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.
For 10 days between September 1 and 11, due to the 6th edition of the TIFF Festival, Wrocław will become the Polish capital city of photography. This year the festival will be held under the theme Rivers & Roads and will focus on travel. Ten intense days of the festival will be an unusual photographic expedition with exhibitions, slide shows, debates, workshops and meetings with artists and curators.
The main programme of the festival consists of three thematic cycles referring to the festival theme. The first one – On the Road - is devoted to the most classical sense – photographers on the road – and includes the following exhibitions: Moving Photography Studio by Agnieszka Pajączkowska, Effortless Exercise by Łukasz Filak, Aleksandra Gach, Alicja Kielan and Anna Orłowska, On the Road with Photosphere Collective by Kamila Buturla, Paweł Giza, Katarzyna Maluga and Krzysztof Światły, and European Eyes on Japan with two photographic series by Jon Cazenave (Omaji) and Łukasz Rusznica (Sometimes the Border Is Thin).
The second cycle of the main programme – Imagined Journeys - refers to the imaginary, metaphoric pilgrimage. It consists of two exhibitions: Munemasa Takahashi’s Lost & Found and Arianna Arcara and Luca Santese’s Found Photos in Detroit.
The main programme’s last section – Immigration/Emigration – deals with migrant-photographers recording their new surroundings. The section will present three exhibitions: “Now, I Am Here. Or Rather, Perhaps, Nowhere.” Emigration Photographs of Stanisław Cat-Mackiewicz, *** (“Because I Live on a Couch in a Kitchen in My Friends’ Place”) by Marta Zdulska, and Territorium Novum, a group exhibition of students of the University of Arts in Poznań: Magdalena Andrynowska, Katarzyna Bojko-Szymczewska (DEBUTS 2016), Joanna Chwiłkowska, Anna Cywińska, Justyna Dryl, Jędrzej Filuś, Aurelia Frydrych-Zdanowska, Michalina Hendrys, Katarzyna Hoffmann, Ewelina Kamińska, Ewa Kasperek, Violetta Łuba, Bartosz Partyka, Bartłomiej Ponikiewski, Oliwia Rogalska, Piotr Szapel, Paweł Wawrzyniak, Izabela Wasiak, Katarzyna Wąsowska and Weronika Wronecka.
Traditionally, the festival will also include a special section devoted to photographic publications. This year’s edition of this section will try to present the complicated process of creating photobooks. It will consists of three exhibitions, presenting photozines culture (Zines of the World), works of independent publishers (Meet the Publisher), and a selection of photobooks referring to the festival theme (Roads Less Travelled). The section will be supported by such projects as Open Photobook Reading Room, TIFF x FFP Photobook Dummy Review, and panel discussion dedicated to impact of photobooks on the medium of photography.
TIFF HUB is another part of the festival taking place in the festival centre. Its goal is to enable meet-ups, thought sharing and widening of horizons, not just the photographic ones. Casual encounters of friends and strangers, author meetings, confrontation of opinions, activities which resulted in TIFF Festival 2016.
ProfiLab TIFF Open, new concept of the section previously named Debuts, is dedicated to emerging photographers selected in a competition. This year’s edition of the section will presents five photographers: Alicja Brodowicz (DEBUTS 2016), Rebbeka Deubner, Marcin Fajfruk, Mateusz Kowalik and Mateusz Skóra.
TIFF Festival 2016 – RIVERS & ROADS
September 1-11, 2016
46 Ruska Str. (backyard)
More info & detailed programme @ tiff.wroc.pl
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.
The Rebecca Vassie Trust today announces the inaugural Rebecca Vassie Memorial Award. The award is a bursary of GBP 1,200 plus printing, exhibition in London in March 2017 and mentorship, for an emerging photographer in the UK to complete a narrative photography project.
Judges for the award include Karen McQuaid (curator at the Photographers’ Gallery), Matthew Tucker (UK Picture Editor at BuzzFeed) and Bette Lynch (Director of Photography, news, Europe, Middle East and Africa at Getty Images).
Premier printing services are being donated by Metro Imaging, who will also grant the winner a portfolio review with creative director Prof. Steve Macleod.
Applicants for the award, who must be either from or based in the UK, are asked to submit a proposal setting out a compelling vision for a photography project with a strong social or political context. The deadline for submissions is Friday, October 7, 2016 at 5.00 PM BST.
The award is created in memory of Rebecca Vassie, a British photographer and photojournalist who died suddenly last year (March 2015), aged 30, while on assignment in a refugee camp in Uganda. Rebecca trained in photography at the University for the Creative Arts. She had been based in Uganda for three years, working as a stringer for Associated Press, with her pictures appearing in major newspapers worldwide. She also photographed for a number of charities and NGOs as well as pursuing her own projects, such as documenting Uganda’s transgender community and its Olympic boxing hopefuls.
Rebecca’s parents Janet and Eric, sister Kelly and brother Tim said: “Beccy’s death turned our world upside down, but we have been overwhelmed by the outpouring of love and support from both our friends and hers. Many people said they wanted to do something in her memory. We hope this award is a way of providing photographers with exactly the kind of opportunity from which Beccy would have benefited, as well as honouring Beccy’s memory and the extraordinary work she did, of which we are very proud.”
The Rebecca Vassie Trust is an unincorporated charitable foundation, set up in 2016, to create career development opportunities for emerging photographers and to promote the art of narrative photography.
More info and submissions details @ www.rebeccavassietrust.org
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.
Tomek Sikora on his newest project:
“Colours are the most beautiful invention of the creator of this world. The variety of hues in nature and people makes us feel that we are in paradise.
Concerned by rising xenophobia and a fear of other cultures on the one hand and delighted with Chi-Chi Ude’s extremely bright and graphical collection of clothing inspired by Africa on the other, I gathered together a group of people and we created this little book dedicated to the power of colour.
Beautiful and colourful images were formed and I dedicate them to everyone – to those who are open to this world and to those who are still in fear because they don’t know it yet.
Let’s not be afraid of diversity… and to all my co-authors – thank you with all my heart.”
Tomek Sikora (b. 1948) | based in Warsaw (Poland) | author of dozens of individual exhibitions, presented all over the world, and over 55 photo books | together with Andrzej Świetlik (cd! #7) has found The Homeless Gallery | after moving to Australia in 1982, ran photo workshops at the Victorian College of the Arts, and together with Eryk Fitkau established an advertising photography studio | worked for Singapore Airlines, Levi’s and Reebok and many more | the 1990 campaign for Le Shirt earned him the title of The Advertising Photographer of the Year in Australia, Oceania and South-East Asia.
The Tomek Sikora exhibition is organised under doc! photo magazine patronage.
Sonia Szóstak’s The Age of Innocence exhibition consists of 30 photographs taken in the last five years and includes portraits, nudes, fashion and lifestyle pictures.
Sonia Szóstak makes portraits that present the beauty of the young body in different conventions. The naturalness and shamelessness of the photographed person results from the fact that the authoress doesn’t exceed the limits of intimacy. Her nudes in a natural setting show man inseparably tied with nature. The photos are unobvious, shrouded in mystery, even a bit disturbing. Nature is only the background here, but the essence of the picture is the proximity of the two people. Showing emotions is one of the important aspects of Sonia Szóstak’s work.
In turn, the nudes taken in middle-class interiors are direct reference to the old canons of painting – Giorgione’s Sleeping Venus or Titian’s Venus of Urbino. Painterly character of these pictures is highlighted by the skilful use of light and colour saturation. In contrary to the original Venus, the contemporary ones are independent and conscious of the strength of their femininity. It is also significant, that the camera is in a woman’s hands. The nude photography taken by a man is differently perceived than the one taken by a woman. What matters is this special relationship and level of trust between the photographed and the artist; it might be the reason, why we can feel lightness and naturalness while looking at these images.
Aesthetics of Szóstak’s pictures betrays her fascination with Peter Lindberg work and other masters of photography. In her portraits – both, B&W and colour – the artist presents beautiful women thoughtfully looking into the lens. Thanks to her style of building the scene and its atmosphere, she achieves perfection and elegance similar to Erwin Olaf’s images.
The Age of Innocence exhibition is a praise of might of youth, femininity and nature. It results from “the young and beautiful”’s searching for spaces of freedom. Despite of the variety of topics, Sonia Szóstak has sophisticatedly captured the spirit of her generation. She portrays young and happy people, who enjoy life in uninhabited way. This contemporary idyll is presented as the echoes of dreams, longing for paradise, and nature which we are part of.
Sonia Szóstak (b.1990) | a graduate of Photography at the Łódź Film School | awarded by Le Book for the best cover and recognised by the Fashion magazine as the best debuting photographer (2011) | took first place in the TOP 10 photographers ranking published by the F5 Trendy Rynku i Kultury magazine (2015) | specialises in fashion photography | has published in Vogue, Rolling Stone, Ozon, i-D, Harper’s Bazaar, Interview and K MAG, among others | her photographs have been exhibited in Germany, Italy and Poland | represented by the AFPHOTO (Poland) and Aura Photo (Italy) agencies.
Sonia Szóstak – THE AGE OF INNOCENCE
@ Gdańsk Gallery of Photography (Green Gate, 24 Długi Targ St., Gdańsk, Poland)
Grand opening: July 1 at 6.00 PM
The exhibition will be open to the public between July 2 and September 11, 2016
The exhibition is organised under doc! photo magazine patronage.