Art historian Ania Diduch and photographer Wojtek Wieteska talk with two curators of Helmut Newton about the nature of the German’s nude and fashion photography.
Anna Atkins was the author of the first photographic album in history, yet her achievement was largely unknown until the 1970s.
Paradoxically, it was only after we flew into space that we discovered the Earth – as these three photos of our planet illustrate.
The Biebrza Wetlands are a grand monument to nature: one of the very few in Europe and comparable to the Pripet Marshes in Belarus, or the Danube Delta in Romania.
“When you ask a person to jump, his attention is mostly directed toward the act of jumping, and the mask falls, so that the real person appears,” the photographer Philippe Halsman recalled. At the end of the photo shoot, he would say with a smile on his face: “Jump!”
Art historian Ania Diduch talks with photographer Wojtek Wieteska about out of focus photographs, deckchairs, and colliding with the world at “Unseen”, an exhibition of Robert Frank’s work at the renowned gallery, C/O Berlin.
Curator Martin Gasser talks about the death of his long-term collaborator Robert Frank, how he conceived his latest exhibition, and the value of ‘unseen’ photographs.
After years of documenting death and suffering, the Brazilian photographer Sebastião Salgado turned his lens towards life – the biodiversity of our planet’s flora and fauna, and its indigenous peoples who live in harmony with nature.
Art historian Ania Diduch talks with photographer Wojtek Wieteska about erotic woodcuts, garden photography and a new kind of spatial thinking at the recent Kyotographie photography festival in Japan.
Hércules Florence invented photography three years before Daguerre, and pioneered the study of birdsong. Surprisingly, his innovative achievements are largely forgotten.
A series of photos taken by Weronika Izdebska in northern Iceland between 2016 and 2019.
A series by Kamil I depicting the process in which widely-understood sexuality / sensuality goes beyond the individual.
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
Stas Bartnikas’s favourite place to fly to and photograph is Iceland. He believes that Iceland is one of the most photogenic countries when looked from above – the combination of ice, snow, volcanic formations, glacial rivers, beaches and ocean makes for an absolutely surreal sight.
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.