Photo

“Felix Culpa” is a series of personal collages by Jagoda Valkov. In her works, the artist combines photographs from her family archive and albums belonging to other members of the Families of Nazareth Movement (within which Valkov was raised) with contemporary symbolic graphics. Here we have processed memories of adolescence and 13 years of life within a religious organization.

Jean Gaumy, "The aquarium", 1987, New York City, Coney Island, USA

Bartosz Wajer’s works in the “From Eye to Bone” series are photographs from erotic portals that are rephotographed without the standard use of a lens. The artist instead employing the exposed matrix of a digital camera, a handheld lens, and manual manipulation. Utilizing the equipment against the rules of ‘proper’ photography seems to be a cognitively effective technique. By stripping erotic content of the conventions of titillating imagery, one discovers its comic and, at the same time, disturbing nature.

The work “WAHALA” addresses the problem of unbridled economic growth and the related ecological concerns. It asks what is driving the world and for how long.

The protagonist of the exhibition “Different Faces, Different Places” is Tomasz Machciński (b. 1942, lives in Kalisz, Poland), the author of a monumental performance, which has continued uninterrupted since 1966, consisting of more than 22,000 fictional or appropriated identities recorded in photographic self-portraits.

In the song “Bohemian Rhapsody”, Freddy Mercury asks: “Is this the real life? Is this just fantasy?” Ever since the outbreak of the coronavirus pandemic, we, too, have been confronted with questions about what is actually happening around us and where the border between fantasy and reality lies.

The state of limited production resources has so deeply shaped our consciousness that virtually any conversation about money is extremely awkward. Ada Zielińska uses her position as an artist adept at navigating the field of art to critically scrutinize the system and its conditions while at the same time empathizing with her co-participants.

In his new series, Tomasz Kawecki weaves an intimate narrative about the spirits and ghosts inhabiting his childhood home and the nearby forest.

There are 3000 shoe shiners who go out into the streets of La Paz and El Alto suburbs each day in search of clients. They are from all ages and in recent years have become a social phenomenon in the Bolivian capital. What characterizes this tribe is the use of ski masks so they will not be recognized by those around them.

Which photographs deserve to be presented to the outside world and which should be left out? Is a positive always more important than a negative?

Irmina Walczak’s series was created during the 95 days that her family was confined in the Spanish countryside, the place where the first lockdown of the COVID-19 pandemic took them by surprise.

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.