Photo

In “Butterflies”, Silvia Pogoda guides viewers through the different stages of experiencing and perceiving the life cycle: youth, maturity and old age.

The point of departure for Sława Harasymowicz’s exhibition is a tragedy that took place in the closing days of World War II, in Neustadt Bay, near Lübeck. Prisoners evacuated from the Neuengamme concentration camp lost their lives in the bombardment of three German ships by the RAF; among those who perished was the artist’s great-uncle, Marian Górkiewicz. The artist undertook years of research to learn the circumstances behind her relative’s death.

I was seven years old when I got scared for the first time. I was getting back from school when my friend told me: “Did you know that if you reveal your hair out of your scarf, God will punish you by hanging you from it?”

Cristina García Rodero, The enigma of the four elements, 1997

Balarama Heller’s project “Zero at The Bone” presents an eerie view of primordial, reptilian life in the Everglades. An oft-documented area, Heller’s project is altogether unique: choosing to shoot in the darkness of night, when the outline of the familiar is dimmed, Heller draws on “symbolism and the haptic” to present the relationship between predator and prey as nebulous.

The homoeroticism weaved into Przemek Branas’s works shatters the myth of miners being the epitome of machismo and icons of narrowly-understood, brash masculinity.

In the ongoing series “After Hours”, Sophie Thun uses her body again as a tool to examine and question established concepts. The artist photographs herself in various hotel rooms, which she occupies while doing production work for colleagues realizing their own projects.

“Waiting for the Snow” (“Czekając na śnieg”) is a photographic project presenting the curious phenomenon of Polish migration to South American countries during the 19th-century partitions and the interwar period.

Afterlife is a visual dialogue conducted between Szymon Rogiński’s photographs and the timeless structures of Katarzyna Korzeniecka’s works, created using the marbling (Ebru) technique.

“Cliffhanger” consists of works from the latest projects of Weronika Gęsicka – “Holiday”, “Cocoon” and “Smash” – which are based on archival pictures from photo banks. They attempt to capture the tensions and fears that we have come to face nowadays.

Włostowska draws her formal inspirations from post-war industrial design created by women designers, she analyses the meaning of decorative fabric in kitchen spaces as a hyperbole of female emotions, projections and creations.

“The Republics of the future depend on how their youth is raised…” This is a quote written on the wall of the J. Zamojski Academy. What are Polish schools like? Well, everyone in Poland knows that quite clearly. We can hear Gombrowicz chuckle from beyond the grave... Why? An attempt to investigate the contemporary educational system was undertaken by the photographer Karolina Wojtas.

Maurycy Gomulicki, 1996

Harry Gruyaert, 2003

The project “Garden” by Marta Zgierska and Mateusz Sarełło is an invitation to observe a couple in a dialogue, negotiating their relationship and their collaborative authorship. The boundaries between the two are ambiguous; obsessive, poetic and analytical. Zgierska is dedicated to systematic fragmentation and dissection of the image of her own body, but at the same time also the dissection of flowers as symbols of other women. This results in persistent acts of contradictory self-inscriptions, at the same time violent and subtle.

Some photos from a well-known series by an even more well-known Polish photographer, Wojciech Plewiński.