was nonverbal. Communication found an outlet in thought and action, but not in speech. This act (this esoteric masquerade) can be compared to an animal leaving its scent for its own kind. And in this respect, the roe deer is unparalleled. It has scent glands all over its body: on its forehead, at the corners of its eyes, on its legs, and beneath its hooves. Its entire body is a machine for nonverbal communication. It can leave behind, for example, a distillation of fear mixed with urine, press it into the earth with its hoof. It is like ectoplasm flowing from the ear of a medium - a message from another world that we can finally decipher: we live in fear!

The roe deer is a fitting protagonist for this story. It is skittish, alert in an almost supernatural way. It inhabits that strange territory between what has been domesticated, edited, and what repeatedly becomes wild. The peculiarity of the roe deer lies in its apparent domestication. It exists alongside us, like urban foxes, but does not become familiar with us; it has never trusted us and probably never will. It has therefore been symbolically domesticated, or rather infantilized from a distance, through the spells of popular culture - inhabiting the imaginary worlds of fairy tales, cartoons, and toy stores. The phenomenon is so widespread that it has acquired a name: bambification, the tendency to create a naive, idealized image of the world we once called (in the past) nature. The roe deer is the queen of this strange impulse. But when we look into the pupils of an animal that has finally lost its vigilance, frozen in rigor mortis and allowing us to approach, we feel that the stories of messengers from the Beyond are not simply inventions.

In the Grimm brothers’ fairy tale Brother and Sister, a story that reads like a cruel lesson in dark ecology for the youngest readers, there is a motif of a roe deer (or perhaps a stag - in children’s literature there is a certain casualness toward zoological taxonomies), into which a young boy is transformed. It is a spell cast by a witch, but the boy finds solace in nature. He hides in the forest fromthe cruelties of the world. “Since our mother died, we have not known a moment of happiness. Our stepmother beats and kicks us whenever we come near her, and our only food is the hard crusts of bread,”- the boy laments to his sister, already in the opening lines of the tale. And so he escapes into the dark forest, finding happiness in moving between worlds. Yet he is accompanied by a death drive, a peculiar attraction to hunting - to being seduced by the lamenting sound of the hunter’s horn.

The objects in the exhibition are accompanied by sound as well. From the head of the third roe deer emerges John Dowland’s sixteenth-century song Flow My Tears, known previously in its instrumental form as the heartbreaking lute piece Lachrimae Pavane. The composer (“Semper Dowland, semper dolens” - always Dowland, always grieving - introduced himself in the title of one of his compositions) immersed himself in a melancholic sea of desperate sounds. The final stanza of this lament has an almost haughty, arrogant tone. It is a true celebration of wilding, of hiding among the shadows, of being overwhelmed by the incomprehensible whispers of the night:

Hark! you shadows that in darkness dwell,Learn to contemn light.

In Jan Baszak’s art, the motif of wilding, or becoming feral, returns insistently. It is a dark impulse. This is not about a gentle renaturalization, guided by a caring human hand, so that fluffy, big-eyed creatures can delight our eyes in an idyllic setting. Rather, what emerges here is an image of ugly, furious wilding. Of feral beings. In Polish, feralny means unlucky, unfortunate. But the word derives from the Latin fērālis (mortal or funereal), which, like obscēnus, suggests an ill omen. In English, feral means wild, as in “feral child” - a child who grew up „in the wild”, among animals, and does not communicate in human language. In this sense, we can think about systems, institutions, and social organization. About wilding that may not be particularly beautiful, but is nevertheless a promise of some form of salvation. For us and for the planet. Not a gentle return to nature, but a “feral” reckoning with the practices of domestication. This is precisely what art does at its best: it is a tool that helps us escape, evacuate ourselves from a world on fire.

It is the feeling that accompanies us when we see a pack of stray dogs hunting their prey by the roadside of a highway. We are witnessing a ritual of calling the wolf out of the forest. Except that instead of a predator, what appears is a gentle, saliva-covered roe deer, flickering, being here and there. It inhabits our world and the other one, blurred, feverish, hallucinating, decaying. Will everything become wild and find solace in that wildness? After all this, in contempt for the world, will we dream the dream of the roe deer, among shadows and covered in mud, emitting the scent of hope?

And feare, and griefe, and paine for my deserts, for my deserts,Are my hopes since hope is gone.

— Text: Sebastian Cichocki