LUX – book launch

Light in photography is a vast theme, described in countless publications and articles. Any given photograph or image may be analysed from the perspective of light. Thanks to light, we are able to see, take pictures, but also look at them. The history of photography, closely tied to scientific and technological progress, is specifically permeated with technological struggles related to registration of light. It is a history of attempts to ‘tame’ it, to record an image in the shortest time possible, or to create artificial conditions that will enable photographing despite its lack.

That Which Doesn’t Die, Does Not Live - new exhibition

An “ordinary” death is less and less present in culture. People don’t die in the presence of their families, but in hospitals; a coffin with a dead body is not held at home for three days, but instead the relatives visit the deceased in a chapel. According to the cultural anthropologist Joanna Tokarska-Bakir, “contemporary culture, with its cult of youth, if not immortality, is scared stiff of death […] The world, which doesn’t believe in any truths anymore, which perceives everything as a mask and appearance, defends against this most inevitable of truths in any way it can.”

The end of the project of digitization of Chometowska prints

At the end of November 2016 the project of digitization of photo prints from Zofia Chomętowska’s collection and rendering them accessible was closed. 89.41% of its cost was co-financed by The Main Directorate for National Archives.
The purpose of the project was to index and render accessible 2800 photos, mostly dated back to 1928-1946, taken in Polesie, Warsaw or other Polish cities. The whole collection has been digitalized and carefully described. Some of the most interesting images include photo-documentation of destroyed Warsaw, pre-war Poland palaces, photos taken in Zakopane in the years 1938-1939.

Antonina Gugała / Warsaw Photographer

Warsaw Photographer is a documentary project which presents various aspects of activity of Warsaw photography studios. Antonina Gugała examines the traces of presence of high street photographers within the capital city’s space. The material she collected serves as a departure point for recognition of social functions held by these photographers and for analysis of the language used by them in communication with their environment.

Exhibition „LUX” on Warsaw Gallery Weekend

The exhibition Lux is a continuation of the Archeology of Photography Foundation’s series of projects based on collaborations with contemporary artists which aim to inspire theoretical reflections on important issues for the history of photography and research practices. The formal background and past ventures of the artists invited to this project are radically different. This heterogeneity opened an opportunity for a multi-layered examination of a theme which is broad and inspiring in various respects – from metaphysical to technological, but which is also dangerously easy to trivialise.

Zofia Chomętowska: Photographer’s Albums

The Archive of Zofia Chomętowska’s works is now divided between two collections, the Museum of Warsaw (the photographs of the capital from the interwar period, during the war and post-war materials) and the Archaeology of Photography Foundation (photographs from her native Polesie and her émigré life in Argentina).

In a new publication, prepared jointly by both institutions, the artist’s entire archive has been made available in order to present the unique biography of Chomętowska – a photographer, a courageous, independent and modern woman. The publication presents 597 photos collected in four albums: The Enthusiast (1912–1935), The Professional (1936–1944), Documentalist (1945) and Émigré (1946–1981).

WGW: Mariusz Hermanowicz / Anna Molska

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 starting point of the exhibition is a rigorous observation of the clash of nature and culture, investigated by the photographer from a variety of perspectives. Anna Molska's video makes a direct reference to Hermanowicz's oeuvre.

EMULSION. NEW PUBLICATION BY APF

The Archeology of Photography Foundation presents its latest publication, EMULSION. Over eighty illustrations – archival photographs and selected contemporary works presented in the book tell the story of deterioration, operations performed by artists, and the materiality of photography. This subjective selection allows us to see how photographs described as “objects for conservation” take abstract forms and visually come across as something more than just a testimony of time.

Emulsion, Exhibition opening: 28 May 2015

Reviewing the analogue roots of photography is extremely important in the context of contemporary photographic practices. The exhibition Emulsion emerges from the need of revisiting the issues concerned with the materiality of photography and the related formal explorations. The project comprises works by three acclaimed artists who work in photography, but also engage with other media: Dorota Buczkowska, Nicolas Grospierre, and Robert Kuśmirowski. They will show brand new works, prepared especially for the Foundation's gallery space, which reference the origins of photography and deal with such notions as photosensitivity and conservation of photographic material. Coinciding with the opening night of the exhibition will be launch of the book under the same title. The book will feature archival photographs next to works by artists reflecting on the photographic matter as well as exploiting the potential latent in damaged photographs.

The Negative of Sculpture / Sculpture of the Negative

It is the aim of the archeology of photography to search for witnesses of past events! In the case of photography, the role of that witness is played by the light which was the stimulus for the technological processes of documenting reality and which sculpted the past common existence into the negative! The negative, then, is the trace of “that” light and an authentic witness of bygone events. This observation of the light left on the negative may be the theme of fascinating discoveries leading to the unraveling of the mystery of the sculpture of the negative.  / Jerzy Lewczyński