The installation consists of a free-standing, enclosed space measuring 3 x 4.5 m entered through an opening on the left in one of its walls. All the walls as well as the floor and the ceiling are white and covered in black letters, which contrast sharply with the background, lit by fluorescent light. The letters have been placed in horizontal and vertical rows so as to result in a regular grid. Many letters have been turned by 90 ̊ in relation to the vertical or horizontal axis. At first glance, the selection of letters may seem random; however, on closer scrutiny, only those letters have been included that are part of the word ”between” in Polish.
Presented specimens are fossils with separately preserved three teeth of Ichthyosaurus, dating back to the Upper Jurassic period, namely from —163 to —145 million years ago.
A container in the shape of a human hand clenched into a fist, intended for storing snuff. It is made of oak, with a rectangular hollowed-out interior, covered with a thin lid. The plate of the lid is mounted on the wrist part with a leather hinge. It is finished with a ledge, which was used to raise the lid with a fingernail. The snuffbox is finished with dark brown French polish.
The presented object is a trunk of a cycad — a fossil plant. Bennettitales (Cycadeoidopsida) is a class of extinct gymnosperms which could be found all over the world in the Mesozoic era.
Visualization of the Spiritual State. It is difficult to convey depression because of the lack of words, and the available expressions are banal to the point of ennui. A painting turns out to be a more capacious and sensitive medium than words or poetry. The “black secretion of the soul” is poured over a reclining figure.
One of Lutyński’s works using the motif of a nest and an egg – a symbol of birth, of new life, a beginning and a sense of security. A witty attempt to combine usucaption and brooding.
The work is an accurate replica of Yasser Talal al Zahrani’s prison cell at the American detention camp for terrorist suspects at Guantanamo Bay, Cuba. The Saudi prisoner died in 2006. The official cause of death was given as suicide. However, an examination by an independent pathologist showed traces of repeated beating, which could be indicative of torture. The work can be interpreted as a commentary on the abuse of human rights by imperialist powers, and the individual’s helplessness in the face of such behavior.
A witty and ironic treatment of the colour-cum-symbol means available to painting. The artist plays with the shapes of splashes of colour, approaching colour in a free-flowing style. Sometimes, such splashes mean no more than the colour itself; at other times, they stand for an art trend or an object. Through such a ”naive” colour game, one discovers the rich and diverse idiom of painting.
This is a memorial plaque, stamped in commemoration of the battle of Gorlice, depicting the attack on Mount Pustki near Gorlice, on which fierce battles were fought on 2 May 1915, during the Gorlice operation.
The presented image from the collections of the Museum of the Kraków Academy of Fine Arts is untypical of Wędrychowski. It presents an unspecified Polish legation in audience at the Sultan of the Ottoman Empire. The characters costumes and interior refer to the 17th and 18th centuries. The scene takes place in a faithfully devoted real interior – Arz Odası, the auditorium of the Topkapi Palace in Istanbul. MEPs according to the Turkish custom have their own costumes put on special caftans in which the deputies were dressed before visiting the grand vizier or sultan. This richly decorated attire was highly desirable by Polish visitors.
The presented portrait from the collections of the Museum of the Academy of Fine Arts in Kraków depicts an unidentified middle-aged man.
Stanisław Bieńkiewicz (1855–after 1930) in 1871–1880 studied at the Academy of Fine Arts in Kraków under the direction of Jan Matejko. During the period 1889–1890, together with Józef Mehoffer and Stanisław Wyspiański, he worked on a polychrome of Mariacki Church in Kraków. Bieńkiewicz painted portraits, landscapes, historical, genre and religious scenes.
Tadeusz Łakomski (1911–1988) during the period 1931–1938 studied at the Kraków Academy of Fine Arts under the direction of Fryderyk Pautsch and Wojciech Weiss. He also studied in Paris. He created wall and easel paintings, drawings and book graphics. He also produced caricatures, inter alia, of some the most outstanding artists of his time: Władysław Hasior, Tadeusz Kantor and Jerzy Nowosielski. Initially, his painting was influenced by the dominant colours of the Kraków Academy of Fine Arts. In the 1950s he introduced geometrical motifs and interpenetrating planes.
This is crystalline halite, in the form of “Christmas tree” stalagmite, from crystals with an incomplete crystallization structure, with rusty-brown colouring, because of the iron compounds present. The saline stalagmite, resembling the shape of a Christmas tree, is the result of the free growth of halite crystals under stable conditions of temperature, airflow, and humidity.
This is a single coral skeleton, with preserved calyx and lateral packets. Salt deposits precipitated from seawater. However, in the periods preceding or following this process, the sea could have been an environment for the development of various animal organisms. The coral in salt is, however, testimony to the “abuse” of laws by nature...
A leather belt, wide, decorated with metal elements and large oval semi-precious stones (probably agates), arranged in three rows. The belt is fastened with three metal hooks. Wide, richly decorated belts fastened with many buckles were characteristic of the entire area of the Carpathian mountains and the Balkans.
The “Pomorska Street” branch of the Historical Museum of the City of Kraków deals with the post-war history of Poland until 1956. This was a time of struggle between communist forces and former soldiers of the Home Army, civilian employees of the Polish Underground State, and the WiN Association.
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.
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.