Tadeusz Sumiński, From Photographer’s Notebook

The exhibition From Photographer’s Notebook, presenting Tadeusz Sumiński’s works, is a subjective selection of photography notes from journeys. The oldest photographs were taken during trips to Italy and Spain in 1957 when the author had just started working as a photographer and had been freshly accepted as a member of the Association of Polish Art Photographers (ZPAF). Other works come from the 1960s when Sumiński was employed as a full-time photojournalist in Polska monthly magazine aimed at African and Asian countries and started working intensively in this field.

Żywe Archiwa 2018

Pojęcie żywe archiwa jest próbą alternatywnego spojrzenia na opracowywane przez FAF zbiory, realizowane poprzez wystawy, publikacje, akcje w przestrzeni miejskiej czy koncerty niemal od początku istnienia fundacji, to jest od 2009 roku. Tegoroczna edycja oparta była na współpracy z dwojgiem współczesnych artystów – Magdą Franczak, rzeźbiarką, fotografką, twórczynią pracowni nomadycznej oraz Rafałem Milachem, fotografem, dokumentalistą i rysownikiem.
Magda Franczak pracowała ze zbiorem anonimowych fotografii z archiwum Żydowskiego Instytutu Historycznego im. Emmanuela Ringelbluma; Rafał Milach pracował z archiwami FAF umieszczonymi w Wirtualnym Muzeum Fotografii, przede wszystkim ze zbiorem Antoniego Zdebiaka.

Magda Franczak, Escheat

Archeology of Photography Foundation is happy to invite you to yet another chapter of the Living Archives project, within which the contemporary artists work with the historical photography collections, enriching them with their own, new interpretations.
For several reasons the new exhibition is different to the previous ones – Magda Franczak, an artist invited to co-operate with the Foundation, has decided to reinterpret the collection of anonymous portraits which belong to the Jewish Historical Institute. Almost 500 glass plate negatives, originating from 1930’s, have been organized, preserved and digitalized by Archeology of Photography Foundation in the collaboration with The Jewish Historical Institute, and were made available within The Virtual Museum of Photography.

Little is known about this unique collection – neither the names of the photographed people, nor the author of portraits have been identified. Negatives, brought to The Jewish Historical Institute years before, perhaps got there for a reason – the person who handed them over must have been aware that this institution takes care of the Emanuel Ringelblum Archive as well as other legacies of Jewish life from before 1939 and after the Holocaust. And thus, the place the collection came from determined its interpretation. It was presumed that at least a significant number of the portraited people had been of a Jewish origin. Most probably majority of the individuals photographed in 1930’s did not survive the next decade.

Antoni Zdebiak. Everyone is Furthest from Himself

Antoni Zdebiak treated art as a process and a ritual, and his own body – as a tool. In his photographs, he usually became his own model. His archive contains hundreds of self-portraits. There are classic examples among them, in which we can see Antoni Zdebiak’s face or rather hundreds of his faces. In other works, we observe him in action. We invite you to visit Antoni Zdebiak’s solo exhibition which will take place within Warsaw Gallery Weekend.

Field of Vision. CENTRALA Designers’ Task Force / Wojciech Zamecznik

This time, Archeology of Photography Foundation has invited CENTRALA Designers’ Task Force to cooperation within the ‘Live Archives’ project. On a daily basis the group members - Małgorzata Kuciewicz and Simone De Iacobis - are involved in working on architectural and art projects, deriving their inspiration from 20th century avant-garde. From the perspective of researchers, designers and re-constructors of historical exhibitions they have taken a closer look at the archives of an exhibitioner, graphic designer and photographer, Wojciech Zamecznik.


The retrospective exhibition of Mariusz Hermanowicz’s works will open 10th of April 2018 in photography gallery Prospekto in Vilnius. The exhibition presents alterations taking place throughout the periods of his artistic activity. Mariusz Hermanowicz was an operating photographer from 70’s up till 2008. His individual style stretched between conceptual photography and photojournalism. Applying handwritten notes directly onto prints and taking a series of photographs organized in the cohesive and carefully planned narration became his hallmarks.

Dłubak in Foundation Cartier-Bresson

The Zbigniew Dłubak – Héritier des avant-gardes exhibition is being held at the Fondation Henri Cartier-Bresson between January 17 and April 29, 2018.
In the post-war period, Zbigniew Dłubak (1921-2005) was one of the driving forces behind the profound changes in the Polish artistic scene. A great experimenter of photographic forms, he was also a painter, art theoretician, teacher and editor of the Fotografia magazine for twenty years, introducing into this publication a robust photographic critique and interdisciplinary approach to the medium. He enjoyed a certain notoriety in Poland during his lifetime. Several monographic exhibitions were dedicated to him and some of his major works are part of Polish public collections.

Love Story

Anna and Krystian Jarnuszkiewicz met in 1952 at The State Academy of Fine Arts in Wroclaw. She was studying painting and he was studying sculpture. After they had finished university, they lived together ever after and worked - although separately sometimes, always in a constant closeness which lasted over 50 years and was ceased by Krystian’s death in 2016. These events constitute scenery of their common journey and build the perspective through which the vast selection of works presented within Love Story exhibition should be perceived and understood.

Where is the body. On Agnieszka Rayss’s project.

Or rather: what is it like and who does it belong to? Is photography able to convey shapes and structures of the body shell the same way the beautiful wax moulages do?

‘I started with collecting them” – says the photographer. University Museums within Anatomy Departments and those opened next to M.E. Office in Hamburg, the collection of Forensics Center in Wrocław - these were the areas of her explorations. She photographed body parts, internal organs and bones stored in repositories and locked away in cabinets as well as moulages, the plaster or wax models perfectly imitating surfaces of objects - in this very case those of the body and skin, which were showcased as permanent expositions.