Anna Konik's monumental video project, consists of thirty-five films response to the reluctance towards immigrants and the tragedies that befall them while they are smuggled into Europe. Over the last several years, Anna has been making attempts to connect two realities: the world of people from ethnic ghettos and the world of living in normal conditions in their homelands. 

At the centre of Konik’s attention is the human being — virtually all of her works are a process of ‘approaching’ the Other, resulting from encounters with other people and their realities. Taking the perspective of subjective experiences as her point of departure, the artist highlights their social aspect, and the viewer is confronted not only with an individual story but with broader contemporary issues.

However, the work of Anna Konik refuses to be easily inscribed in the paradigm of critical art. It offers much more than just a critical description of reality or comments on the contemporary condition. Konik uses the language of video to convey her protagonists’ experiences and mental states, seeking formal solutions to translate complex mechanisms of memory work, retrospection, emotions, elusive intuitions or impressions into the syntax of video installation and the structure of exhibition space. In her works form and content always complement each other and are equally important. The role and significance of the space where Konik’s video installations are presented occupy a central place in her formal investigations. Video, and above all the spatio-temporal structure of the video installation, is the primary medium of her artistic statements