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Bownik’s vision takes the intense, saturated hues of a bird’s plumage and has them disperse, turning them into a buzzing phantom of spectroscopic dimensions. These extinct creatures come back to life in the form of a mysterious spectrum that casts shade.

The internet, despite being widely available, as a virtual entity remains elusive. Its visualisation (what we know as the internet) is a collection of blue images, implicating digital modernity. Underneath those notions, however, hide addresses of companies that provide services and management of the internet.

Fokas boldly strips his model-friends down in front of the lens; yet, their poses are far from sexualized. A physical and spatial tension unfolds, as playful and surreal corporeal formations engage in a choreographic interplay of attraction, seduction, detachment, and resistance. Flirting with autonomy and vulnerability, his subjects are often witnessed as being in distress.

Sławomir Pawszak’s photograms are genetically consistent with the direction of artistic experiments focused on “drawing”, or rather “painting” with light. In form, his works are the closest to Karol Hiller’s heliographic images, albeit more for the idea they follow rather than the technique as such.

The starting point of the visual essay “Rubedo”, produced in the form of a three-channelled animation, is Jakub Woynarowski’s curatorial project “Echoes” from 2014, as well as the accompanying performative lecture “Redrum”, prepared in collaboration with Kuba Mikurda.

Photograph by the famous duo Marina Abramovic & Ulay

Some years ago, I began refusing to eat meat entirely. My objection being based neither on ecological nor ethical grounds, I could only guess at what mechanism of a personal eschatology drove my alimentary choice. – Ksenia Yurkova

The Mikado series is the latest stage of my long-standing artistic development as a photographer, and the next step in my analysis of the creative process. For the past fifteen years, the techniques of digital image processing became crucial for my art. When working on the Mikado project, I experimented with form, focusing solely on the creative process and its medium. – Igor Omulecki

“The Migrant” is a story about a bird’s remarkable life course; a story about how we deal with animals, the city’s makeability and our attempt to shape an ideal society.

“The Last Road of the Immortal Woman” is where Henrietta Lacks is no longer alive, but not yet immortal. A liminal space separating mortality and immortality, the scientific and the emotional, the political and the personal, the metaphysical and the empirical, exploitation and recognition.

Maria Loboda is an intercultural artist, who builds her vocabulary by drawing from the resources of various cultures. She refers to her own work as an archaeology, for it contains references to history, art, philosophy, literature, science, folklore, alchemy, and various aspects of spirituality and transcendence in the wider sense.

The shapes in the images are not always legible, the photographs are saturated with neon colors. They transmogrify the female body into forms that call to mind the inhabitants of coral reefs in warm tropical seas or inaccessible ocean depths. We are on a higher plane of rendering the body unrecognizable.

Richard Avedon was an American fashion and portrait photographer. An obituary published in The New York Times said that “his fashion and portrait photographs helped define America’s image of style, beauty and culture for the last half-century.”

A unique cyanotype photogram by the French-American artist Nancy Wilson-Pajic.

In Matrix-Sratrix, Agnieszka Brzeżańska continues to develop her artistic practice by absorbing widely-popular techniques of image making. The show features a new series of digital collages based on pictures circulating on the internet. Ruined cities, stills from popular movies or visualizations of cosmic phenomena merge and entwine to create surprising compositions dealing with topics currently relevant to the artist herself.

One of the first pieces I intended to make for this exhibition was a very large photograph of a field of rapeseed spreading across the horizon. The inspiration came from an old wives’ tale that scolded children for looking at a flowering field of rapeseed in the sun. They say that a person can be blinded by looking at bright yellow rapeseed in the stark glare of the sun. I enjoyed the suggestion of visual violence that this phrase carried with it.

Nicolas Grospierre is one of the most outstanding contemporary photographers, whose pictures from the two series “Modern Forms” and “Modern Spaces” will be displayed for the first time in Poland during an exhibition in the Fort Institute of Photography. Both series have already been published as albums and have been shown abroad, however they are not well known to the Polish audience.

For the last two years, Bownik has been documenting clothes that are part of museum exhibitions. Using the convention of museum photography – a grey background, neutral light – he incorporates his images into the sphere of objective record. However, the pictures do not fit into well-known historical narratives. The gesture of turning the clothes inside-out symbolically invokes the possibility of a different reading.