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.
Exhibits given to the Ethnographic Museum in Kraków by Leopold Węgrzynowicz include sculptures, paintings on glass, costumes, archival records, items related to rites... However, the Museum owes much more to Węgrzynowicz than shown by inventory sheets, which he even co-created in the first years of the Ethnographic Museum's operation, helping to catalogue and inventorise the Museum's exhibits.
The Polish Aviation Society was founded on 11 December 1916 in Warsaw, the day the society's statute was submitted to the Provisional Council of State in Warsaw. The first meeting (organizational) took place on 1 February 1917 in Warsaw. From 26 February to 15 May 1917, the society ran flight courses, which were completed by 73 students.
The black and white photograph shows the building of the Ludowy Theatre in Kraków-Nowa Huta from the side of the main entrance on Władimira Majakowskiego Street (today: Obrońców Krzyża Street).
Jokingly, we can say that John Paul II owes his career to Nowa Huta. The troubles connected with the construction of the new church in Nowa Huta, created by the communists, had compelled Bishop Eugeniusz Baziak to take action. He appointed Karol Wojtyła, despite his young age, as his deputy.
Under the state of martial law, Nowa Huta was the largest bastion of the independent, self-governing Labour Union “Solidarity”, that was operating underground at the time. Huge demonstrations took place here, often turning into dramatic clashes with the authorities. With the passing of time, however, the activity of the underground began to diminish, and it eventually restricted its actions to publishing underground newspapers and self-help. The situation didn't change before the late 1980s, when a new generation of activists came to the fore. Its core were the young workers and students most often belonging to such organizations as the Confederation of Independent Poland, Fighting Solidarity, the Freedom and Peace Movement, and the Federation of Fighting Youth.
Nowa Huta was exceptionally fortunate as it was home to a multitude of excellent photographers. Some of them had been resident in the district almost from the first day of its creation. Others were attracted by ‘constructionalism’ or simply were given a flat here. Even more photographers followed, in order to fulfil the assignments of the editorial offices or to find interesting topics, plenty of which Nowa Huta had to offer.
Bartek Buczek, apart from being a painter of works of art, is also a bouquiniste, an owner of an antique book shop, and he likes to emphasize this. In his painting, as well as when going beyond the boundaries of paintings, one can find not only literary inspiration, but also a melancholy atmosphere accompanying a focused reader, a thoughtful detective, who follows the development of plot threads and narratives. While working on his art in his own way by means of his creative personality, he remains patient. And this is how he plots stories that are almost real, whether on stretcher frames or in the pages of a book.
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.
A project by Wojciech Doroszuk called Reisefieber concerns the problem of economic migration. During his stay in Berlin, the artist played the role of a newcomer from the East and was employed in the service sectors which are usually entrusted to emigrants. Based on his experience, five films and photography have been created, that form a multi-layered story of everyday, ordinary life in a foreign country, including both paid work and leisure activities, for example, participation in mass events organized in the city space. In each situation, the hero is shown as a stereotypical stranger, deprived of the will and the possibility of joining indigenous members of the community.
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.
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.
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.
The photograph taken by Henryk Hermanowicz (1912—1992) gives a perfect example of the then propaganda, in which those who were smarter could see the criticism of the authorities who decided to build industrial facilities on perfectly arable soil. It is also a kind of document of how our approach to the environment has changed. It should be remembered that until the 1970s there was no environmental awareness, even in the West.
Dr Roman Glassner is sitting in a dark leather armchair in the middle; on the left is Helena Krywaniuk sitting back on an armchair, leaning against Aurelia Danek who is standing behind her. Dr Leon Glück is sitting back on the seat on the right. Tadeusz Pankiewicz stands behind the armchair in the background.
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.