Inspired by the German–Polish Illustrated Dictionary published in East Germany in 1954, the A-Z project has been running for over ten years. Like any other dictionary of this kind, it constitutes an attempt to depict the world in its entirety. Some of the categories in it may appear astounding or completely outdated today; they seem absurd or amount to an intriguing illustration of a past epoch. Errors in translation and archaisms heighten the impression that the practical aspect and the sense of the original Illustrated Dictionary have been suspended.
Andrzej Tobis’ work follows a number of rules: photographs are taken exclusively in Poland, portrayed people or objects/events are never arranged, and the final result (unprocessed photograph) is accompanied by the original Polish and German entry with the caption from the original index.
So far, the artist has found representations for more than 700 entries (the dictionary contains between 10 and 20,000 definitions). The photographs form a peculiar ‘language,’ with every single piece as a single word/concept; as a result, this collection of ‘words’ opens up a possibility of creating visual/linguistic metaphors.
The A-Z project is a complex and personal picture of reality, a journey based on intuition and chance, when popular truths and standard meanings are bluffed by subjective, individual ‘reading’ of space. Entries from the original dictionary provide a vital impulse and a preliminary instrument for a reconnaissance of the terrain and intuitive creation. The project is focused on uncovering senses, hidden underneath the calcified system of enforced rhetoric.
In the process of linguistic classification every object or situation becomes a living organism, revealing the diversity of its content. We catalogue the world on the one hand and, on the other, we deform the images of time and place, imposing clichés of our own personality upon them: private memories or sentiments. Andrzej Tobis’ photographs are individual equivocal creatures, coming together to form never-ending semantic sequences. The work as a whole is a complex linguistic ‘body,’ with its content proliferating in relation to context, surroundings and place of exposition.
It is the language indeed that is the key to interpreting Andrzej Tobis’ A–Z series, a compulsive and endless story of the world and its many layers, objects and spaces which have not been fully clarified and remain ambiguous. The artist plays a game with the image, the symbol, the riddle, but his wit is always lined with sensitivity, insight, also sociological observations at times. In Tobis’ pictures we discover familiar shadows of the past era – some persist against common sense, others dissolve in the present day. On the other hand, this world looks like a staged, unreal scene of events, intentionally created of absurd combinations. Awareness of the fact that the artist does not interfere with the situations he comes across makes laughter and jest turn into bitter conclusions.
A-Z (Ten Years After the Premiere) is going to be a syncretic presentation of Andrzej Tobis’ cycle A-Z (Educational Cabinets), started in 2006; the exhibition unites all forms the project has assumed over the years: alphabetical (dictionary) order, a synthesis of the whole as a private view of the world, cabinets arranged according to subjective categories.
Andrzej Tobis (b. 1970) | based in Katowice (Poland) | painter, lecturer, photographer and graduate of the Katowice Academy of Fine Arts (1995) | has presented his works at solo and group exhibitions in Germany, Italy, Poland and Spain, among others.
Andrzej Tobis – A-Z (TEN YEARS AFTER THE PREMIERE)
@ FOTO-GEN Gallery (8 Bpa. Nankiera Square, Wrocław, Poland)
Opening reception: October 6 at 5.00 PM
The exhibition will be open to the public until November 3, 2017
The Andrzej Tobis exhibition is organised under doc! photo magazine patronage.
Ever since photography began, it has served as a tool for spreading knowledge about the world. Before the arrival of transport and means of communication, it allowed people to see the most remote places on Earth. Surprising as it may seem, even today photographers often assume the role of visual pioneers, not only by discovering the world, but also by addressing topical issues. The upcoming exhibition at the Lumière Brothers Centre for Photography traces Sebastian Copeland’s journeys to both, the North and South Poles, focusing on the photographer’s most extensive Arctic series, to which he dedicated over 10 years of travelling.
Copeland’s grandiose icy “canvases,” distant and poetic, are an extraordinary example of polar photography.
“As with landscape photography, the Arctic’s visual payoff is commensurate with the time invested there,” – says Copeland, describing the particular conditions of shooting in the Arctic. – “For visitors like me seeking immersive experiences, the ice can be especially rewarding when everything lines up. The dominance of water, in either frozen or liquid form, and the sun’s low angle makes for a limited colour spectrum; while the stripped down landscape imposes focus. Visually, clouds and ice are kindred spirits: heavy skies and low contrast extract the best of the blues, and ice will acquire an iridescence that is unique to polar photography.”
Aside from exposing the austere and fragile beauty of the pristine nature of the Polar Regions, Sebastian Copeland’s photographs have also a pragmatic aim – to use the art of photography to raise awareness of climate change on the planet and to campaign for a sustainable future: “Helping people fall in love with their world is a catalyst to wanting to save it.”
The melting of glaciers and thinning of the ice sheet in the Arctic and the Antarctic is happening faster than anywhere else on the Earth, and this is a clear sign of the changing climate.
“What happens in the Arctic, doesn’t stay in the Arctic!”- Copeland points out.
Having been an environmental activist since 1999, he has spoken at the UN and at international conferences around the world; he is on the Board of Directors of Global Green (the US arm of NGO environmental organisation Green Cross International, founded by Mikhail Gorbachev). In the foreword to Copeland’s book on Antarctica, Mikhail Gorbachev writes:
“It is in this essence of hopefulness that ‘Antarctica: The Global Warning’ came to life. It depicts the ephemeral and austere beauty of Antarctica through stunning photographs of the largest remaining wilderness on Earth.”
Copeland has travelled a total of almost 8,000 kilometres on his journeys to the coldest regions of the world. He took part in several Arctic expeditions in 2005, 2008 and 2010 and led a team of nine young people to the northernmost Canadian Arctic as Young Ambassadors of the Arctic. In 2009, he repeated Robert Edwin Peary’s 700-kilometre-long journey (1909) on foot to the geographical North Pole, which is considered one of the most difficult routes in the world. In 2010, he spent 43 days crossing the Greenland ice sheet using skis and kites, travelling a distance of 2,300 kilometres. He spent the seasons of 2006 and 2007 aboard a scientific research icebreaker in the Antarctic Peninsula, and during the winter of 2011-2012 he led the East/West transcontinental crossing of Antarctica on skies and kites, setting three world records over 4,100 kilometres.
In addition to the photographs, unique video footage from the expeditions will also be shown at the exhibition, as well as Copeland’s feature-length documentaries: Into the Cold: The Journey of the Soul (2010), which was selected by the Tribeca Film Festival, winner of the Indie Spirit Film Festival and the Los Angeles Reel Film festival), and Across the Ice (2015), which was a finalist at many international festivals.
Sebastian Copeland will also give the artist’s talk at The Lumière Brothers Centre for Photography and will present his two famous books: Arctic: The Vanishing North, Best Book at the Global Arctic Awards (2016), Tokyo International Photography Awards (2016), ITB Book Awards (2016) and Antarctica: The Global Warning, for which he was awarded the title of Best Professional Photographer of the Year at the International Photography Awards, IPA (2007).
Sebastian Copeland – PURE ARCTIC
@ The Lumière Brothers Centre for Photography (Bolotnaya emb. 3, b.1, Moscow, Russia)
Opening reception: September 22 at 7.00 PM
The exhibition will be open to the public until January 7, 2018
The 3rd edition of the International Photography Festival Białystok INTERPHOTO biennale starts at the beginning of September. This year’s event, titled The Limits of Tolerance, includes not only exhibitions, but also meetings, lectures, workshops, multimedia presentations, school competitions, activities combining photography with music or literature, and city games. This year, in addition to artists from different countries, the event will host reviewers, curators and critics responsible for similar events in other European cities that make up the international opinion of the environment. Thanks to them, the festival is enriched with INTERPHOTO Grand Prix and International Portfolio Review.
The festival is a place where Eastern European photography can meet with the Western one, where photographers – focused on important social identity and formal issues in the field of contemporary media as artistic expression – may exchange their experiences and start new joint projects.
Although the festival officially starts on September 14, a part of its extensive programme opens before that day. Within the framework of the festival there will be 34 individual and group exhibitions. There will be over 50 different accompanying activities, including workshops (eg rare European daguerreotype workshops run by Lithuanian artists), film screenings, meetings, lectures and other forms of talks about photography. More than 200 artists will come to Białystok to participate at exhibitions and in workshops, lectures and meetings. More than 30 organisations and institutions are involved into the festival, and the festival events will take place in more than 23 venues: from galleries, through universities and coffee houses to streets.
This year’s edition theme is Limits of Tolerance. It will be answered by such artists as Martin Kollar, István Halas, Andriy Boyarov, Arnis Balčus, Maria Kapajeva, Jan Pohribný, Alexander Vasukovich and Bogdan Konopka (cd! #3). The festival will also present numerous group exhibitions, including Zero-61” (curated by Lech Lechowicz), Central by East Central (curated by Adam Mazur) and post-competition presentation of the most talented emerging Polish photographers DEBUTS (edition 2017).
More info @ www.interphoto.pl
International Photography Festival Białystok INTERPHOTO 2017
@ Białystok (Poland)
September 14 – October 18, 2017
The 3rd edition of the International Photography Festival Białystok INTERPHOTO is organised under doc! photo magazine patronage.
All pictures courtesy of the International Photography Festival Białystok INTERPHOTO.
The third edition of the W Ramach Sopotu Festival of Photography will transform the seaside Sopot into a centre of Polish photography once again. Lovers of the art of photography will have an opportunity to see the effects of work of the festival residents – the leading Polish photographers. Artistic residences are typical of Sopot’s festival. The selection of impressive authors, expressing themselves in different kinds of photographic art lets gather enthusiasts of different interests around one event. To this year’s edition of the festival, its Art Director, Tomasz Bergmann, invited artists using different stylistic formula: documentarists who also know the language of abstraction as well as creative authors also expressing themselves in modern documentary forms: Kuba Dąbrowski, Zuza Krajewska, Adam Lach (doc! #18), Rafał Milach (doc! #19), Tadeusz Rolke (doc! #11) and Ilona Szwarc (doc! #7).
The title frames of the festival are taken from the literally meaning while the idea of the organisers expresses the concept from behind the world of limits. The total freedom of creativity, given to artists by the town, encourages to cross the frames. Sopot offers them its physical tissue and the photographs are allowed to use everything that is nonmaterial. According to the organisers, the cyclic formula of the festival will create a multidimensional portrait of the place as well as the changing reality.
The projects done in the frames of the artistic residences will be presented as the main exhibition of the festival (curator: Maja Kaszkur). The exhibition will be supported by many artist’s talks and workshops.
Further attractions of the 3rd edition of W Ramach Sopotu Festival of Photography are:
- Places. Reconstruction III, monographic exhibition of Tadeusz Rolke curated by Marek Grygiel;
- Single Shot, collective exhibition originally organised by the Fort Institute of Photography and curated by Krzysztof Miękus;
- Freefall, individual exhibition of Pszemek Dzienis originally organised by the Leica 6×7 Gallery Warsaw;
- DEBUTS (edition 2017), post-competition exhibition of the project organised by doc! photo magazine;
- outdoor exhibition of Łukasz Gawroński;
- project by students of the Gdańsk Academy of Fine Arts curated by Wojtek Wieteska;
- presentation of works by students of the Sopot School of Photography and Instagrammers.
W Ramach Sopotu Festival of Photography
@ Sopot (Poland)
September 8-10, 2017
The 3rd edition of the W Ramach Sopotu Festival of Photography is organised under doc! photo magazine patronage.
Bogdan Dziworski’s photographs belong to the canon of Polish post-war photography. His black and white pictures present daily life of common people, just met on the street during long hours walks. Dziworski, outstanding filmmaker and master of street photography, by many considered Polish Cartier-Bresson, whose photos often resemble frames directly taken from films by leading directors of the so called Polish film school, like Andrzej Wajda, Janusz Morgenstern and Wojciech Jerzy Has, perfectly catches reality, thanks to which the situations shown in his pictures have specific aura. In effect, each picture is a short story in a form of poetic or funny anecdote
“My pictures from those years are never staged,” - says Dziworski. – “They are walked-out. Day by day, there were even eight hours of shooting. Zbigniew Rybczyński used to say: ‘Wherever I go, something interesting happens.’ It was like that with me. At the beginning – nothing. Some time later, if you are patient enough, you start your dancing with reality. It seems that everything is over, a normal man says ‘Goodbye,’ but it is just this moment to start shooting! And then that Bresson’s decisive moment appears. After long workouts it can be overtaken by fractions of a second. Photographing is waiting for this moment, when the reality will set itself. But you must be lucky. And I am. I watch two plans and put them together. Three plans would be incredible luck, that gets into your frame. A film director could stage it, I wait.”
Bogdan Dziworski’s work is something more than street photography and photo stories from the second part of the 20th century. There is also a consequently, for decades realised project with a huge emotional load. Dziworski’s photographs have significant historical and cognitive value.
Many frames from his photographic record, created a little as if by chance, have never been presented. His first album titled My View was published in 1981 in Vienna (Austria). Not sooner did the second one appear than in the 1990s. It was the time when his intimate exhibitions took place in Warsaw, Cracow, Wrocław and Częstochowa (all in Poland). The f/5.6 exhibition at the Leica 6×7 Gallery Warszawa will be the first comprehensive, cross-sectional retrospective, representing the whole of Bogdan Dziworski’s many years of photographic work. Many of the never published before works, carefully selected from the photographer’s large archive, will be presented during the exhibition.
The exhibition will be accompanied by an album of the same title, artist’s talks and screening of Bogdan Dziworski’s documentary films.
Bogdan Dziworski (b.1941) | based in Warsaw and Szczecin (Poland) | photographer, cameraman, film screenwriter and lecturer | graduate of the Łódź Film School’s Direction of Photography faculty (1965) | awarded with the Gloria Artis Gold Medal (2014) | has cooperated with Polish Film Chronicle, Educational Film Studio in Łódź and Film Production Company Zespoły Filmowe | author of numerous documentary films awarded at major festivals, including Fencer (1980) and Olympiad (1978) | founder and the longtime Dean of the Radio and Television Faculty of the University of Silesia in Katowice | has presented his photographs at individual exhibitions in Poland and in the USA | author of the books My View. Polish Impressions in Photography (Hannibal Verlag, Vienna, 1981) and 1/250 second (Wydawnictwa Artystyczne i Filmowe, Warsaw, 2000) | the first part of the Polish Photography cycle was devoted to his work (TERRA NOVA Krzysztof Heike, Warsaw, 1999).
Bogdan Dziworski – f/5.6
@ Leica 6×7 Gallery Warsaw (3 Mysia St., Warsaw, Poland)
Opening reception: September 7 at 7.00 PM
The exhibition will be open to the public between September 8 and October 22, 2017
- artist’s talks: September 25 and October 9 @ Leica 6×7 Gallery Warsaw at 6.00 PM
- film screenings and talks: September 30 @ Leica 6×7 Gallery Warsaw at 4.40 PM and October 15 @ Elektronik Cinema (7 Gen. Zajączka St., Warsaw, Poland) at 6.00 PM
The Bogdan Dziworski exhibition is organised under doc! photo magazine patronage.
Usama, Muhammad, Ammar, Yasser, Kamil, Jarob, Ismail, Aminullah, Ahmed, Muhammad, Mortaza, Abdullah, Mustafa, Abdullah, Mazzin, Hezha, Maria, Mohand, Mahmude, Luay, Abdulkrem, Fazlullah, Sdiga, Ahmed, Youssef, Rafat, Hamid, Zabit, Elham, Omid, Nabas, Ktebalasaf, Zain…
IT specialist, office worker, pupil, mother, businessman, nurse, civil engineer, student, lawyer, journalist, architect…
Syria, Iraq, Iraq, Syria, Afghanistan, Syria, Syria, Afghanistan, Afghanistan, Afghanistan, Afghanistan, Iran, Syria, Syria, Iraq, Syria, Syria, Syria, Syria, Iraq, Syria, Syria, Syria, Afghanistan, Afghanistan, Kurdistan, Iran, Syria, Iran, Iraq, Syria, Iraq…
I met them in Serbia in January 2016. They had been fleeing the world they knew well to the one that seemed to be better to them. They had been on their way for a few, dozen, dozens of days. They had paid a lot for it.
I didn’t go there just to photograph, however, I constantly had my camera with me and whenever I could, I took pictures. Not to forget their faces. But first, those people had to be helped, and if there was some free time left, then to talk to them. Only then was the time to think about taking a picture. They mostly agreed, but the women – they almost never wanted to be photographed, unless with their children. I tried to write down their names, cities, pieces of their stories, but there was no place, no time, no way to do that. Over these five days, 5 to 10 thousand people had crossed that place. Although I only encountered a small fraction of this number, all the facts have mixed up, making it impossible to combine the name with the face.
There was no time for staging, perfecting a composition, waiting for better light. It would rather be unfair in those circumstances. What only mattered, it was to record those people.
The people like us.
Magdalena Wdowicz-Wierzbowska (b. 1979) | based in Warsaw (Poland) | architect and freelance photographer | member of the Association of Polish Artists Photographers ZPAF | fellow of the Minister of Culture and National Heritage (2013) | has participated in numerous exhibitions | works on her own photographic projects | deals with portrait, street photography and clay modelling | author of the book I Just Miss My Husband. Meetings with Widows (self-published, 2013) | yoga and factual literature lover | has published in many magazines, including doc! photo magazine (doc! #24).
The Magdalena Wdowicz-Wierzbowska exhibition is organised under doc! photo magazine patronage.
New realities, quasi-biographies, weird, unbelievable worlds. This year, Fotofestiwal has invited artists who use fiction to comment on ‘here and now.’ They will draw you into a game, where boundaries between the real and the unreal are no longer so obvious. Hence the title of the 16th edition of Fotofestiwal – DASZ WIARĘ? / CAN YOU IMAGINE?
Fotofestiwal is one of the most significant photography events in this part of Europe. It gathers photographers from all over the world, presenting their works at exhibitions visited by thousands of viewers. Fotofestiwal is an opportunity for the audience to discover the most interesting phenomena of contemporary photography, while for photographers – to broaden their knowledge during workshops and the portfolio review.
This year, the viewers will face imagined realities and participate in a game in which they will no longer be just passive observers. The artists who participate in Dasz wiarę? / Can you Imagine? say: don’t believe photography, ask questions, be an attentive observer. Dialogue with the audience of Dasz wiarę?/ Can you imagine? is strengthened by subtle, (un)real installations by Noémie Goudal and the latest project called Provisional Arrangements by Martin Kollar, a renowned absurd seeker.
The curator’s exhibition will be prepared by one of the most intriguing artists of the young generation – Augustin Rebetez. He is known for his signature – black birds, human-like creatures and incredible structures that have made appearance in the minimalist gallery halls of Berlin, Paris, Lausanne, Arles, Mexico City or Montreal, among others. Trash Cans for Hearts and People Have No Soul, a chorus exhibition curated by Augustin Rebetez, is more than a photography exhibition – it is a total artistic universe, which Rebetez creates together with sixteen other artists, including David Favrod (winner of the 2014 Grand Prix Fotofestiwal), Christian Patterson, Birthe Piontek, Reiner Riedler and Yumiko Utsu.
The team of curators will present the set of works authored by the master of artistic mystification – Joan Fontcuberta. This will be the first in Poland presentation of such a large collection of works by one of the best known artists, curators and theoreticians of photography. Fontcuberta’s works have been presented in the most renowned arts institutions in the world. In Łódź, we will see three of his projects: Fauna, Herbarium and Constellations, which have significantly influenced the understanding of contemporary photography. Herbarium and Constellations take us to the fantasy world of quasi-botany and pseudo-astronomy. Fauna is a seemingly documentary project about research conducted by an unknown biologist, who discovers new animal species. A snake with centipede’s legs or a monkey having a body of a horse are only examples of what Fontcuberta ‘captured.’ It could change the history of science… if only it was real.
This year’s Fotofestiwal theme will also be reflected at the photo book exhibition and selected film screenings. However, Fotofestiwal is not only about the world of fiction – the NOOR agency (doc! #7), known for its strictly documentary photography, will organise workshops for photographers and the celebration of its 10th anniversary.
Traditionally, the festival will begin with announcement of the results of Grand Prix competition, presenting the most interesting phenomena of contemporary photography. One out of ten finalists – Loulou d’Aki, Andrea & Magda, Zeng Ge, Dominika Gęsicka (doc! #26), Wojciech Grzędziński (doc! #11), Vittorio Mortarotti & Anush Hamzehian, Alexandra Lethbridge, Jerome Ming, Viacheslav Poliakov and Oliver Tooke – will receive the prize of PLN 10,000. The competition works will be presented at the exhibitions and slideshows in the urban space.
The main programme of the 2017 Fotofestiwal Łódź is enriched with:
- lots of accompanying exhibitions, including the premier show of the DEBUTS (edition 2017)’s laureates as well as individual exhibitions of Viviane Sassen (doc! #5) or Rafał Milach (doc! #19);
- photobook exhibitions (Kassel Dummy Award 2017 and Photo Publication of the Year);
Fotofestiwal Kids, a series of workshops for the youngest ones, guided walks around exhibitions and a playground where parents may leave their children under care, while they themselves can see the exhibitions.
Next to the photo exhibitions, events, evening slideshows, artist’s talks and guided walks, the festival will also include film screenings (thanks to partnership with Transatlantyk Film Festival): premieres of most interesting documentaries about photography and photographers (i.e. Josef Koudelka and Robert Frank), some works that are a result of the search for a new film form that includes photography, and short photo-films presented earlier at the Les Nuits Photographie Festival.
More info @ www.fotofestiwal.com
@ Łódź (Poland)
June 1-11, 2017
The International Festival of Photography FOTOFESTIWAL ŁÓDŹ is organised under doc! photo magazine patronage.
Not posing and not setting a photo is a basic principle of street photography. The photographer must observe, see what others do not see. There are also such, who almost anticipate facts, knowing in advance what will happen next. For most street shots you also need some luck.
Unposed is the title of a group exhibition of the Un-Posed collective, the most recognisable Polish collective of street photography. The presentation at the Leica 6×7 Gallery will be an opportunity to see the best of the latest pictures of street photography that Un-Posed made in their new team (after the reactivation in 2016). The collection consists of 76 small-format photos, arranged in a special way, including the pictures that neither have been published nor exhibited before. It is their another presentation at the Leica 6×7 Gallery (the first one, titled Street Games, took place in 2016). The Un-Posed members have also been multiple winners and, over time, they became jurors of the Leica Street Photo competition, organised by the gallery.
The Un-Posed collective was established in 2011 on the initiative of Damian Chrobak. The aim of this group is to develop creativity as well as visual awareness of public space and to promote the achievements of Polish street photographers. Although all the members of the collective are active in the same area of interests, each of them has an individual, distinct style, which proves the complexity and potential inherent in street photography. The collective’s photographs have been exhibited in the galleries of Warsaw, Lublin, Wrocław, Berlin (during the European Month of Photography) as well as within Eastreet’s and Street Photography Now’s international projects.
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, Tymon Markowski, Marta Rybicka (DEBUTS 2016), Adrian Wykrota (doc! #31).
The Un-Posed exhibition is organised under doc! photo magazine patronage.
From classic still lives to three-dimensional photographic objects. The relationships between reality and photography or an object with its image will be the central theme of the 18th edition of the Collector’s Photography project titled THINGS: The Object in Polish Photography. The presented photographs will represent a variety of approaches to the theme – from documentary photography to conceptual ideas and photographic objects which take the traditionally flat photography into the 3D world, affording its whole new meaning. An important part of the exhibition will be works reflecting the problem of the materiality of photography. The title of this edition of the Collector’s Photography refers to a portfolio of works by Andrzej Kramarz in which he shows photographed items sold at one of Cracow’s flea markets. The spontaneously composed frames, one of which will be on display, make up a rich story about man and the human world.
The event will certainly surprise the viewer with the variety of techniques employed by the artists, the oldest ones of which include cartes de visite – portraits made by a method that highly popularised photography in the 19th century. The visiting cards, which depict distinguished Poles, including Jan Matejko, show how early photographers used props to add character to their portraits.
By nature, many processes yield unique photographic objects. The exhibition will feature techniques with roots that date back to the 19th century, but are used in a creative way by present-day artists, including a daguerreotype by Jarosław Klupś, a cyanotype by Marek Noniewicz, and a heliograph from the Green Glory series by Basia Sokołowska. The collage, a favourite technique of the Dadaists, was employed successfully a century later by Jan Dziaczkowski and Mateusz Szczypiński.
An interesting group will be formed by works in which the artists experiment with the photographic medium. Joanna Zemanek alters her photographs reproduced on canvas with an iron, while Patrycja Orzechowska uses her own technique, which she refers as lunatype. Agnieszka Kozłowska’s photographs from the Carved by Light cycle are produced directly on a photopolymer panel, forming three-dimensional reliefs.
The exhibition will offer an insight into a variety of spatial forms created by photographic objects, including the masterful School Trip by Wojciech Prażmowski, who tells a story dating back to 1934, using a meticulously constructed object. The well-known image of Marilyn Monroe in a new interpretation by Krzysztof Cichosz, forms a multilayer lightbox. Meanwhile, Łódź Kaliska presents one of the ceramic tiles they used to create an installation in the lavatory of the Museum of Art in Łódź. Georgia Krawiec’s Agents from The Commission to Monitor More Difficult Matters series are photographic undercover agents fitted into the space of the gallery and recording anything that is going on in the exhibition room. A special relationship between the reality and photography is formed by the art of Grzegorz Przyborek, who himself constructs the objects he then photographs, creating artwork pairs, such as the featured Pilgrim.
Objects are also a central focus of documentary photography. The Alone with the Carpet photograph, taken by Anna Beata Bohdziewicz in 1989, comes from the Photojournal or a Song about the End of the World series, a long-term documentary record of both, the key moments in the history of Poland and of everyday life. Certainly the ‘automotive stories’ told by Bogdan Łopieński and Chris Niedenthal will be a sentimental surprise for some viewers.
In addition to the works of such classics as Benedykt Jerzy Dorys, Edward Hartwig and Zofia Rydet, the exhibition will present modern interpretations of the relationship between an object and its representations by young-generation artists. With his picture from the E-słodowy series, Bownik reconstructs devices made by professional computer gamers, while Witek Orski investigates the relation between the eye, camera and the surface of the image in his photograph from the Stones triptych. In his collage from the recent cycle entitled The First March of Gentlemen, Rafał Milach presents a reflection with a political nature meant to activate the public.
Photographers featured during this edition of the Collector’s Photography: Janusz Bałdyga, Anna Beata Bohdziewicz, Bownik, Karolina Breguła, Krzysztof Cichosz, Benedykt Jerzy Dorys, Monika Drożyńska, Andrzej Dudek-Dürer, Jan Dziaczkowski, Paweł Fabjański, Marek Gardulski, Maurycy Gomulicki, Nicolas Grospierre, Aneta Grzeszykowska, Edward Hartwig, Jarosław Klupś, Michał Korta, Jan Kosidowski, Eustachy Kossakowski, Agnieszka Kozłowska, Andrzej Kramarz (cd! #4), Georgia Krawiec, Józef Kuczyński, Kamil Kuskowski, Konrad Kuzyszyn, Andrzej Lachowicz, Jerzy Lewczyński, Natalia LL, Bogdan Łopieński, Łódź Kaliska, Rafał Milach (doc! #19), Chris Niedenthal (doc! #6), Marek Noniewicz, Wacław Nowak, Witek Orski, Patrycja Orzechowska, Marek Piasecki, Paweł Pierściński, Krzysztof Pijarski, Lech Polcyn, Wojciech Prażmowski, Krzysztof Pruszkowski (cd! #1), Grzegorz Przyborek (cd! #2), Józef Robakowski, Witold Romer, Andrzej Różycki, Zofia Rydet, Zygmunt Rytka, Adam Rzepecki, Bronisław Schlabs, Jan Smaga, Mikołaj Smoczyński, Basia Sokołowska, Mateusz Szczypiński, Marek Szyryk, Andrzej Tobis, Zbigniew Tomaszczuk, Jerzy Truszkowski, Jerzy Wardak, Jerzy Wierzbicki, Krzysztof Wojciechowski, Stefan Wojnecki, Stanisław J. Woś, Krzysztof Zarębski, Joanna Zastróżna, Joanna Zemanek, Wiesław Zieliński and Paweł Żak (cd! #1 & #6).
THINGS. THE OBJECT IN POLISH PHOTOGRAPHY
@ Krakow Photomonth Festival -> Starmach Gallery (5 Węgierska St., Cracow, Poland)
Opening reception: May 19 at 6.00 PM
The exhibition will be open to the public until June 6, 2017
@ MYSIA 3 (3 Mysia St., Warsaw, Poland)
The exhibition will be open to the public between June 10 and 13, 2017
Auction: June 13 at 7.00 PM
- Hot to Collect Photographs – lecture by Gerry Badger
@ Jan Matejko Academy of Fine Arts (13 Matejko Sq., Cracow, Poland)
May 26, 2017 at 7.00 PM
- Expositions vol. 2. The Most Important Works in the History of Polish Photography from Public and Private Collections: Collection of the Museum of Art in Łódź – lecture by Lech Lechowicz
@ MYSIA 3 (3 Mysia St., Warsaw, Poland)
June 12, 2017 at 7.00 PM
The 18th edition of Collector’s Photography is organised under doc! photo magazine patronage.
“Nothing is true and nothing is false – everything is a possible true fiction or a deceptive fact,” – this is how Gordon MacDonald, the curator of the main programme, writes on images presented during the Krakow Photomonth 2017 Festival, one of the Europe’s most important photographic events. The 15th, jubilee edition of the festival focuses on how photographers see and describe the world.
From the Outside, Looking In is a leitmotif of the festival’s main programme. Its focal point is the concept of a photographer as an observer. Starting from a spontaneous idea of examining a selected subject, the photographer enters into a somewhat closed world, looks in from the outside. It is his or her decision to which extent events can be observed, how deeply they can be penetrated, and how closely they can be examined. But even in the very middle, the artist is always separated from the scrutinised object by a camera. It is the device that records things; perception of the artist, and subsequently the viewers’, it is subject to his or her intellectual background and accumulated knowledge.
“With the series of exhibitions that make up ‘From the Outside, Looking In,’ I have taken the position that photography is always on the outside looking in,” – says Gordon MacDonald. – “With photography, the genesis of a work is often spontaneous, instantaneous, and external. Regardless of the nuance of particular practice or mode, force a feeling of examination, rather than what is widely considered as a more lyrical dialogue within many other art-forms.”
The projects presented under the common title From the Outside, Looking In show us the world while simultaneously balancing between reality and fiction. In the images, nothing is true and nothing is fabricated. Everything is possible. Whether we believe the image, is our own will or decision, our ability to be empathic, or our knowledge of a given field.
Divisive Moments is an exhibition which will test our perception. It will show documents from UFO Photo Archives, poses a question if we are regularly visited by aliens, or we are victims of mass self-manipulation.
Our comprehension is certainly manipulated by artists participating in The War From Here exhibition. They do not document individual war incidents we know from the news or photo reportages – they ask questions how we are connected with war. The presented images will make the viewers be closer to wars which are usually witnessed from a distance, will make them feel instead of just watch.
Further, we will take a look at a history of a small town in West Virginia (USA) told by an American artist, Susan Lipper, through her Grapevine series. Although her pictures seem to fit in the conventional poetics of documentary photography, in fact, Lipper has abandoned the traditional approach allowing her models to play roles and create characters which could be – but not necessarily – identical with themselves.
The work of Diana Lelonek – A New Archaeology for Liban and Płaszów – gives us an opportunity to contemplate the memory of sites and the stories told about ourselves by traces found by the artist in the area of the Liban quarry and a former concentration camp in Płaszów.
At the We Also Dance exhibition, Gordon MacDonald takes us on the journey to an extraordinary world of dance as a manifestation of freedom and an antidote to political and social control of minds and bodies.
This year’s edition of the festival brings several novelties. In addition to the part of the programme prepared by curators, the festival allowed special space for Polish photography. The Things: The Object in Polish Photography exhibition, presented by Collector’s Photography, shows works of outstanding Polish artists of several generations, who present their individual approaches – from a document, to conceptual ideas and photographic objects – to this subject. Photography in its classical form will be shown on the exhibition of Andrzej Georgiew, re-introducing his work and re-discovering this outstanding artist, also in the context of his place in the history of Polish photography. And finally, we will find ourselves in the very middle of theatre events guided by Magda Hueckel.
Another, but of equal importance, part of Krakow Photomonth is the ShowOFF Section presenting premiere projects of young artists selected through an open competition.The open call of this year’s edition of the ShowOFF Section won: Terje Abusdal (Norway), Jan Cieślikiewicz (DEBUTS 2014; Poland), Polina Karpova (Ukraine), Lucie Khahoutian (Armenia), Flor Maesen (Belgium), Viacheslav Poliakov (Ukraine), Kaja Rata (DEBUTS 2015; Poland) and Karolina Wojtas (Poland).
The Portfolio Review organised during the Krakow Photomonth Festival gives the opportunity for its participants to have their works assessed by experts. The reviewers include, as each year, Polish and international critics, gallery owners, artists and theoreticians. During 20-minute individual sessions the review participants may listen to the reviewers’ opinions regarding their works and establish valuable contacts. The best portfolios receive a prestigious prize funded by the Griffin Art Space Foundation – Griffin Art Space Prize – whose aim is to promote interesting and mature art projects. The winner, selected from participants in the Portfolio Review, will be able to create a professional collector’s folder and present his/her work in the form of an exhibition.
Accompanying events make an important part of the festival. The Krakow Photo Fringe is an independent platform bringing together submissions sent in by artists, animators, activists, galleries, and all those who are passionate about photography – including the final exhibition of DEBUTS (edition 2016). The success of the previous editions has led the organisers to expand the Photo Fringe to cover the entire Małopolska region. This year exhibitions and events will take place in Tarnów, Krzeszowice, Myślenice and other localities.
Particular attention should be also paid to the Masters Series. Invited artists and specialists will enrich the discussion around the theme of the festival and will talk about new trends in the world of photography. The program of events is filled out with book premieres, workshops, presentations, film screenings and curators walks.
More info @ photomonth.com
Krakow Photomonth 2017 Festival
@ Cracow (Poland)
May 19 - June 18, 2017
The Krakow Photomonth 2017 Festival is organised under doc! photo magazine patronage.