The Endless City is a record of Andrzej Bogacz’s three-year stay in New York – the city about which he says: “One can say about New York anything and everything will always be true. Here, nothing seems to have a beginning and the end – neither time nor space; it is an endless gigantic flood of people in urban melting-pot. Carefully observing the daily life of residents and tourists, their reactions for ‘meeting the city’, I have created my own photographic diary.”
New York through the eyes of Andrzej Bogacz offers extreme sensations – from joy, relaxation and freedom up to the loneliness and emptiness. There is Batman walking along Madison Avenue, a couple of tourists are taking a picture of themselves against the giant figure of Eddie Murphy. Somewhere else a flood of people is flowing across a pedestrian crossing. Colourful adds are calling from the walls of the buildings. There is Angelina Jolie leaning out from behind the US flag, hung upside-down in the window. In another window, there is a dog probably waiting for its master’s return. New York simple sinks in the flood of colours given to him by its residents.
Andrzej Bogacz (b. 1975) | based in Warsaw (Poland) | graduated from the Academy of Fine Arts in Poznań | winner of the Ryszard Kapuściński PAP Award for the best photo material of 2015 in Polish media | his photographs have been published in several magazines, including Harvard Review, Neewsweek Polska, Bloomberg Businessweek, Forbes, Polityka, Playboy, Gazeta Wyborcza, Rzeczpospolita, Polska The Times, among others.
Andrzej Bogacz – THE ENDLESS CITY
@ Czysta St. Gallery (4 Czysta St., Wrocław, Poland)
Grand opening: October 28 at 7:00 PM
The exhibition will be open to the public until November 25, 2016
The Andrzej Bogacz’s exhibition is organised under doc! photo magazine patronage.
Lost Territories. SEDIMENT is a story about the slow metamorphosis of the territory of the former Soviet Union. It follows a long-term photographic project, summarising the experience, which photographers of the International Association Sputnik Photos have gathered to date. It is also the most important exhibition in the decade-long history of the collective.
With their latest show, Sputnik Photos will take viewers on a journey to the areas of the former Soviet Union – territories of painful experience and unfinished transformations. For several years, the photographers have documented the life and space of all the 15 countries born after the collapse of the Soviet empire, exploring such topics as propaganda in Georgia, veterans of the Georgian-Russian war, environment contaminated with uranium and nuclear waste, women veterans of the Great Patriotic War, borders between states, metaphysics of the dreams of the former USSR’s citizens, long-lasting consequences of natural disasters, decline of the shipbuilding industry on the Ukrainian coast of the Black Sea, and earthquake in Spitak (Armenia).
The resultant Lost Territories archive, which consists of several thousand photographs, has become a starting point for exhibitions, books and installations. Each of the narratives to emerge in the future will address a different aspect of the post-Soviet lands.
The presentation in the Centre for Contemporary Art Ujazdowski Castle is the first in a series of Lost Territories exhibitions. Its central idea is to present different faces of the transformations in the republics of the former Soviet Union, which have now become independent states (some in theory only). The exhibition is conceived as a collective one, without distinguishing the individual artists. The personal series of works will be broken up and integrated with the other artists’ pictures to form image sequences focusing on aspects common to the project as a whole.
In four rooms of the Centre for Contemporary Art Ujazdowski Castle, degraded scenery of nuclear test sites and uranium mines will be displayed next to depictions of people’s self-organised efforts to build everyday life on the ruins of the empire. Pictures of female war veterans will neighbour with photographs of refugees from present-day conflict zones. The disappearing borders between the Baltic States are confronted with the monumental architecture of a despotic tyranny, which slowly restores the kind of cult of personality we know from the past, as is the case in Azerbaijan. The photographs show a complex and often brutal picture of the transformations.
The exhibition is accompanied by two books: Lost Territories Wordbook, which is an ‘anti-glossary’ pre- and post-transformation terms related to the Soviet Union, compiled by twenty authors from different countries – writers, historians, journalists, researchers, curators, artists and political scientists. The book will be available for sale starting from the exhibition opening night. The second publication – Lost Territories. Fruit Garden - is a photo book looking at such phenomena as political oppression, the Soviet science and the impact of man on nature.
Sputnik Photos is an international collective founded in 2006 by documentary photographers from Central and Eastern Europe. Experiencing the transformation of their region of origin has become a pretext for mutual commentary on the social, political and cultural processes occurring in it. Using photography, film and photo books, the collective has been building a record of the transformation of the area of the former Eastern bloc. Photographers: Andrei Balco, Jan Brykczyński (doc! #22), Andrei Liankevich, Michał Łuczak, Rafał Milach (doc! #19), Adam Pańczuk (doc! #15) and Agnieszka Rayss (doc! #5 & cd! #3)
Sputnik Photos – LOST TERRITORIES. SEDIMENT
@ Centre for Contemporary Art Ujazdowski Castle (2 Jazdów St., Warsaw, Poland)
Grand opening: October 21 at 7.00 PM
The exhibition will be open to the public until February 5, 2017
Erich Lessing is one of the most important Austrian photographers of the 20th century, chronicler of postwar history of Austria as well as Europe. Although he doesn’t consider himself a portrait photographer, he has created a unique catalogue of the most prominent politicians of the century. One of his legendary photograph shows the Ministers of Foreign Affairs of Austria and the Big Four (Soviet Union, United Kingdom, USA and France) standing on the terrace of Belvedere on the day of signing of the Austrian State Treaty on May 15, 1955. The photo became an icon of new, contemporary Austria, rebuilding its democratic statehood, in which Lessing was involved himself.
Hannah Lessing and Danielle Spera, Director of the Jewish Museum Vienna, made a very subjective choice of images, giving the project Lessing Presents Lessing an intimate character. This resulted in an intriguing exhibition covering Lessing works, ranging from the well-known political photo reportages to the works that had never been shown before like Girls of the Sixties on the election of Miss Poland in the 1960s, photos of belle femme on the beach of Casenatico (Italy), or sensual shots of strippers.
Erich Lessing (b. 1923) | based Vienna (Austria) | in result of increasing persecution of Jewish community in Austria, emigrated to Palestine (1939) where worked in kibbutz and as a taxi driver | studied radio engineering at the Technion, the Israel Institute of Technology in Haifa | started his photographic career as a kindergarten and beach photographer, then joined the British 6th Airborne Division as a photographer and pilot | after returning to Austria in 1947, hired as a photojournalist for the Associated Press | invited to join Magnum Photos in 1951, became its full member in 1955 (currently a contributor) | covered many significant political and social events | his photographs have been published in renowned magazines, including LIFE, Paris Match, Epoca, Picture Post and Quick, and exhibited throughout the world | author of over 40 photo books | receiver of many awards, including the Austrian Cross of Honour for Science and Art, First Class in recognition of his lifetime achievements (2013) | member of UNESCO’s International Commission of Museums (ICOM).
The Erich Lessing’s exhibition is organised under doc! photo magazine patronage.
In October, NEY Gallery&Prints will presents another exhibition of one of the most recognisable Polish photojournalists – Chris Niedenthal (doc! #6). The exhibition will be focused on sports this time.
“I have never been keen on sports and hardly participated in any competitions,“ - says Chris Niedenthal. – “Sport was obligatory at school. So I pretended that I played football. During a match I even managed to break my mate’s leg. It was really amazing as at that moment he was running behind me! While playing rugby I never hurt anyone only because, knowing the consequences, I kept myself as far from catching the ball as possible. What even I liked was rowing, and though I wanted to paddle alone, I was put into eights. Fortunately at competitions I was always in reserve so I didn’t have to present my skills or reveal lack of them. So the idea of presenting my photos connected with sports seemed really strange. However, while looking over my archive, I found there pictures showing something that could be associated with the sport in a wider sense of the word.“
At the exhibition, that will be a photographic walk from the 1970s to the first years of the 2000s, one will see pictures of the most famous Polish sportsmen and celebrities in everyday situations as well as while training and competing. There will also be photos showing the world around the sports, emanating the atmosphere and the political climate of those years.
Chris Niedenthal (b.1950) | based in Warsaw (Poland) | studied at the London College of Printing | came to Poland for some months from his home town London in 1973 and remained until today | Polish correspondent for Newsweek (until 1984) | Time contracted photographer for Eastern Europe and the Soviet Union (from 1985) | winner of the World Press Photo in the Portraits category (1986) | for years connected with the German weekly Der Spiegel | his photographs have repeatedly been presented at collective and individual exhibitions | author of photo books Chris Niedenthal. Selected Photographs 1973-1989 (BOSZ, 2014), Polish People’s Republic. Props (BOSZ, 2004), 13/12. Poland of the Martial Law (Edipresse, 2006), In Your Face (Edition Fototapeta, 2011), and autobiography Chris Niedenthal. Profession: Photographer (Marginesy, 2011).
The Chris Niedenthal’s exhibition is organised under doc! photo magazine patronage.
Use of light seems to be the most common topic of photographic textbooks, both for beginners and professionals. Light, in all its forms, appears in titles of innumerable exhibitions and often also pops up in headlines of educational articles on the history of photography. In most cases, however, the discourse on light is limited to showcasing ways of “taming” it, i.e. to its practical and technical aspects. The perception of the formal and artistic problems is usually lopsided. All of this often leads to the trivialisation of the question of light.
With the Lux exhibition, the Archeology of Photography Foundation continues the theme of projects based on collaborations with contemporary artists, which aim at theoretical reflections on important issues for the history of photography and research practices. In the first ever presentation of these pictures, film, and an installation, the artists engage with various aspects relating to light and its relationship with the ontological essence of photography.
Photophobia, the film by Karolina Breguła, a versatile multimedia artist, is a dark, metaphorical story about the fear of darkness. Its protagonist compulsively collects light bulbs in an attempt to limit the liberty of her fellow district residents.
Przemek Dzienis is mainly known for his witty photographs of people in relation to objects and space. This time around, he starts with the physical nature of light and explores its transformations and colour perception. In an effort to create an illusion of light effects, he applies modern printing techniques.
For Magda Hueckel, the author of the acclaimed book Anima: Images from Africa, light is a symbol of healing and recovering from an illness. In this way, the artist tries to make reference to the history of photography, as well as to the broader context of the presence of light in culture.
One of the artists who continue to revisit the problem of light is Szymon Rogiński, whose works such as UFO Project or the Blackness series, focusing on the lack of light, have permanently established themselves in the canon of contemporary Polish photography. The author focuses on the registration of light phenomena, applying, among others, the process of solarisation, which takes place as a result of intensive exposure of a light-sensitive material.
The exhibition will be accompanied by a book under the same title, which will be launched during the closing reception. It continues the series inaugurated with Emulsion (2015), which focuses on the material aspects of photography. Lux features contemporary and archival works dedicated to light as well as commentary from the perspective of physics and research articles.
Karolina Breguła, Przemek Dzienis, Magda Hueckel & Szymon Rogiński – LUX
@ Gallery of the Archeology of Photography Foundation (13 Gen Władysława Andersa St., Warsaw, Poland)
Grand opening: September 23 at 5.00 PM
The exhibition will be open between September 24 and October 14, 2016
Andrzej Wiktor’s photographs’ characters are knights, Vikings, shooters, hussars, masters of the sword with ladyloves, craftsmen. They all share one passion – possibly the most faithful reproduction of ancient times. Wiktor’s photographs are well-thought portraits of people dressed in costumes from the past, without styling and fiction. The artist gives them particular dimension and depth.
Contemporary knights are a large group of enthusiasts who participate in celebrations of different historic events and also arrange various historical happenings. Often associated only with fun and masquerade, they are the people of great knowledge and sports skills like fencing, archery and horse riding. These people are endowed with the passion which often combines their professional life with hobby. They collaborate with curators, organisers of anniversary events, directors and many others.
The exhibition will also includes photographs made in heliogravure technique, that is very rarely used today.
Andrzej Wiktor (b. 1973) | based in Warsaw (Poland) | graduate of the Łódź Film School | member of the Association of Polish Artists Photographers ZPAF and Association of Polish Journalists | freelancer collaborating with National Geographic Polska, National Geographic Traveler and Press, among others | his photographs have been published by major Polish weeklies, like Wprost, Polityka, Newsweek Polska and Przekrój | previously worked for photo departments of the Polska The Times, Polish Press Agency and Rzeczpospolita | winner and finalist of several photo contests.
Andrzej Wiktor – KNIGHTS
@ -1 Gallery (Polish Olympic Committee bldg.; 4 Wybrzeże Gdyńskie St., Warsaw, Poland)
Grand opening: September 28 at 7.00 PM
The exhibition will be open to the public until October 20, 2016
The Andrzej Wiktor’s exhibition is organised by NEY Gallery&Prints under doc! photo magazine patronage.
Wacław Wantuch (cd! #1) is a legendary person. He is the most recognisable contemporary photographer of “absolute beauty” – the female nude. A sculptor who uses light instead a chisel. The author of over seventy exhibitions and three bestselling albums, representing the Polish canon of black-and-white nude of the 21st century. His next exhibition – Platinum – shows his sensitivity not only to the beautiful shape of the body, but also to the personality and context. He invites the sun light to his studio, accepting its changeability, playing with and making it a co-author of his photographs. He focuses on what is in the shadow. It turns out that what is hardly seen, can be most impressive.
The Platinum exhibition is unusual in its form as well as in content. The photographs presented there are the effect of some years of the photographer’s experiments with the noblest photographic technique of prints – platinotype. Before the World War I it was one of the most popular methods of making prints. Some time later, it was replaced with silver technology – easier and cheaper. However, platinum prints are characterised by unusual vividness. Gentle, full of tonal gradations, unreachable in any other process, combined with natural and warm colours, all of these give the pictures their unique atmosphere. Durability and stability of the chemical processes, that occur during the proper developing of platinum prints, are termed as endless. Moreover, each print is unrepeatable. There is no the same print. The photographs are exposed on handmade paper, supplied by the paper factory founded in the days of Gutenberg.
The exhibition is accompanied by the Platinum album, containing an extended set of photographs and conversations with Wacław Wantuch about his transformation from a sculptor to the photographer of the nude and about challenges posed by the platinotype.
Wacław Wantuch (b. 1965) | based in Kraków (Poland) | artist-photographer and writer | mainly creates female nudes | graduated from the Academy of Fine Arts in Kraków | author of the book Wawel Stone? (original title Kamień wawelski?; Castor, Kraków, 1992) and photography albums Nudes (original title” Akty; Bosz Publishing, Olszanica, 2010), Nude and Nude 2 (original titles: Akt and Akt 2; Bosz Publishing, Olszanica, 2006) | has exhibited internationally.
Wacław Wantuch – PLATINUM
@ Leica Gallery Warsaw (3 Mysia Str., Warsaw, Poland)
Grand opening: September 15 at 7.00 PM
The exhibition will be open to the public between September 16 and October 23, 2016
Artist talk: September 16 at 6.00 PM
The Wacław Wantuch’s exhibition is organised under doc! photo magazine patronage.
In Łódź (Poland) it is a widely known story. A rich entrepreneur, Izrael Poznański (1833-1900), one of the icons of the best industrial days of the city, wanting to have enough workers for his factory, decided to build houses for them nearby – the famułas. At the time of the greatest prosperity, nearly 7000 people lived and worked there. Unfortunately, at the end of the Poznański’s empire, the slow agony of the famułas and their inhabitants started. Its very end occurred when it was decided to shut down the Poltex company in 1991. The housing for workers became a no man’s land and its inhabitants were left to fend for themselves. This miserable state would have gone on for ever if not the general renovation of the former housing of Poznański’s factories that started in 2014. The renovation was preceded by a long process of carrying out the residents to other apartments. And it is when Urszula Tarasiewicz appeared at the Ogrodowa Street. She started to document the empty buildings. As she admits: “I have always wanted to be a meter reader to have an opportunity to watch how the people live. It fascinated me since my childhood as the decoration of an interior tells a lot about its inhabitants. Whether they decorate their rooms with photos of their grandparents or they prefer to have calendars with naked women on the walls. But this time it was a bit more difficult as the flats were empty, so everything had to be imagined.”
Indeed. There are deserted rooms in Tarasiewicz’s pictures. Shabby walls from which someone ripped the wiring and on which the outlines of once hanging pictures and standing furniture are still visible. We have got used to such pictures. We see them every time after floods and hurricanes. But as far as in these cases they are the consequences of natural disasters, here everything is caused by man. That is why the photographs are more impressive, they even terrify with their ruthlessness and coldness. Yet they can’t stop us thinking about the people who are not in them. Who were the people who used to live there? Where are they and how are they at the moment? How they worked out their life after having left these flats where many of them had lived for generations?
Urszula Tarasiewicz guides us around the world, which no longer exists. She does it slowly as if she wants to give us enough time to come to the conclusion, that such is the way of things, that cities need permanent progress, otherwise they will meet a systematic and relentless fall and from which they can be saved only by a revolution. Nearby, on the other side of the street, such a revolution has been made – Poznański’s factory has become an elegant shopping mall and a hotel, the post-industrial space attracts people again, which for the famułas residents must seem to be out of this world. It must have been a real shock for them, further evidence of exclusion.
Tarasiewicz’s photos are simply shots. One can’t find there any traces of playing with composition or attempts to interesting frames. Actually they are not to do it. They are not supposed to entertain or comfort the viewers. We are to feel this sadness that must have accompanied the inhabitants of these interiors. We must experience the roughness of the place which we can see going away into the past but thanks to these pictures will remain in our memory.
Urszula Tarasiewicz (b. 1975) | based In Łódź (Poland) | graduate of the Łódź Film School | ennobles absurd and marginal things in her pictures, looks for beauty in kitsch, colour in greyness, and happiness in unhappy people | author of many times awarded and exhibited in many countries New Urban Legends series | her photographs have been shown in such group exhibitions as Critical Mass (USA, 2012), Call me on Sunday (Austria, 2014), Face to Face (Germany, 2014), among others | participant in prestigious portfolio review organised by The New York Times (2015).
Urszula Tarasiewicz – OGRODOWA/GARDEN STREET
@ andel Hotel Łódź (17 Ogrodowa St., Łódź, Poland)
Grand opening: September 8 at 7.00 PM
The exhibition will be open to the public between September 9 and October 10, 2016
The Urszula Tarasiewicz’s exhibition is organised under doc! photo magazine patronage.
Jock Sturges is of one of the most controversial photographers of the last decades known for his series of naturist families primarily taken at communities in France, Northern California and Ireland. Captured with a rare large format camera, his images often refer back to the old masters’ paintings and the classical style photography of the late 19th and early 20th century.
However, the photographer’s initial rise to fame was burdened by controversy. The young age of some of his models drew the attention of a conservative federal task force that raided his studio and seized his files and equipment, later on all his images and equipment were returned and no charges brought. Three years later his work was assailed again by an organised attack by extremist activists from American Christian communities who besieged bookshops aiming to seize and destroy his books. Once again his work was ultimately found to be innocent of all pornographic content or intent.
Indeed, his photographs are devoid of exploitive or negative characteristics. Sturges doesn’t treat the naked body as an abstract form, but engages with his models and aims to capture them when they are most at ease, giving his work a beautiful, unrestrained quality. Sturges is committed to long-term friendships with the families he photographs. The photographer captures his models – girls and young women from nudist communities – in the surroundings that are organic to them. “Nudity means nothing to anybody here… People are naked… because they are naturists and spend their summers in a resort dedicated to the absence of shame.”
Having started in the 1970s, now Sturges is photographing the third generation of his models. “I have many series that are 30 to 35 years old,” he says. He is fascinated with the human body and how it develops from a fat-bellied baby to a delicate child and from there into adolescence and beyond into adulthood. Not just the biological process is an interest of Sturges, the development of the personality is of equal, if not greater, importance to him: “My ambition is that you look at the pictures and realise what complex, fascinating, interesting every single one of my subjects is.”
The exhibition represents around 40 photographs, offering a retrospective view on the work of Jock Sturges from the 1970s up to the recent times.
Jock Sturges (b. 1947) | based in Seattle (WA, USA) | an American photographer known for his large-format portraits of nude adolescents | received a B.A. in Perceptual Psychology and Photography from Marlboro College in Vermont and an M.A. from the San Francisco Art Institute | worked with Richard Benson printing from the negatives of Paul Strand, Eugene Atget, Walker Evans and Gary Winogrand, among others | has more than 10 monographs published | his work has been included in many museum collections around the world (e.g. The Museum of Modern Art and the Metropolitan Museum of Art in New York, the National Library in Paris and The Frankfurt Museum of Modern Art).
Jock Sturges – ABSENCE OF SHAME
@ The Lumiere Brothers Centre for Photography (Bolotnaya emb. 3, b.1, Moscow, Russia)
Opening: September 8 at 12.00 PM
Artist talk: September 8 at 7.00 PM
The exhibition will be open to the public between September 8 and October 30, 2016
The Jock Sturges’ exhibition is organised under doc! photo magazine patronage.
Street photography is based on capturing unusual events, symbols or anecdotes hidden in everyday situations happening in public places. Street photographers observe, notice and capture things, that others are unable to see. They do not arrange their pictures, they save everyday life as it is.
Un-Posed, founded in 2011, is the most recognisable Polish street photography collective. Its primary aim is to develop creativity and visual consciousness in public space and promote the achievements of Polish street photographers. The collective has already presented its works at various exhibitions in Poland and abroad. The next one, and at the same time the largest one, will be open soon in Lublin (Poland).
The Niepozowane (unposed in Polish) exhibition focuses on a human being seen in different situations and photographed in different places around the world. The pictures by 8 photographers – Damian Chrobak (doc! #13 & #19), Maciej Dakowicz (doc! #12), Jamie Fyson Howard (doc! #16), Ania Kłosek (doc! #25), Monika Krzyszkowska (DEBUTS 2015), Tomasz Kulbowski, Marta Rybicka (DEBUTS 2016) and Adrian Wykrota (doc! #31) – form a story about the current state of man in terms of behaviours, surroundings and emotions. Why are we drawn to these images? Do we see similarities in our own lives? Have we seen such scenes somewhere before?
Despite of the fact that all members of the collective move in the same area of interests, their photographs prove their individual style, which shows complexity and potency of street photography.
Un-Posed – NIEPOZOWANE (UNPOSED)
@ Brain Damage Gallery (7 Marii Curie Skłodowskiej St., Lublin, Poland)
Grand opening: August 20 at 7.00 PM
The exhibition will be open to the public until September 18, 2016
The Un-Posed exhibition is organised under doc! photo magazine patronage.