Work on Wojciech Zamecznik’s legacy was initiated by the APF in January 2012. At first, the legacy was examined and sorted at the artist’s former home, with documentation of the different fragments of the archive made on the spot. The first stage of the project was to examine the archive’s condition and contents, and to preliminarily sort the dispersed and mixed-up material.
Zamecznik’s photographic studies for poster, cover etc. designs, most of which have been preserved, were sorted by date. Documentary photographs from domestic and foreign trips were preliminarily identified for place and time, which made sorting the material significantly easier.
Prints from the years 1945-1967 were arranged into series and sorted for further archiving – from graphic works, through travel photos, to art world-related images and family portraits. The prints were examined from the conservation point of view.
Before rehousing the prints, it was necessary to decide on the choice of acid-free materials. Following the artists death, a large proportion of the silver gelatin prints had been glued to a metal surface, harming both them and the neighbouring ones (risk of scratching). Some also had to be put aside due to impermanent media, frequent damage, and planned conservation. All the graphic works, preparatory studies for poster projects, were rehoused in paper jackets and stored in acid-free boxes. Documentary and portrait photographs – being well preserved and requiring further identification – were housed in polyester wrappers to allow more frequent use. Metal-mounted documentary photographs are housed in cotton-paper wrappers.
All the prints have been inventoried, assigned a catalogue number, scanned and added to the APF online database.
Cellulose-acetate negatives from the years 1945-1967 were sorted, rehoused in archival greaseproof-paper wrappers and stored in archival negative binders.
The archive contains about 30 films made on 16 mm tape in the years 1949-1963. Themes include family life; travel; art world; experimental film; and exhibition documentation. The films were sorted by theme, described, preliminarily repaired and prepared for digitisation (defects mended, splices checked etc.). They are stored in archival metal containers.