The Stomach is a central place on the body map. It hides internal organs, it protects bodily functions, being exposed to lethal risks is a subject of our enormous care.

If we transpose the bodily metaphor onto the ground of fine arts, we can say that the art of “the head” is intellectual art, it poses problems, raises issues, leads to abstraction or, in its light form – invites to intellectual plays. The art of “the stomach” would, on the other hand, be explicit, expressive and directly addressed at the viewer.

“The Stomach” was an exhibition of young, brave and impulsive artists. All of them are characterized by an equal degree of sensitivity and similar ways of expression, plus a fair dose of risk and utter lack of prudery. Lowbrow aesthetics and expression means are not devoid of dirt, disruptions or accidents, which purposely “spoil” the work of art. They thrive in conditions of dissonance and disharmony. And they all the time remain poetic and imaginative. They refuse to use art’s official language – their themes and formal solutions differ from the art of the mainstream. “The stomach art” omits social topics and avoids political engagement. Here, we encounter the vision of the world proposed by a single human being, marked by old fashioned individualism. Equally old-fashioned is its attachment to style – each artist sticks to his individual language of expression. All this makes “the stomach art” particularly communicative – it employs a self-centered focus only in cases of intentional mockery. Otherwise it simply opens up to the viewer and encourages experiential exchange. It often uses sound in a belief that this means of communication is just as fully-fledged and effective as the written word and the picture.