Casa Filipka is an ongoing exhibition inspired by the legacy of Casa Susanna, the historic safe haven for trans women and crossdressers in 1950s–60s upstate New York. First hosted in a private villa in Mexico City’s Roma Norte, the project reimagines that spirit of community and free sexual expression in a contemporary context. It brought together 16 women and non-binary artists, creating a collective exploration of gender perception and transformation. The exhibition highlighted dialogues between Eastern European and Mexican perspectives, tracing shared and divergent experiences of queer embodiment.

'A PROFECÍA'
Her Clique, Lisbon
22.05-31.07.2024
as part of Lisbon Design Week

featuring: Pelka Atys, Martina Drozd Smutná, Mia Dudek, Anna Grzymała, Maja Janczar, Valentyna Janů, Alicji Pakosz, Anna Perach, Ioana Stanca, Marie Tomanova, Julia Woronowicz.

video guided tour
Filipka Rutkowska in conversation with Marie Tomanova, Clara Rego, Mia Dudek
show featured in Vogue Portugal

A PROFECÍA (“prophecy” in Portuguese) gathered eleven women artists from Central and Eastern Europe to collectively imagine the future. The exhibition examined speculative visions shaped by myth, transfuturism, and alternative epistemologies rooted in ecology and nonlinear time. Framed through the female gaze, it emphasized intuition and sentience as tools of knowledge. In doing so, the show proposed new ways of envisioning worlds beyond dominant linear narratives.

'Renaissance Noir'
Her Clique x The Blacker The Berry
Amondo Cinema, Warsaw
(co-curated by Jesualdo Lopes)
28-29.09.2024
screenings and workshops

The event was organized in collaboration with the Lisbon-based collective The Blacker The Berry at Amondo Cinema in Warsaw. Over the course of a weekend, curator Jusualdo Lopes prepared a program of screenings, talks, and workshops focusing on the Black queer community within the African diaspora. The film selection included landmark works such as Woubi Chéri (1998, dir. Philip Brooks & Laurent Bocahut), Gay Favela (2007, dir. Rodrigo Felha & Gustavo Nasr), and The Watermelon Woman (1996, dir. Cheryl Dunye). Alongside the screenings, we hosted discussions and workshops that expanded on the films’ themes, creating space for dialogue around queer visibility, resilience, and transnational solidarities. In this way, the event highlighted the intersections of race, sexuality, and migration while also foregrounding the political power of queer art and community building.