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 Cracow (3 Pawia St., Cracow, Poland)
Opening reception: February 23 at 7.00 PM
The exhibition will be open to the public between February 24 and March 31, 2017
The Urszula Tarasiewicz exhibition is organised under doc! photo magazine patronage.
Next to the renowned press photography contest, the World Press Photo Foundation also runs a competition focused on digital storytelling. The contest, previously known as the Multimedia Contest, rewards those producing the best forms of visual journalism enabled by digital technologies and the spread of the Internet. The contest is open to digital storytellers, visual journalists and producers, with submissions that include the work of a professional visual journalist.
“This year, the entries in the Immersive Digital Storytelling Category were very strong, diverse and ambitious,” – says Katerina Cizek, chair of the Immersive Storytelling category. – “The projects also ranged widely in scale and scope. Because of this, the jury deliberated on how to weigh and balance the diverse qualities of the projects, and agreed on the criteria of: excellence in visual storytelling, importance and originality of reporting, innovation in immersivity and depth of social relevance. We ultimately agreed upon three winners, who each excel in their own ways, exemplifying distinct developments in our emerging field.”
“This is a rapidly evolving media format in its early stages,” – adds DJ Clark, chair of the Short Form category. – “We need people to push the boundaries and experiment. It won’t always work, but when it does, it stands out.”
Winners of the 2017 World Press Photo Digital Storytelling Contest are:
1. The Dig
Synopsis: You know how you feel about politics, religion, and other issues, but do you know how you feel about the changing landscape of human relationships? Things like trans-sexuality, co-parenting and cyborgs, to name a few. The Dig explores the future of relationships using interactive audiovisual elements, placing the viewer at the centre of the experience to explore and discover their own feelings in this world of rapidly transforming human relations. Piece by piece, a couple’s relationship jigsaw is revealed. The more elements you see, the more you know. In the end, you can decide what you think the couple should do, and in doing so you learn something about yourself. The stories of simple questions about complex problems are told through beautiful cinematography and frank interviews with the people involved.
Topaz Adizes, Executive Director, Creative Director
Mike Knowlton, Executive Director, Creative Director, Creative Technologist
Carla Tramullas, Creative Director, UX Designer
Julia Gorbach, Creative Director
Mark Harris, Creative Director, Creative Technologist
Joe Wheeler, UX Designer
Olivier H. Beauchesne, Data Visualisation
Julia Gorbach, Director, Producer, Additional Camera & Sound
Carla Tramullas, Director, Cinematographer
Dane Benko, Editor
Nicholas D’Agostino, Editor
Mériem Dehbi-Talbot, Associate Producer
Grace Larkin, Associate Producer
Julius Bowditch, Associate Producer
Paige Polk, Associate Producer
Hans Lueders, Associate Producer
The Skin Deep + Murmur
2. The Fine Line: Simone Biles Gymnastics (Team: Rodrigo de Benito Sanz, Producer; Alicia DeSantis, Producer; Alexandra Garcia, Producer, Video Editor; Mika Gröndahl, Producer, Graphics; Evan Grothjan, Producer, Graphics; Taige Jensen, Producer, Video Editor, Color, Audio; Yuliyah Parshina-Kottas, Producer, Graphics; Bedel Saget, Producer, Reporter, Videographer; Joe Ward, Producer, Reporter, Videographer; Larry Buchanan, Reporter, Videographer; Leslye Davis, Reporter, Videographer, Photographer; Juliet Macur, Reporter; Meghean Felling, Video Editor; Ben Laffin, Color; Jeremy White, Graphics; Michael Cordero, Audio; Gregg Matthews, Photographer; Wilson Andrews, Contributing Producer; Danny DeBelius, Contributing Producer; Alexandra Eaton, Contributing Producer; Grant Gold, Contributing Producer; Steve Duenes, Supervising Producer. Organisation: The New York Times)
3. The Injustice System (Team:Ed Pilkington, Chief Reporter; Laurence Mathieu-Leger, Senior Video Producer; Kenan Davis, Interactive Editor; Rich Harris, Interactive Editor; Nadja Popovich, Interactive Editor; Kenton Powell, Interactive Editor. Organisation: The Guardian US)
Synopsis: A generation ago, globalisation shrank the world. Nations linked by trade and technology began to erase old boundaries. But now barriers are rising again, driven by waves of migration, spillover from wars and the growing threat of terrorism. To examine this global phenomenon, the Washington Post produced Raising Barriers, a three-part multimedia project that takes viewers to 8 countries across 3 continents exploring the divisions between countries and peoples.
Zoeann Murphy, Video Reporter
Anthony Faiola, Berlin Bureau Chief
Reem Akkad, Senior Video Producer
Kat Downs Mulder, Graphics Director
Kevin Schaul, Graphics Editor
Douglas Jehl, Foreign Editor
Samuel Granados, Senior Graphics Editor
The Washington Post
2. The Waypoint (Team: Zoeann Murphy, Video Reporter; Samuel Granados, Senior Graphics Editor; Emily Chow, Assignment Editor, Story Design; Kevin Schaul, Graphics Editor; Kat Downs, Graphics Director; Griff Witte, London Bureau Chief. Organisation: The Washington Post)
3. Future Cities (Team: Yvonne Brandwijk, Director, Photographer, Video; Stephanie Bakker, Director, Writer, Reporter; Maaike Holvast, Video Editor; Sara Kolster, Interactive Design; Martijn Pantlin, Development; Hay Kranen, Development; Edgar Vijgeboom, Development; Casper van Deuveren, Sound Design; Ivo Schmetz, Visual Design. Organisation: Future Cities)
Synopsis: In 2012, 17-year-old Claressa ‘T-Rex’ Shields from Flint (MI, USA) became the first woman ever to win the gold medal in Olympic boxing. This short film picks up with Claressa in 2015. She’s still living in Flint and has received no sponsorships or endorsements from her historic victory in the 2012 London Olympics. Now she’s faced with a difficult decision: does she continue on with how things are and hope for the best or does she leave behind her family, her gym and everything she knows in pursuit of her career?
Zackary Canepari, Director
Carter Gunn, Editor
Christopher ISenberg, Producer
Christopher Gary, Producer
Drea Cooper, Producer
Sue Jaye Johnson, Producer, Cinematography, Additional Interviews
Sophia Rose, Cinematography
Jessica Dimmock, Cinematography
Mo Scarpelli, Cinematography
Matthew Joynt, Original Music
Nate Sandberg, Original Music
Gregg White, Coloring
Brian Susko, Sound Mix
Lindsey Phillips, Additional Editing
Co-produced by Great Big Story and Victory Journal
2. Trapped (Team: Nikos Pilos, Producer, Journalist, Videographer and Director; Arsinoi Pilou, Second Unit Camera; Natasha Blatsiou, Script; Pantelis Liakopoulos, Video Editor; Orestis Kamperidis, Music Sound Designer)
3. How China Is Changing Your Internet (Team: Jonah Kessel, Director, Writer, Video, Graphics, Editing; Paul Mozur, Writer, Video, Graphics, Editing; Sarah Li, Production Assistance. Organisation: The New York Times)
Synopsis: Chester (PA, USA), a small town in the United States just south of the city of brotherly love, has a rich history and strong African American heritage that dates back to the 1600’s. In the early 1960’s, the town experienced an industrial collapse and the subsequent economic meltdown still affects residents of Chester today. The domino effect of pervasive socio-economic issues and a long history of government corruption have revealed a microcosm of the structural inequalities that plague American society. In the 1980’s, the local governmental bodies around Chester redrew the zoning maps, effectively excluding the city from the surrounding affluent, predominately white, school districts. This exclusivity forced countless budget cuts causing seven educational bodies to close in Chester since 2000. In 2013, the school district’s graduation rate was 56 percent, a stark contrast to the national average. This predominantly African American populated city, where education is not adequately available, has a murder rate 18 times the national average. While Chester has one of the nation’s highest homicide rates, it has a far lower-than-average clearance rate. Chester has become a place where you can get away with murder. When the Spirit Moves explores the parallels between a lack of education for youth and the ever-rising crime rate in Chester. It is determined to disprove the popular perception of Chester. This is not a forgotten town. These lives are not expendable and Chester is not a place where you can get away with murder.
Justin Maxon, Director, Cinematographer
Jared Moossy, Director, Cinematographer
This year, 282 productions were submitted to the contest: 135 Short Form, 54 Long Form, 62 Immersive Storytelling and 31 Innovative Storytelling.
Winners in each category will receive a diploma and a Golden Eye Award, presented during the annual Awards Ceremony. The prize-winning projects are assembled into an exhibition that travels to selected locations.
More info and gallery of all the winners @ www.worldpressphoto.org
The World Press Photo Foundation announced the winners of the 60th annual World Press Photo Contest.
The World Press Photo of the Year honours the photographer whose visual creativity and skills made a picture that captures or represents an event or issue of great journalistic importance in the last year.
Burhan Ozbilici’s picture (which also won first prize in the Spot News – Stories category) shows how Mevlüt Mert Altıntaş, a 22-year-old off-duty police officer, assassinated the Russian ambassador to Turkey, Andrey Karlov, at an art exhibition in Ankara (Turkey) on December 19, 2016. Altıntaş wounded three other people before being killed by officers in a shootout. Ozbilici is a staff photographer for The Associated Press, based in Istanbul.
“It was a very, very difficult decision, but in the end we felt that the Picture of the Year was an explosive image that really spoke to the hatred of our times,” – says Mary F. Calvert, member of the jury, about the winning photograph. – “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomises the definition of what the World Press Photo of the Year is and means.”
“Right now I see the world marching towards the edge of an abyss,” – says João Silva, member of the jury. – “This is a man who has clearly reached a breaking point and his statement is to assassinate someone who he really blames, a country that he blames, for what is going on elsewhere in the region. I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”
The 2017 contest drew entries from around the world: 5,034 photographers from 125 countries submitted 80,408 images. The jury gave prizes in eight categories to 45 photographers from 25 countries: Australia, Brazil, Canada, Chile, China, Czech Republic, Finland, France, Germany, Hungary, India, Iran, Italy, Pakistan, Philippines, Romania, Russia, South Africa, Spain, Sweden, Syria, New Zealand, Turkey, UK and USA.
“It was a very intense, sometimes brutal, discussion, sometimes even emotional, but I feel proud,” – says Tanya Habjouqa, member of the jury, about this year’s winners. – “I think we were brave in our decision. We were bold. I think the selection is definitely going to push forward a debate and I think it is a debate that is essential to have.”
The 2017 World Press Photo winners are:
WORLD PRESS PHOTO OF THE YEAR
Burhan Ozbilici (Turkey) | The Associated Press
CONTEMPORARY ISSUES – Singles
1. Jonathan Bachman (USA) | Thomson Reuters
2. Vadim Ghirda (Romania) | The Associated Press
3. Daniel Etter (Germany)
CONTEMPORARY ISSUES – Stories
1. Amber Bracken (Canada)
2. Lalo de Almeida (Brazil) for Folha de São Paulo
3. Peter Bauza (Germany; doc! vol. Q3 #38)
DAILY LIFE – Singles
1. Paula Bronstein (USA) for Time Lightbox | Pulitzer Centre for Crisis Reporting
2. Tiejun Wang (China)
3. Matthieu Paley (France) for National Geographic Magazine
DAILY LIFE – Stories
1. Tomas Munita (Chile) for The New York Time
2. Elena Anosova (Russia)
3. Francesco Comello (Italy)
GENERAL NEWS – Singles
1. Laurent Van der Stockt (France) | Getty Reportage for Le Monde
2. Santi Palacios (Spain)
3. Noel Celis (Philippines) | Agence France-Presse
GENERAL NEWS – Stories
1. Daniel Berehulak (Australia) for The New York Times
2. Sergey Ponomarev (Russia) for The New York Times
3. Alessio Romenzi (Italy)
1. Valery Melnikov (Russia) | Rossiya Segodnya
2. Hossein Fatemi (Iran) | Panos Pictures
3. Markus Jokela (Finland) | Helsingin Sanomat
NATURE – Singles
1. Francis Pérez (Spain)
2. Nayan Khanolkar (India)
3. Jaime Rojo (Spain)
NATURE – Stories
1. Brent Stirton (South Africa) | Getty Images for National Geographic Magazine
2. Ami Vitale (USA) for National Geographic Magazine
3. Bence Máté (Hungary)
PEOPLE – Singles
1. Magnus Wennman (Sweden) | Aftonbladet
2. Robin Hammond (New Zealand) | NOOR Images for Witness Change
3. Kristina Kormilitsyna (Russia) | Kommersant
PEOPLE – Stories
1. Michael Vince Kim (USA)
2. Antonio Gibotta (Italy) | Agenzia Controluce
3. Jay Clendenin (USA) | Los Angeles Times
SPORTS – Singles
1. Tom Jenkins (United Kingdom) | The Guardian
2. Cameron Spencer (Australia) | Getty Images
3. Kai Oliver Pfaffenbach (Germany) | Thomson Reuters
SPORTS – Stories
1. Giovanni Capriotti (Italy)
2. Michael Hanke (the Czech Republic)
3. Darren Calabrese (Canada)
SPOT NEWS – Singles
1. Jamal Taraqai (Pakistan) | European Pressphoto Agency
2. Abd Doumany (Syria) | Agence France-Presse
3. Felipe Dana (Brazil) | The Associated Press
SPOT NEWS – Stories
1. Burhan Ozbilici (Turkey) | The Associated Press
2. Ameer Alhalbi (Syria) | Agence France-Presse
3. Mathieu Willcocks (United Kingdom)
The premier award, the World Press Photo of the Year, carries a cash prize of 10,000 euros. In addition, Canon will present the winning photographer with a selection of camera equipment. Award winners have their travel and lodging paid for by the World Press Photo Foundation to Amsterdam so they can attend the World Press Photo Festival, an event taking place 20-22 April featuring photographer presentations, screenings, and talks. They also receive a diploma and a Golden Eye Award at the Awards Ceremony.
The prize-winning photographs are assembled into an exhibition that travels to 45 countries and is seen by more than 4 million people each year. The winning pictures are also published in the annual yearbook, which is available in multiple languages. The first World Press Photo exhibition opens in De Nieuwe Kerk, Amsterdam, on April 14, 2017.
More info and images @ www.worldpressphoto.org
Poland is the result of 10-year-long work of Michał Szlaga. There are thousands of photographs that form a kind of diary of the photographer’s trip throughout the title country. At the second exhibition organised by IFF Gallery one could see 300 photographs taken by the artist.
The pictures included in the Poland series were taken occasionally, spontaneously, as if from a peeper’s perspective. In spite of taking pictures of his characters when they didn’t expect, Michał Szlaga’s intention neither was seeking for sensation nor ridiculing them; his intention was identifying some universal emotions in their gestures and facial expressions.
Contrary to the random selection of the presented images, they form an aesthetically coherent whole. On one hand, these seemingly coincidental images from a trip make up a story about Poland, on the other one – going beyond the documentary layer – they are a record of the search for beauty in the everyday life and banality.
Michał Szlaga observes Poland from a train perspective, from a car or as a common passerby – he hardly participates in events. Poland – as he sees it – is bittersweet: unleavened and kitschy but also self-ironic and absorbed in reflective contemplation.
The exhibition will be accompanied by the book of the same title, that is at the same time a publishing debut of the IFF Institute, whose purpose is to promote Polish photography.
Michał Szlaga (b. 1978) | based in Gdansk (Poland) | graduate from Photography and Intermedia at the Gdansk’s Academy of Fine Arts | known for his portrait and documentary projects | his works are in the collections of the Apollonia Association in Strasbourg, the Ujazdowski Castle – Centre for Contemporary Art in Warsaw and the National Museum in Gdansk | has exhibited his photographs in Poland, Germany, France and Iran, among others | repeatedly awarded at prestigious national and international photo competitions.
Michał Szlaga – POLAND
@ IFF Gallery (Fort Mokotów, 99 Racławicka St., Warsaw, Poland)
Opening reception: February 10 at 7.30 PM
Artist’s tours: February 11 and 12 at 2.00 PM
The exhibition will be open to the public until April 9, 2017
The Michał Szlaga exhibition is organised under doc! photo magazine patronage.
The ninth edition of Chobi Mela – International Festival of Photography in Bangladesh, one of the most prestigious photography festivals in Asia, launches on February 3 and will run until February 16, 2017. The festival is organised biannually by Drik Picture Library Ltd. and Pathshala South Asian Media Institute. Since its inception in 2000, Chobi Mela has become the most significant photography event in Asia.
The Chobi Mela IX is organised under the Transition subject. The festival will feature over 30 exhibitions with work from 27 artists spanning 16 countries accompanied by workshops, portfolio reviews and artist talks. The list of exhibited photographers includes Kanu Gandhi, Stanley Greene, Nasir Ali Mamun, Naeem Mohaiemen, Pushpamala N., Igor Pisuk (DEBUTS 2014), Robert Zhao Renhui (doc! #26) and Donald Webber, among others.
Chobi Mela IX also commissions ten Bangladeshi artists as Chobi Mela Fellows to produce site-specific artwork for the festival. To investigate the theme Transition, artists from different backgrounds of painting, drawing, animation, sculpture, photography, video, sound and installation will stretch the medium physically and conceptually. Through this novel initiative, Chobi Mela aims to support new media artists of Bangladesh to develop independent projects with freedom rarely provided in formal art events.
Chobi Mela IX continues its tradition of recognising individuals who have dedicated their lives to the growth of Bangladeshi photography. We are honoured to announce that the Chobi Mela IX Lifetime Achievement Award will go to Nasir Ali Mamun and Sayeeda Khanom. Nasir Ali Mamun’s passion for portraiture gave us engaging, thought-provoking images of writers, poets, musicians, and artists, and Sayeeda Khanom continues to be a torch bearer for women in the field of photojournalism, which men have long tried to monopolise.
Ensuring access for the general public, which has always been an important part of the festival, mobile exhibitions on ricksha vans (a trademark of the festival) will travel all over Dhaka city including remote locations. The festival is free and open to the public.
More info @ www.chobimela.org
Wrocław based FOTO-GEN Gallery, previously known as DCF “Roman House”, will host a unique and multifaceted photo exhibition of Piotr Zbierski (doc! #8 & cd! #5), that is a photographic journey to the sources of nature, a common tradition of symbols and cultural codes. The Push the Sky Away exhibition is a triptych including his latest project – Stones Were Lost from the Base and his two earlier series: White Elephants and Love Has to Be Reinvented. Work over the whole took him 9 years.
Piotr Zbierski’s photographs are very personal. They don’t tell about the world but rather about its structure. Like an anthropologist, Zbierski revers to the roots, to that what was before the image.
“I am most interested in the dialogue between the mental time and the common one, relationships with the past,” – says Piotr Zbierski. – “We live in a specific time, in which the contact with the causes of the occurrence of linguistic, logical, cultural and religious structures is either repeatedly broken or displaced by current hybrids. I am interested in the overlap and erosion of these spaces, the desire to extract the structure that asks where it came from. It exists now but it is the result of the march through centuries. It is breathing now but it is all covered with dust of the ancestors. I choose places that were important for previous civilisations, as the medieval astronomical observatory in Lithuania or mysterious creatures created by the nature itself.”
The essential part of Zbierski’s exhibition is his latest project – Stones Were Lost from the Base. It is a journey through the centuries searching for the essence and a common link of human emotions. Zbierski searches for things that are constant and stable, for formulas and bases, what the human spices and human imagination confronting with nature are. In this way he tries to limit the message in the pictures to a necessary minimum: to leave the everlasting, blurring the “momentary” states of things.
The exhibition is accompanied by an identically titled book containing about 150 photographs by Piotr Zbierski as well as inspired by his work poem by Patti Smith, a legendary American singer and poetess, written for this book, and essay by Prof. Eleonora Jedlińska.
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).
The exhibition will be open to the public until March 3, 2017
The Piotr Zbierski exhibition is organised under doc! photo magazine patronage.
The landscape is a source of many inspirations for photography. It results from humans’ need to document their world around as well as historic relationships between this medium and painting. Up to the 1970s these relations had been stormy: full of mutual reproaches and animosities, they were connected with attempts to develop new solutions for common heritage.
Przemek Dzienis’ works, shown at the Leica Gallery Warsaw, are an excellent example of the latest period for these historic relations. The landscapes created by the artist with his camera, captivate with their minimalism and abstract painterly gestures which is used to put colourful spots. As canvas, Dzienis uses snow, delicate and surprising in its texture. It almost entirely fills the frames.
Przemek Dzienis’ previous projects are different from this one: “I was fed up with that commercial work in Warsaw, with the rush, crowds, so I left. I was looking for peace and quiet. I found the colour in a monochrome winter,” he says.
The Pureview series combines skilful compilation of snowy landscape’s details with photographs in which the mountain peaks are more visible. In this way, the series combines elements of abstraction and classic landscape. This introduced balance, together with the polluted white surface of each image, makes the viewer difficulty in identifying which landscapes they deal with.
Dzienis’ interference in a naturally formed image by adding colours causes associations with the heritage of broadly defined land art, whose main processing material was natural space and other installations could last only thanks to photographs. Przemek’s painterly gesture reopens the definition of photography as painting with light, that was promoted by one of its pioneers – Talbot. However, the most important is here the colour clashed with the landscape. Besides his interest in the landscape as such and work outside the studio, a new element in Przemek Dzienis’ works is their spaciousness. As a result, some of the flat photographs hanging on the walls of the gallery begin to take the shape of 3D objects.
Przemek Dzienis (b. 1984) | based in Warsaw (Poland) | graduate of the Łódź Film School’s Photography faculty | has presented his works at individual and collective exhibitions in Austria, Germany, Hungary and Poland.
Przemek Dzienis – PUREVIEW
@ Leica Gallery Warsaw (3 Mysia St., Warsaw, Poland)
Opening reception: February 9 at 7.00 PM
The exhibition will be open to the public between February 10 and March 26, 2017
The Przemek Dzienis exhibition is organised under doc! photo magazine patronage.