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Jewish book of the Chevra Kadisha funeral brotherhood

A Jewish book belonging to a Chevra Kadisha funeral fraternity. It is a prayer book of the Ashkenazi rite (Nusach Ashkenaz). The Hebrew title of the book is Sidur Safa Berura ha-Shalom.

Two small vases ornamented with cranes in flight, placed against a dark blue background

The crane is one of the most important symbols of longevity in many Asian countries. When it is depicted in combination with other symbols, it takes on an additional, slightly different meaning, which is often deeper than the original one. This majestic bird with its beautiful body and feathers has become one of the most important symbols of the culture of Japan, as the Japanese are a people who observe the surrounding nature carefully and draw a lot of inspiration from nature.

White woollen apron

An apron to match the Kraków costume made of two gores of white thin woollen fabric with motifs of green twigs, roses and other pink and red flowers, and blue and pink tiny flowers and buds printed over it.

Toy “Lajkonik’s march” by Jan Oprocha (father)

A toy cart, or actually a platform on wheels with holes to thread a pulling cord through and 31 figurines arranged on it, rocking while the toy is pulled. The whole toy, including the platform and the figurines, is made of polychrome wood. The rectangular platform with its bevelled corners and wheels are painted green. The edges are coated with white, yellow and pink paint, and the spokes are marked with yellow, blue and red.

Pola Dwurnik, “Mercy!”

Twenty four colour self-portraits stand out from the crowd sketched in the background; each face plays out the spectacle of a different personality.

Jadwiga Sawicka, “HONOURABLE / disloyal”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions. Gender play is an additional device to manipulate meanings. The same adjective has different connotations depending on whether it is feminine or masculine.

Jadwiga Sawicka, “MADE IN POLAND / foreign”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions.

Jadwiga Sawicka, “NATIONAL / exclusive”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact.

Jadwiga Sawicka, “Ojczysty / Macierzysta”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact.

Jadwiga Sawicka, “ETHNICALLY PURE / national”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact. The choice of words has been thought of carefully. They are all related to current ideological and patriotic discussions.

Jadwiga Sawicka, “IMPIOUS / infamous”

From the mass of thickly laid off paint, there emerge words taken out of context and deliberately crooked. The clash between the background and the semantic content enhances the impact.

“A Bust of Lenin” by Xawery Dunikowski

Xawery Dunikowski (1875–1964) is one of the greatest Polish sculptors of the 20th century. The present bust of Vladimir Ilyich Lenin comes from the post-war period in the artist’s work. After the WWII, the ideas of social realism carried Dunikowski away. However, ideological activities did not translate into the form of his works: he remained faithful to the expressive, simplified form he developed in the interwar period.

Gypsy wagon

In the extensive exhibition devoted to the history and culture of the Romani/Gypsies, the exhibits particularly attracting the attention of visitors are the colourful wagons presented in the courtyard of the Ethnographic Museum. Preserved in the Polish landscape in the 1st half of the 20th century as well as in Polish pop culture thanks to the song by Maryla Rodowicz, they make an interesting memento of the vagabond, truly “Gypsy life”.

Honza Zamojski, “Modernism”

Honza Zamojski’s video, entitled Modernism, is an attempt to critically look at the phenomenon of modernism in architecture. The artist reduces the ideas underlying this trend to a simple pattern of repetitive action seen on the screen. As a result of a looped gesture of arranging round cookies, placing one on another, a kind of a tower is created, which, in a distant association, evokes materialized assumptions of modernist architecture, manifested in simple geometrical forms, abandoning decorativeness and ornamentation, reducing the body of the building to an abstract structure.

“Portrait of a model” by Wanda Ślędzińska

Wanda Ślędzińska (1906–1999), a sculptor and a pedagogue associated with the Academy of Fine Arts in Kraków for many decades. She started working at the academy as an assistant at Xawery Dunikowski’s studio. Ślędzińska was the first woman to become the head of the Faculty of Sculpture at the Academy of Fine Arts in Kraków. She held this post until she retired in 1970.

“Self-portrait” by Wanda Ślędzińska

Wanda Ślędzińska (1906–1999), a sculptor and a pedagogue associated with the Academy of Fine Arts in Kraków for many decades. She started working at the academy as an assistant at Xawery Dunikowski’s studio. Ślędzińska was the first woman to become the head of the Faculty of Sculpture at the Academy of Fine Arts in Kraków. She held this post until she retired in 1970. Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}

“Child”, a sculpture by Wanda Ślędzińska

Wanda Ślędzińska (1906–1999), a sculptor and a pedagogue associated with the Academy of Fine Arts in Kraków for many decades. She started working at the academy as an assistant at Xawery Dunikowski’s studio. Ślędzińska was the first woman to become the head of the Faculty of Sculpture at the Academy of Fine Arts in Kraków. She held this post until she retired in 1970. Normal 0 21 false false false PL X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:Standardowy; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif"; border:none;}

Costume design for the “Harnasie” ballet by Irena Lorentowicz

As a result of a competition, the costume and stage design for Karol Szymanowski's ballet, Harnasie, was prepared by Irena Lorentowicz, a stage designer and painter, a graduate of the Academy of Fine Arts in Warsaw. The costume design, including the drawings and models, has been exhibited since 24 April 1936 in the Orbis halls, located near the Opera building.

Marcin Maciejowski, “The Doctor Said…”

The works by Marcin Maciejowski reveal interest in the present and everyday life of a human being. His pictorial commentaries on reality are the result of insightful and multifaceted observation of Polish society. The artist analyses customs, explores stereotypes and cultural patterns. He deals with media topics, presenting figures known from the first pages of newspapers (politicians, journalists, celebrities), topics of sensational events, as well as social and economic problems. He devotes much attention to the social reception of art and the role of the artist.

Karolina Kowalska, “A window onto the winter”

The motifs of urban everyday life as an illusory sign of economic prosperity prevail in Karolina Kowalska’s works. Streets, blocks of flats, and office buildings appear next to intimate apartment interiors and impersonal infrastructure. The architectural and media indicators of capitalism determine the area of human activity, rendering the world of nature a luxurious addition. The artist manipulates their images, pushing them into everyday realities and, with a hint of irony, transforming them. Thus, her photographs, films, installations, and objects reveal in a nuanced, jocular manner, the influence of urban cityscape on individuals and relationships and propose slightly improved variants. The projects realized by the artists combine music, visual art, and text at times.