Sława Harasymowicz, Untitled (detail), 2016, screen-print on paper, 103 x 77cm cm, unique
Sława Harasymowicz, Untitled (detail), 2016, screen-print on paper, 103 x 77cm cm, unique



In H.N.5 515 Sława Harasymowicz used personal biography (and documentary records) to explore one of the biggest World War II maritime disasters that still remains obscured in history and clouded in ambiguity.

On 3 May 1945 in Neustadt Bay near Lübeck, three stationary German ships, Cap Arcona, Thielbek and SS Deutschland were torpedoed by RAF Hawker Typhoons. The production of these timed mechanisms proved poignantly if ironically futile in confrontation with the fighter-bomber planes.

As a way of unpacking or exposing the personal and public significance of this event and interrogating the impulses of knowledge, destiny, timing and control, Harasymowicz juxtaposes drawing, print, found footage, archives and sound.

This was the first ‘chapter’ in a three-part multi-disciplinary project by Haraysmowicz. The second was Radio On, at Narrative Projects, and the third, The Spring to Come at The Poetry Library, Royal Festival Hall.

Further information about the exhibition can be found here.


Harasymowicz’s solo show combined an installation of silkscreen prints and drawings, including images from the then recently published graphic novel ‘The Wolf Man’, alongside items from the Freud Museum collection. These items collectively document Freud’s attempts to unravel the source of the Russian aristocrat, Sergei Pankejeff’s, crippling neurosis. The exhibition revealed Harasymowicz’s own working methods, exploring ideas around repetition, collation and the reworking of images. Set in the house of Sigmund Freud, the works and their groupings were suggestive of the ambiguity of communication, multiple loose sheets of drawings are pulled together, offering different comprehensions of analytical processes, proposing implications of repetition.

A limited-edition pamphlet, with an introduction by Deborah Levy, was produced to accompany the exhibition.



Curated by Sarah Jury



Exhibition supported by the Polish Cultural Institute London and University of Bedfordshire.



More information on the exhibition can be found here.