One of the most respected Austrian dance reviewer Ditta Rudle writes on 'Memoryhouse' in tanzschrift:

What is certain is that Tanz Linz has reached the top of all Austrian dance companies with this choreography and the energy of personal commitment.

Helmut Ploebst writes an excellent review of 'Memoryhouse' for a well known Der Standard:

A 'successful premiere' of 'excellent choreograhy' and 'a real masterpiece by set-designer Gabriela Neubauer'. 'The Linz company has improved even further in quality'.

Andrea Amort in tanznetz acknowledges the choreographic language and Tanz Linz ensemble in 'Memoryhouse' in the latest review of Kuźmiński's work:

Constantly changing image constellations arise, which Maciej Kuźmiński draws with intensive choreographic language. [...] “Memoryhouse” achieves its effect through Tanz Linz’s strong, technically capable ensemble, and creative staging.

In Kronen Zeitung Elisabeth Rathenböck rates 'Memoryhouse' 4,5/5 stars and writes:

'The superbly trained and synchronized together 15-member ensemble explore the origins of dance'. [...] 'explores ways of communicating and feelings in poetic images'

An overall picture of 'Memoryhouse' is drawn in a great review by Barbara Duftschmid for Volksblatt:

The dancers, full of dynamism, strength, concentration and maximum body control, captivate the premiere audience in this deeply demanding production. [...] This is the sixth joint production by Maciej Kuzminski and his dramaturg Paul Bargetto, which the Linz audience celebrates with long-lasting, frenetic applause.

A very positive review of "Memoryhouse" by Karin Schütze at the local newspaper Ost Österreich Nachrichten:

Memoryhouse quickly develops its pull, as if you were yourself washed away in 70 entertaining, intense minutes. in the end there's an enthusiastic applause.

A touching review of Every Minute Motherland has been published on a know German portal tanznetz.de by Torben Ibs.

It is an evening that leaves the emotions on the stage and invites the audience to watch this meditation on mourning. Everything remains incomprehensible and at the same time directly touching.

Helmut Jasny from Westfälische Nachrichten reviws Every Minute Motherland as

The piece, was as oppressive as it was fascinating. (...) Horrific in statement, frighteningly beautiful in artistic execution.

A detailed and in-depth review of Every Minute Motherland by Melanie Suchy appeared on Tanzweb.org

The choreography avoids clear descriptions and drama, but relies on the wisdom of sensitive and multifaceted dance, on the superbly attuned group and the audience's ability to observe and empathize with every minute.

A very sensible review by Justyna Stanisławska on Every Minute Motherland appeared on 20.09 on the country-wide portal taniecpolska.pl .

a multidimensional story about what the war does to the human body and human interior, but also how it affects space and time. […] the viewer takes a journey into the deepest recesses of his sensitivity.

A great review after the premiere of my body falls lighter at Staatstheater Kassel. In an article titled "The play of the time travelers" Kirsten Ammermüller in Hessisch Niedersächsische Allgemeine writes

Kuźmiński uses the most diverse elements of an organic movement language (...) A convincing complete work that appealed to the audience above all emotionally and challenged their senses (...) goes far beyond modern dance theater.

A great review of the first foreign performance of Plateau. Thomas Linden in Koelnische Rundschau writes

With epic breadth, but also with many great images, with a cleverly ironic text and a well-rehearsed ensemble that moves like an oiled machine, the spectator is offered a concentrated dose of dance theatre performance.

The three women, like in fairy tales, resemble many, but destiny set their course in bitter asymmetry.

First review of Parting Ways was published in an on-line magazine f21.hu.

Maciej Kuźmiński succeeded in creating a successful – inspiring and exciting – spectacle by combining Edward Stachura’s prose, music and dance.

Read the full review by Piotr Dobrowolski about Kuźmiński's Fabula Rasa performed by the Polish Dance Theatre

Against the background of patriotically associated music we see a set of motion clichés, which can constitute a satirical image of modern society (not only Polish)

An in-depth review of Fabula Rasa by Polish Dance Theatre has appeared on Poznań cultural website.

I have not encountered such an excellent choreography for a long time

under constant stress in merciless competition until the world collapses

Michael Scheiner writes about Ampelmenschen for the Mittelbayerishe Zeitung.
Read the whole review of Tanz.Fabrik!Sieben evening under this link

a very intellectual although by no means pretentious, but rather amusingly ironic.

Stefan Rimek reviews Ampelmenshen, along with the whole Tanz.Fabrik!Sieben in Donau Post
Read the whole review here

Monika Żmijewska reviews Plateau in one of the best known Polish newspapers - Gazeta Wyborcza.

It perfectly accommodated Polish phobias, ills, myths, touched taboos, reaching for unobvious means of expression.

Rozbark Theater may not blaze the way in contemporary dance, but in combination with the words – it makes an amazing impression.

A new review by Jerzy Doroszkiewicz appeared after the Białystok performance that sparked controversy at the Kaleidoscope Festival. Read the whole review in Polish

Comic scenes and monologues that bring to mind the humor of Monty Python’s movies, amuse and worry at the same time

Joanna Sarnecka reviews Plateau for the main on-line dance editorial taniecpolska.pl [eng dancepoland.pl]

Monika Witkowska from Poland danced to present the terrible political situation in her country, especially the attempt to tighten the abortion law, for which she received public applause.

Susanne Wolke in Donau Post

The solo piece "I fought Piranhas" by the Polish choreographer and company director Maciej Kuźmiński was read like a feminist statement, danced viciously and with defiant anger by Monika Witkowska.

Read whole review in German by Michael Scheiner from Mittelbayerishe Zeitung.

“[...] The penetrating music of Steve Reich (It's Gonna Rain, pt. 1) requires so much attention that it takes effort as a spectator to follow the dance. Nevertheless it succeeds, thanks to the striking choreography of Maciej Kuzminski.” – Jennifer Schreurs 

“[...] a beautiful scene at the end when all the lamps come down to spy on the dancers piece by piece” – Ruben Brugman 

“In It's Gonna Rain Kuźmiński gives Steve Reich's eponymous composition a funny twist to simple movements such as turning, stepping and walking.” – Annette Embrechts 

“I loved the pastiche of the Dance of the Little Swans from Swan Lake by three masked dancers.” – Michael Hasted 

“The man as a dancing animal in a world of rules of behavior and social demands can be seen in It's gonna rain by Maciej Kuzminski” – Dick van Teylingen 

“The work draws the viewer into it's inner world, subtlely regulating the changes of the mood, reflecting elusiveness of the past and subjectivity of memory" - Hanna Raszewska  

“Delving into this bizarre, non-linear world of Archipelago, a series of incredibly aesthetic, surrealistic images, one can experience the very nature of time” – Joanna Sarnecka 

Witkowska performs dynamic choreography with technical precision, energy and commitment. The heroine's internal opposition to the situation is palpable, and the will to fight has authenticity, which makes the whole convincing.

Read the in-depth whole review in Polish by Weronika Łucyk

definitely the most interesting is the statement by Monika Witkowska, addressing an important topic (calling it "feminist" would be another condemnation to the sex ghetto, a universal problem), verbal message enriching with a strong, expressive, consciously non-defective movement.

Mirosław Baran after Gdańsk Dance Festival.
review link [in Polish]

“The work doesn’t show off with learnedness but approaches the questions of identity and difference unforced through the means of dance” – Tenka Issakainen 

A review of After Before has been published by Svetlana Ulanovskaya after the IFMC festival, where the work has been awarded the I-st Prize.

“Metaphysical elements are expressed through a beautiful, aesthetic movement, making us reflect but without imposing anything. Room 40 definitely belonged to one of the strongest festival presentations - not only among the Polish productions.” – Weronika Łucyk 

“Each part of the diptych could function as an independent whole, being a bodily representation of philosophical considerations. Yet together they successfully form a coherent performance, where the three performers differ enough, to make the repetition intriguing.” – Hanna Raszewska 

"Room 40, however, seems not only a critique of patriarchy, but a metaphysical treatise on the lack of ethicality of art. [...] is also a beautiful story about life, which is permanently marked by the possibility of death" – Alicja Müller 

“stunning, extremely sensual choreography, the most impressive from Polish performances of the Gdańsk Dance Festival 2016” – Łukasz Rudziński 

“Room 40 is a unique performance: challenging our expectations, and perception, yet phenomenally beautiful” – Mirosław Baran 

“Dominique is a powerful socio-political statement, coherent on every level, […] delivered in a layered way, which allows it to be accessible to more than just dance audience.” – Hanna Raszewska 

“Dominique is an example of a excellently constructed critical choreography, which strength lies not in the poetics of shock or excess, but in a smart wit brilliantly performed by Dominik Więcek.” – Alicja Müller 

“A very interresting visual and aesthetic experience, provoking extreme feelings in the audience.” – Monika Żmijewska 

“One of the few solos, that touched on a serious subject – the fragility of identity, and played it with humor.” – Brigitte Jähnigen 

Room 40 “casts the audience a brutal challenge by the image of the body with its raw physicality and organicity” – Hanna Raszewska 

“The whole gives an excellent impression. [..] This work appears as more than just a solo made for a competition

“Certainly the tissue of this performance is beauty coupled with pain” – Barbara Siemaszko 

“In this creation every element – choreography, performance, sense of space and timing – reaches independantly a very high level” – Andrzej Z. Kowalczyk 

“A poetic and moving spectacle, enchanting with light direction and sensual choreography” – Anna Duda 

“The many foreign dance representatives and journalists, who attended the Polish Dance Platform in Lublin, were impressed by Maciej Kuźmiński’s choreography and the rawness of the performance itself.” – Joost Gouziers 

“But it’s the platform finale, Maciej Kuźmiński’s ‘Room 40’, that bridges beauty and concept perfectly, deservedly scooping the audience prize in the awards ceremony afterwards.” – Lucy Ribchester 

“One of the few solos, that touched on a serious subject – the fragility of identity, and played it with humour.” – Agnieszka Dybek 

“A review of the self-performed improvised solo by Rachel Johnson 

Both works reviewed by the local Lublin Courier newspaper's critic Andrzej Z. Kowalczyk