Tomasz Szerszeń / Marek Piasecki The Eye Chamber

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.

Marek Piasecki, Anaklasis

We are happy to introduce a newly published book ‘Anaklasis’ comprising of photographs taken by Marek Piasecki.
The word άνάκλασις [anaklasis] describes the phenomenon of rhythmic feet modification in poetry. It constitutes a breaking up a rhythm of a poem by substituting strong elements in a poem: long or stressed syllables with short and unstressed ones. This term was popularized in the world by Krzysztof Penderecki who called one of his most important works this way. In the avant-garde, few-minute composition from 1959 written for forty-two string instruments and six percussion groups, Penderecki experiments with noise, silence, rustle and explores the limits of sound.
At the same time, Marek Piasecki tests and explores the limits of photography. He experiments with blow-ups, frames, he searches for textures which would alter the rhythm determined by the light. He composes his photographs, changing the stresses, focusing on the moved elements of the images. He concentrates on the margins. Another meaning of the word ‘anaklasis’ is a refraction of light.
The book consists of photographs taken by Marek Piasecki between 1952 and 1960. Among the models visible in the photographs we may find i.a.: Joanna Turowicz-Piasecka. A vast number of the published negatives are complemented by a note ‘Mury i Muralia’ (‘Walls and Wall-Paintings’) written by Piasecki on the original wrappers.

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.