Many photographers of the post-war era got involved in projects related to applied photography; only a few specialized in this genre, while the vast majority accepted commercial assignments on the fringes of their regular photojournalistic or artistic activities. Authors often undervalued this part of their work because of its commercial dimension. Perhaps this is one of the reasons why the knowledge about this genre of photography is still insufficient. With this exhibition, we would like to draw attention to applied photography as a creative field and grant it equally important status.
The Carousel exhibition presents 45 photographs taken by Harry Weinberg in 1966-1973. All of them were commissioned by the Eastern edition of Poland magazine, Polsha. The Archeology of Photography Foundation has been working on the photographer’s digital archive since 2020. This is the first exposition of Weinberg’s oeuvre at the gallery at 20 Chłodna Street in Warsaw. The great majority of photographs will be presented outside the press context for the very first time.
The aim of this publication is to draw attention to the documentary oeuvre of Marek Piasecki (1935-2011), artist, graphic designer, author of installations, heliographs and miniatures, member of the Second Krakow Group. The book comprises a selection of 150 photographs, based on Piasecki’s archive of negatives digitized by the Archeology of Photography Foundation since 2016. While some of the images within the selection are his well-known photojournalistic photographs, the majority are previously unpublished images.
We would like to invite you to familiarize yourself with the latest publication accompanying the exhibition Sława Harasymowicz, The Bay.
The point of departure for the project of Sława Harasymowicz is a tragedy that took place in the closing days of World War II, in Neustadt Bay, near Lübeck. Prisoners evacuated from the Neuengamme concentration camp lost their lives in the bombardment of three German ships by the RAF; among those who perished was the artist’s great-uncle, Marian Górkiewicz.
The Exhibition is to recall the life and work of Julia Pirotte (1908-2000), a Jewish photographer, journalist, communist, social activist, and author of the photographs from the Marseille uprising (1944) and – to a great extent perished – photographic documentation of the Kielce Pogrom (1946).
The point of departure for Sława Harasymowicz’s exhibition is a tragedy that took place in the closing days of World War II, in Neustadt Bay, near Lübeck. Prisoners evacuated from the Neuengamme concentration camp lost their lives in the bombardment of three German ships by the RAF; among those who perished was the artist’s great-uncle, Marian Górkiewicz.
Dłubak Soundsystem is a unique work: a dialog between Zbigniew Dłubak (1921-2005), one of the classical figures of the Polish neo-avant-garde, and the experimental music of contemporary performers, cellist Mikołaj Pałosz and saxophonist Ray Dickaty. This exceptional audiovisual performance, conceptualised by Mikołaj Pałosz, will see its premiere on the final day of the International Festival of Contemporary Music Warsaw Autumn.
We are pleased to announce that an exhibition of Jerzy Lewczyński’s and Krzysztof Pijarski’s works, curated by the APF’s Karolina Lewandowska, opens on 24 January 2013 at Fotohof, Salzburg. More information available on the Fotohof website >>> Exhibition is on until 16 March 2013.
Mariusz Hermanowicz, The Battlefield / exhibitionAnna Molska, PHOTOGRAPHS (LOOK WHAT I FOUND HERE) / video During this year’s edition of the Warsaw Gallery Weekend, Archaeology of Photography Foundation offers the first presentation of Mariusz Hermanowicz’s archive, whose research commenced at the beginning of 2015. This premiere presentation will include an individual exhibition of the artist’s works and a video piece by Anna Molska.
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.
Archeology of Photography Foundation is happy to invite you to a hosted exhibition by Belorussian artists group Veha (veha.by).
Belorussian artists group Veha (veha.by). Collective locates vernacular photography in the central point of their interest. Archival photographs from private collections searched throughout entire Belarus, turn into a tool aimed at studying tradition, history, and collective memory.
Wojciech Zamecznik (1923-1967) was a remarkable exponent of the Polish School of Posters, a photographer and experimenter in the fields related to film and photography. For his entire life, he lived and worked in Warsaw, he also taught at the Academy of Fine Arts in Warsaw, where he conducted a photo-graphic design studio in the years preceding his death.
Photographing – as it is commonly known – is inextricably bound with the process of voyeurism, looking that often transgress the borders of intimacy. Such is also the case when we work with archives – the remnants and fragments of somebody’s art pieces, but also his/her life.
The Eye Chamber photography installation authored by Tomasz Szerszeń describes the exchange of looks and glimpses which enter the space of the archive. Its reference point constitutes the body of work by Marek Piasecki (1935-2011), a photographer, artist working with heliographs, author of dolls, sculptures, and collages. Many of his photographs are of an intimate character, he often processes and exploits the motive of the perverse stare or voyeurism.
Virtual Museum of Photography, available at: www.fotomuzeum.faf.org.pl, is a new base of photographs and knowledge on Polish photography.
The expanded portal allows a free browse through scans from archives studied and prepared by Archeology of Photography Foundation, but also through selected photography collections from other institutions – i.a. Jewish Historical Institute, Fundacja Pola Magnetyczne (Magnetic Fields Foundation), Fundacja dla Filmu i Fotografii (Foundation for Film and Photography), and Stowarzyszenie Dokumentalistów Droga (Documentary Photographers Association ‘The Road’).
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.
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.
Archeology of Photography Foundation presents exhibition during Triennial of Photography in Hamburg between 6th and 15th of June. The exhibition features Polish photographers: Antoni Zdebiak, active in the 80s., and contemporary artist Magda Hueckel. The project focuses on performative photography as a way of self-exploration.
What unites graphic design, stage design, photography and cinema is this interest in the new, in the development of both technology and contemporary artistic language,” wrote Wojciech Zamecznik in 1961.
The dialogue between photography and the graphic arts begun in the first two decades of the 20th century would prove especially fecund in the two-and-a-half decades following the end of the Second World War (1945–69). This exhibition looks at the post-war interaction of the two disciplines through some hundred photographs and other pieces drawn from the holdings of the Centre Pompidou and from public and private collections abroad. Often little known, these works cast light on an important phase in the relationship between photography and the graphic arts. While many graphic designers explored the use of photomontage, others favoured the formal abstraction that photography offered. Obtained by ingenious experimentation, their photograms and light drawings were used in advertisements, cultural posters, book covers and record sleeves. The representatives of this new visual sensibility were in great part trained or inspired by the Bauhaus. A pioneer in uniting the fine and applied arts, the school had seen the designer as an agent of society charged with the expression of the contemporary spirit. The books of the leading figures of the Bauhaus would exercise a decisive influence on these post-war photo-graphic artists, among them Laszlo Moholy-Nagy’s Painting, Photography, Film (1925) and Vision in Motion (1947) and György Kepes’s Language of Vision (1944) and The New Landscape in Art and Science (1956).
Mariusz Hermanowicz’s work focuses on some crucial and recurring threads. Its central place is taken by the interest in people. Observing them in various situations and telling their stories through applying a vast spectrum of photographic conventions are the motives which are present in every period of his artistic endeavor. Starting with photojournalism and finishing with studio photography, Hermanowicz showed their struggle with daily routine, but also elusiveness and randomness of encounters, fragility and precariousness of what is physical. Protagonists of his photos were accidental strangers, but also very close people and finally he himself.
The second returning theme is the passing time, evanescence and reflection on the unique value of every single moment. Photography served him as a vehicle through which he was able to search for what’s gone, a tool with which he could inventory traces, but also a medium, he used to regain and reclaim memories. Very often the image appeared not to be sufficient and because of so some photos are enriched with handwritten notes. Sometimes he wrote just one sentence, on other occasions – used more elaborate narration. These works are full of irony. However, there is often a nostalgy beneath.