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Łukasz Surowiec, “Zbigniew, 60” from the cycle “Carts”

Łukasz Surowiec’s activities focus on the area of important social problems such as exclusion, homelessness, and poverty. The artist explores the relationships within marginalized groups and the perception of their representatives by other members of society. He creates prototypes of radical social actions, thanks to which he interferes with the reality of people functioning outside the capitalist system.

Łukasz Surowiec, “Piotr, 46” from the cycle “Carts”

Łukasz Surowiec’s activities focus on the area of important social problems such as exclusion, homelessness, and poverty. The artist explores the relationships within marginalized groups and the perception of their representatives by other members of society. He creates prototypes of radical social actions, thanks to which he interferes with the reality of people functioning outside the capitalist system.

Łukasz Surowiec, “Erwin, 48” from the cycle “Carts”

Łukasz Surowiec’s activities focus on the area of important social problems such as exclusion, homelessness, and poverty. The artist explores the relationships within marginalized groups and the perception of their representatives by other members of society. He creates prototypes of radical social actions, thanks to which he interferes with the reality of people functioning outside the capitalist system.

Łukasz Surowiec, “Eugeniusz, 63” from the cycle “Carts”

Łukasz Surowiec’s activities focus on the area of important social problems such as exclusion, homelessness, and poverty. The artist explores the relationships within marginalized groups and the perception of their representatives by other members of society. He creates prototypes of radical social actions, thanks to which he interferes with the reality of people functioning outside the capitalist system.

Łukasz Surowiec, “Zofia, 50” from the cycle “Carts”

Łukasz Surowiec’s activities focus on the area of important social problems such as exclusion, homelessness, and poverty. The artist explores the relationships within marginalized groups and the perception of their representatives by other members of society. He creates prototypes of radical social actions, thanks to which he interferes with the reality of people functioning outside the capitalist system.

Andreas Kaufmann, from the series “40 Gestures”

The artistic creativity of Andreas M. Kaufmann has evolved around such concepts as space, time, and the public sphere. It is manifested through a variety of means (both analogue and digital) and forms; the artist is particularly fond of using projection. The increasingly strong mutual penetration of the artistic sphere and technology has led the artist to undertaking reflections on the civilizational context in which current art functions.

Andreas Kaufmann, from the series “40 Gestures”

The artistic creativity of Andreas M. Kaufmann has evolved around such concepts as space, time, and the public sphere. It is manifested through a variety of means (both analogue and digital) and forms; the artist is particularly fond of using projection. The increasingly strong mutual penetration of the artistic sphere and technology has led the artist to undertaking reflections on the civilizational context in which current art functions.

Karol Radziszewski, “Study for the Wounded Insurgent”

Karol Radziszewski’s work consists of six photographs and a drawing made on their basis. The cycle is considered a preparatory study for the mural, which was to be created in 2009 at the Mur Sztuki Gallery, located in the Museum of the Warsaw Uprising. However, the work did not come to fruition, because it was considered too erotic and detrimental to the feelings of the museum’s public.

Michał Jelski, “D.G./D.Y.60s0-0-0.4s”

The photographic work of Michał Jelski, DG/D.Y.60s0-0-0.4s, is an unusual record of issues focusing on conflict. Its sphere of presentation – patches of colour – whose smooth transitions are disturbed by a distinctive streak, primarily refers to the manipulation of materials applied on the surface of the artistic medium used. The photogram technique used by the artist involves irradiation of photo paper without the use of special devices designed for this purpose, such as a camera. The image is created here is the result of obscuring the photosensitive material with semi-transparent or opaque objects (in such a case, we talk about the technique of luxography).

Nicolas Grospierre, “The House Which Grows”

The project by Nicolas Grospierre, The house which grows, tackles the problem of the gap between aesthetics and the functionality of architecture. In his work, the artist is interested in forms of modernist architecture and in how the very possibility of establishing universal public housing led to the fall of this utopian project.

Tomasz Dobiszewski, from the series “Anecdotes”

The area of Tomasz Dobiszewski’s exploration is time and space, constraints of perception, illusion and interaction issues. In his works, which testify to the processes of taming the media, he does not limit himself to purely conceptual cognitive strategies but enriches the discourse with non-intellectual elements: sensual impressions and intuitive cognition. He combines messages which are legible to various human senses, and, while experimenting with the physiology of seeing or hearing, on the one hand he aims at fuller, more complete transfer, while on the other, he deprives the viewer of the possibility to learn about the essence of his work.

Volker Hildebrandt, series “Popes”: “Pope: comes”, “Pope: goes”, “Popes”

A Volker Hildebrandt series of works titled Popes came into being as a result of transforming a picture that already existed in the visual sphere. In this case, it was three parts of a documentary film: the appointment of Karol Wojtyła as Pope, the administration of Holy Communion by John Paul II to Joseph Ratzinger, and the Pope bestowing a blessing from a window of the Papal Apartments towards the end of his life. The artist breaks the shots down into their constituent parts, showing a given event frame by frame.

Ane Lan, “Woman of the World”

By appearing as a woman, Ane Lan represents both genders simultaneously. In his work Woman of the World, he additionally transcends the boundaries of nationality and origin, touching upon the problems of both postcolonial and developed countries.

Dóra Maurer, “What can One do with a Cabble Stone?”

The work is a photographic documentation of a performance carried out by the artist in 1971. Fifteen prints, arranged in five rows, three in a row, step by step present actions involving a single paving stone. The work, with its roots in conceptualism, also has feminist and political connotations.

KwieKulik, “Actions with a Tube”

The series of photographs is a record of one of numerous actions that the two artists carried out in their own flat. It took place in August 1975, with the participation of Przemysław Kwiek’s sister Zofia Kulik and the artists’ son – Maksymilian Dobromierz. A cardboard tube was the centre of the action. It had been made to order as an advertising prop; after the action it went to the client.

Katarzyna Górna, “Fuck me, Fuck you, Peace”

A photographic triptych, showing women in different stages of their lives – from youth, through maturity to old age. The adopted poses as well as the compositions with a static, altar-like quality point to the inspiration by Christian iconography, recurrent in the artist’s work. The work deals with the relationship between age and the attitude to life. A young woman wants to be loved, a mature woman is fed up with everything and the old woman craves peace.

Zofia Kulik, “All the Missiles Are One Missile”

Photomontage using combination print. The composition is made through repeated imprinting of one or more negatives on an appropriately masked paper. Zofia Kulik’s collages are complex visual texts. Each carries a message that has been carefully devised and executed.

“The artist's table” (“Today is My Birthday”, 1990)

The Artist’s table is a unique object, created for the performance, Today is my birthday, at the Cricot 2 Theatre, on which the artist worked, from October 1989 to early December 1990. Tadeusz Kantor died after one of the last rehearsals of the performance, on 8 December 1990. The premiere took place shortly after, in January 1991, at Théâtre Garonne in Toulouse; then, the performance was shown in 22 cities around the world until June 1992.

Exakta Varex VX Camera

The Exakta Varex VX camera, version 4.3.1, was produced between July 1953 and June 1955 in the Ihagee Kamerawerk plant in Dresden. It is a single-lens reflex camera with a roll-film. 39 thousand units were produced of this version of the model.

Folding camera from 19th/20th century

Undoubtedly, Włodzimierz Puchalski’s struggles with photography were initiated by his father, Władysław, and his older brother, Roman. This mahogany folding camera was the first one that Włodzimierz Puchalski used. He got it from his grandfather, Hieronim Sykora, and as a 13-year-old boy he discovered a passion for photography.