44 women, each beautiful in her own way. At the Warsaw’s GWL Gallery on April 21, the first presentation of the bella project, Robby Cyron’s homage paid to womanhood and essence of his 25-year-long photographic career, will take place.
Everyone who knows Robby Cyron’s artistic work has noticed that he is able to create a magic atmosphere between the model and the camera. He is one of a few photographers who let the woman be herself, focusing the viewer’s attention on the game of lights and shadows. The bella project results from countless meetings during which Cyron was taking pictures of nature of women – these known ones (actresses, dancers, singers) and those close to his heart. This special collection of 37 black-and-white photographs of women presents the real picture of feminine beauty in a natural and minimal way.
“What I wanted to show was not only the women’s beauty, but also their emotions strictly connected with their sense of being a woman,” – says Robby Cyron.
During the exhibition opening, there will take place the launch of unique, hand-numbered album consisting of 94 photos of women, published in a limited series of 100 copies. The album numbered 001, signed by all the heroins, can be bought during the auction. Besides the album, 10 original photographs in collector’s version will be auctioned too. The charity auction will be run for the Rak’n’Roll Foundation.
Robby Cyron (b. 1970) | based in Warsaw (Poland) | learnt to photograph in a classical advertising photography studio | photographer and curator | owner of the las studio and GWL Gallery (both in Warsaw) | gives analogue atmosphere to his works, often made digitally | co-author of guide books IN (Agora, 2011) and author of the photobook Nath (RC, 2012) | his works have been published by such magazines like Maxim, Gala, Cosmopolitan, Elle, Playboy, Joy, Music Express, Glamour, Marie Claire, Twój Styl and doc! photo magazine (doc! #10 & #39), among others.
The Robby Cyron exhibition is organised under doc! photo magazine patronage.
For almost 10 years Piotr Zbierski has been consistently making his visual stories. They take the form of expanded and multi threaded series in which he studies both, the world around him and the medium he uses – photography. His photos escape the well known documentary convention, their aesthetics can evoke oneiric associations, suggest some kind of afterimages, sketches. However, it is quite clear which places Zbierski is interested in. The key factor is the meeting with other man, the world and with nature. Getting into new areas, exploring the world of emotions, intensive experiencing of them have become his working method and a condition for creating such images. They are characterised by unprecedented sensitivity of look, specific photographic techniques he uses and the problems he presents. These three elements make up the originality of the creator.
Zbierski uses photography to study mental states, emotions, relationships between science and culture, structures deeper and more hidden than those experienced in everyday and customary perception. Everything is marked by the intimate contact with photographed people, things, places and nature. Without the ability to enter such relationships these images couldn’t have been created. Thanks to that we are given the images which can amaze, intrigue, the pictures that demand our attention and perceptual involvement. The non-obviousness of these pictures makes us associate them with an open work – there is much to be said to oneself but there is also a lot to read out of them.
The series presented at the exhibition (Dream of White Elephants, Love Has To Be Reinvented and Stones Were Lost from the Base) show the path the photographer follows and in spite of the diversity of the themes of images, the vision of their creator is visible. Undoubtedly, road and travel are important concepts for Zbierski, both understood on different levels. He travels a lot to search for inspirations, looking for such places that have preserved the features of primordiality, the places in which one can experience the magic of cyclicality of repetitive rituals in which there are still remnants of pre-civilisational universe.
Piotr Zbierski (b. 1987) | based in Łódź (Poland) | graduated from Photography at the Łódź Film School | author of award-winning and highly respected series: White Elephants, Here, Love Has to Be Reinvented and Childhood Dreams | has presented his works internationally at individual and collective exhibitions | his series have been published by Shots Magazine, Ninja Mag, Archivo Zine, dienacht, GUP, doc! photo magazine (doc! #8) and contra doc! (cd! #5), among others | winner of the 2012 Leica Oskar Barnack Newcomer Award | author of the book Push the Sky Away (Łódź Film School, 2016).
Piotr Zbierski – PUSH THE SKY AWAY
@ FF Gallery ( 18 Traugutta St., Łódź, Poland)
Opening reception: April 21 at 6.00 PM
Artist’s talk: May 6 at 3.00 PM
The exhibition will be open to the public until May 6, 2017
The Piotr Zbierski exhibition is organised under doc! photo magazine patronage.
“When I am taking pictures, I am out of everyday reality that is around me, and I get into a different dimension, into other reality,” – says Marian Schmidt, the author of over 100 photographs, that will be exhibited soon at the Warsaw’s History Meeting House. The photos were taken during numerous trips of Marian Schmidt throughout Poland in the 1970s. There will also be presented a dozen or so contemporary photos from Poland as well as sublime, timeless pictures from the artist’s family archive.
The black and white photographs evoke the PPR climate and they present the changes that have taken place in Poland in recent decades. However, they are not common documentary photos; the author, recording that reality, simultaneously creates creates his own story about the life and condition of man. Painting-like photographs induce different emotions in viewers: joy, sadness, amazement and melancholy.
“I’m trying to catch the moment in which something happens in the man’s interior, looking for emotions and then I press the shutter button,” - Schmidt continues. – “That state I call as an ‘intensive moment.’ I feel the relationships between elements of the picture, the model and his surrounding. I avoid chaos in the pictures because I want my photos to be painting-like.”
The photographer has had over 60 prestigious exhibitions like those in Cracow, Gdańsk, London, New York City, Paris, Poznań, Szczecin, Tokyo, Zurich, Warsaw as well as in his home-town Żyrardów, among others. His pictures belong to collections of the Paris based Kodak-Pathé company, National Library of France in Paris, Museum of Photography in Charleroi (Belgium), Museum Folkwang in Essen (Germany), National Museum in Gdańsk (Poland) and numerous private collections.
Marian Schmidt (b.1945) | based in Warsaw (Poland) | received his Ph.D. of mathematic at the Brandeis University (USA) and of photography at the Łódź Film School (Poland) | his photos from communistic Poland got him to two prestigious photographic agencies – the Black Star in New York City and Rapho in Paris | founder, director and lecturer of the Warsaw School of Photography and Graphic Design | author of such albums, like Hommes de Science: 28 Portraits (Éditions Hermann, 1990), Marian Schmidt (Éditions Cercle d’Art, 1994) and Unusual Conversations with Rev. Jan Twardowski (Prószyński i S-ka, 2000), among others.
Marian Schmidt – INSIDE POLAND. MARIAN SCHMIDT. PHOTOGRAPHS
@ History Meeting House (20 Karowa St., Warsaw, Poland)
Opening reception: April 21 at 6.00 PM
The exhibition will be pen to the public until June 18, 2017
The Marian Schmidt exhibition is organised under doc! photo magazine patronage.
Realism, distance and documentarian objectivity are concepts that emerge at the first thought of photography on modern architecture. None the less, the work of Nicolas Grospierre and David Sardaña tells us much more – thanks to them we can deconstruct these concepts on five different levels.
Level one. René Magritte, with his famous pipe, got us into a semantic predicament. The same game can be used to move between levels. But if the Belgian surrealist maestro questioned works on canvas, here we are suspicious of photography itself. When we see a photograph of a building that states the word edificio (building), don’t we stop seeing it or even believing it? Even as a direct shot, the reality of the image dissolves „caused by” the word. A frame that isn’t accidental puts us in a different state, beyond words and things. Whereas photographed coloured blocks do just the opposite process, but with similar results: the photographic editing is so subtle that it cannot be detected. Buildings that aren’t buildings.
Level two. To think of modern architecture is to think of Le Corbusier. This “the most practical, democratic and visionary architect of our time” – in the words of Berger – left a widely known legacy that was extended throughout the world… very misunderstood. If the notion of modernity implies a promise of future, then why, when we contemplate these photographed buildings, do we automatically think: “How long will they last?” “Are they still standing today?” It is hard to believe that they can be examples of so called unité d´habitation; they are rather a way of transforming architecture into an efficient business that is sadly perishable.
Level three. The modulor by Le Corbusier, the human scale that should be the foundation of inhabitable architecture, is called into question when observing the vertically cramped accumulation and the urban landscape found in these photographs. Forms that one day wanted to give a neutral element to the ensemble without keeping man in mind. Now a shelter for multitudes, they have been transformed into swarms that secrete as many worlds as they do windows. Façades that house distinct microcosms. Mass-produced geometric shapes mocked by umbrellas, clothespins, awnings and plants. Decorations that are only comprehended by the free imagination of their neighbour.
Level four. It is equally interesting to think that these modern architectural forms derive from the constructivist tradition. Political and aesthetic ironies are echoed in David Sardaña’s photographs (showing this supposed modernity in full on Spanish autarchy) while Nicolas Grospierre uses architecture developed during communism as a basis. Ideologically opposed regimes that share an absolutist foundation erasing all evidence of democratisation.
Level five. Taking the selected buildings out of context is a strategy undertaken by both photographers. Used as isolated subjects, the interpretation of their reality is altered. Decontextualised works show them as elements separated from the integral whole.
David Sardaña’s work belongs to the Levantine Rationalism series, a set of photographs of the architecture from Spanish eastern coast that proliferated during the touristic boom of the 1970s, used by the regime to appear open and modern. An unhinged urban development that resulted in the accumulation of illogical and even disrespectful recreational buildings along the coast. Removed from their reality, monumentalised with frontal perspectives or low angles, Sardaña work gives them back their dignity, delves into their abstract origin, extracting their battered beauty and showing the universality of their forms.
The buildings that compile Nicolas Grospierre’s Atlas are a detailed and exhaustive game of abstraction, which only demonstrate the universalisation of modern forms. A modernity, however, seen through the cracks of its decline as a broken promise of future. If we consider the ironic wink of his Kolorobloki, we reach the highlight of our discourse: what seems like documentary photography is but a montage and clear sarcasm.
Nicolas Grospierre & David Sardaña – CECI N’EST PAS UN BÂTIMENT
@ andel’s Hotel Łódź (17 Ogrodowa St., Łódź, Poland)
Opening reception: April 6 at 7.00 PM
The exhibition will be open to the public between April 7 and May 6, 2017
Curator: Inés R. Artola
The Nicolas Grospierre and David Sardaña exhibition is organised under doc! photo magazine patronage.
The 20th jubilee Film Video Foto Fair is closer and closer! The biggest industry event in Poland will become a great opportunity for all fans of film and photographic art again.
During this year’s edition of the fair almost 130 firms will appear, including leading producers and distributors of photo and video industry. Exhibitors will present a rich and varied offer of photographic, film, audio-video equipment and accessories as well as multimedia technologies. The Film Video Foto Fair is a great opportunity to follow the latest trends, test a wide assortment of products or learn about technological innovations. In addition to that, it is an excellent opportunity to establish new and maintain the current business contacts as well as exchange experiences and discuss the industry.
As usual, the fair is accompanied by workshops, seminars, presentations and meetings aimed at professionals dealing with photography and film as well as amateurs. Thanks to the rich programme of accompanying events, everybody will be able to develop their skills and competences by following the best.
The first series of the workshops and trainings is connected with photographing. Tomasz Tomkowiak, Karol Nienartowicz, Robert Wolański, Sławek “hesja” Krajniewski, Marek Arcimowicz, Wiktor Franko and Jacek Bonecki, all respected and repeatedly rewarded photographers, will tell about their experiences.
The people who are interested in filming will certainly listen to the lectures and participate in meetings with Captain Pilot Henryk Kwapisz or Wacław Mączyński, among others. There are also lectures aimed at those who are involved in image processing.
Another attraction for visitors of this year’s Film Video Foto fair is a cycle of author’s talks with famous photographers. The following artists have confirmed their participation: Chris Niedenthal (doc! #6), Jacek Poremba (doc! #8), Marcin Dobas and already mentioned Marek Arcimowicz.
As in the previous edition, the fair will also be accompanied by the Art Zone, the place of meetings with artists representing different kinds of photography and presenting their artistic achievements. During the jubilee edition of Film Video Foto Fair you will be able to meet Magdalena Franczuk, Sonia Firlej, Paweł Brzeziński, Arcadius Mauritz or Yulia Krivich (DEBUTS 2015), among others.
The visitors, after a large dose of information on the newest equipment and software, will be able to see several photo exhibitions, including:
- DEBUTS (edition 2016)
- Olympus’ visionaries
- collective exhibition of the Art Zone’s guests
- Our World Is Beautiful
- Opole Landscapes
- Agata Serge’s Freckles
More info @ www.filmvideofoto.pl
Please note, the first day of the Film Video Foto Fair (April 6) is scheduled for business meetings of the professionals. This day visiting is possible on the basis of invitations, multiple entry cards and media accreditations
20th Film Video Foto Fair
@ Expo-Łódź (4 Politechniki Av., Łódź, Poland)
April 6-8, 2017