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.
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.
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.
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.
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.
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.
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.
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.
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. Fotografie z archiwum Anny i Krystiana Jarnuszkiewiczów
Kuratorzy: Patrick Komorowski, Gunia Nowik
Organizatorzy: Pola Magnetyczne, Fundacja Archeologia Fotografii
Wernisaż: 22.02.2018, godzina 18.00
wystawa czynna: 23.02.2018-6.04.2018
Galeria Fundacji Archeologia Fotografii, Chłodna 20, Warszawa
wystawa czynna codziennie: 11-19.00
Anna i Krystian Jarnuszkiewicz poznali się w 1952 roku, we wrocławskiej Państwowej Wyższej Szkole Sztuk Pięknych. Ona była na wydziale malarstwa, on rzeźby. Po zakończeniu studiów żyli razem i tworzyli, nawet jeśli czasem oddzielnie, to w ciągłej bliskości, przez ponad pięćdziesiąt lat – aż do śmierci Krystiana w 2016 roku. Okoliczności te stanowią krajobraz ich wspólnej podróży i to w jej kontekście należy patrzeć na obszerny wybór zdjęć ukazujący ich dorobek na wystawie Love Story.
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.
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.
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).
Choreography of Images. Performative Photography: Zbigniew Dłubak, Mariusz Hermanowicz, Antoni Zdebiak
The exhibition originates in discussions on relations between photography, performance, stage productions and widely understood acting in front of the camera lens. The area of our interest however does not focus on performance documentation, which constitutes a supplement of an activity per se, functioning independently from the fact, whether it was photographed or not. We are interested in such photos, which main aim is – according to the artist’s intention – the image as such. Therefore they present to the viewer activities which arose for the purpose of the photo, where the author is not only a witness, but first and foremost the director and choreographer and finally might fulfill a role of an actor as well. The exhibition presents the original prints from 80’s, from archives which Archeology of Photography Foundation is working and making research on.
In his latest project, Adam Pańczuk investigates human subconsciousness and its representability through the photographic image by working with a model and building a non-existing world – one created with the use of props, actors, and scenery. Pańczuk depicts something that does not exist in the visible world, with the sequence of images he produces bringing to mind an oneiric logic and evoking dreams in which we experience flashes of understanding, unwavering confidence, and harmony. However, the brightness is soon replaced by daylight, just after we wake up.
Andrzej Georgiew was a photographer who never made projects or series, and yet who left behind a remarkably coherent oeuvre. Man is central to his interest; above all, the human face. He used to say: I keep getting the feeling that I’m always taking the same photograph. Georgiew returned to the same figures many times, stripping away more and more layers. In this way, he was trying to extract this “presentness” from time and to capture it. The fruit of these encounters is a series of apparently similar photographs.
Anna Zagrodzka’s project Collection refers to the system of teaching art history based on using visual material on slides. This method, commonly used before the arrival of digital reproduction, is still applied in many lectures.