"Autochromy Tadeusza Rzący. Stulecie barwnej fotografii" - wystawa w Muzeum Historii Fotografii im. Walerego Rzewuskiego,20 XI 2008 - 1 III 2009

Author(s): Marta Miskowiec / Language(s): Polish Issue: 17/2008

This is a reference to an exhibition of 60 autochromes from 193 original plates kept in the Cracow museum (ill. 41-44). Tadeusz Rząca (1868-1928) produced colour glass images from 1907. The main subjects of his photography were the city and its vicinities, Little Poland, the mountains and residents set against landscape. A larger series of pictures includes Bronowice village (now a part of Cracow), Tarnów, Kalwaria Zebrzydowska and Tatras Mountains.

"Było kiedyś miasto Królewiec..."

Author(s): Konrad Nawrocki / Language(s): Polish Issue: 3/1994

Short presentation of the photographic collection of the former Office of the Conservator of Monuments in Koenigsberg (ca. 1864-1943), presented at the exhibition "The Atlantis of the North" (first time in Olsztyn, 1993). Digitalized and reedited material.

"Kairos" fotografii – moment i wartość

Author(s): Joanna Spalińska-Mazur / Language(s): Polish Issue: 2/2011

Since we have handed over the manufacturing process to machines, the art-photographyreaches the limit where creation is identified with cropping. The article essentially focuseson works by Georges Rousse, who can hardly be placed in the indicated paradigm and whooften declares that his painting interventions in places of different architecture result fromhis drive for sanctification of the places that may disappear or become empty. In case of thistype of activities, we are not dealing with the reflection of the actual history of the placesor a narrative that can be presented, but with the exploration of the possible time orders –not so much logical as imaginary; we are dealing with a higher register of sensations – withheterotopia. Geometric and monochromatic paintings that Rousse creates, based on simplearchitectural patterns to better modify the perception, disappear along with the places thatcontain them. The explosive moment of this art-photography, its kairos, urges the audienceto learn the mystery of the documented places; to travel in search of their original shape andenergy.

"Patrzył na wszystko jakby przez wizjer" - fotografia w "Walcu z Baszirem" Ariego Folmana

Author(s): Agnieszka Powierska / Language(s): Polish Issue: 25/2015

The article analyzes the theme of photography in Ari Folman’s Waltz with Bashir (2008). It shows the relation between photography and narration as well as similarities between the way the photographic medium functions and the mechanisms of trauma. The author points out that Folman’s documentary film uses the theme of photography as a metaphor for the characters’ emotional distance to what they experience.

"Певецът на Бах"

"Певецът на Бах"

Author(s): Valentina Ganeva-Raycheva / Language(s): English,Bulgarian Issue: 18/2009

#20latfotografipwsfvit

Author(s): / Language(s): Polish Issue: 22/2013

(Inter)faces, or how to think faces in the era of cyberfaces

Author(s): Tomáš Jirsa,Rebecca Rosenberg / Language(s): English Issue: 4/2019

(Vele)gradski prizori Zorislava Paunkovića

Author(s): Krsto Perović / Language(s): Serbian Issue: 1-2/2014

(Веле)градски призори Зорислава Паунковић делују као срећан спој случајности документарог приступа на ивици хиперреализма и концептуализације саме уметничке визуелности. Ту естетичку противречност (документаризам нас приближава предмету, чини да се његов садржај перципира превасходно ван форме коју му медиј неминовно намеће, док концептуалност тежи осамостаљивању оних аспеката предмета који га такорећи укидају на рачун оних његових формалних квалитета који су сродни језику искоришћеног медија) Паунковић наглашава неуређеним, слободним низом сличица уловљених, онако уз пут, најједноставнијим и свима доступним објективом јефтиног мобилног телефона. Остварене (може се рећи и: добијене) композиције и сходно осветљење су, самим тим, рудиментарни. Односи предмета према кадру, као и њихов међусобни однос, производ су тренутног, махиналног положаја рука- екран мобилног-око, а осветљења и контраста има онолико колико се може имати при обичном дневном светлу или, ноћу, одбијањем различитих вештачких извора светлости, превасходно неона. Илузија природног погледа који пада нехотице, ту и тамо, обезбеђена је и неутралношћу једноставног, „примитивног“ апарата који бележи пуко окружење. Поглед је очуван као невин и непосредан, а оно што обухвата, разбашкарило у пуној својој предметности, отворености.

(Wiesław Siarzewski), Historia fotografii tatrzańskiej. Awit Szubert, Zakopane, Tatrzański Park Narodowy, 2011, ss. 146, il. nlb. 90

Author(s): Wanda Mossakowska / Language(s): Polish Issue: 21/2012

Book review: (Wiesław Siarzewski), Historia fotografii tatrzańskiej. Awit Szubert, Zakopane, Tatrzański Park Narodowy, 2011, ss. 146, il. nlb. 90

1970.–1972. Land Art u Pečuhu

Author(s): Branko Franceschi / Language(s): Croatian Issue: 1-2/2010

3. Biennale Fotografii

Author(s): Adam Sobota / Language(s): Polish Issue: 03+04/2003

The 3rd Biennial of Photography was organised in Poznan (April-May 2003). It was a continuation of workshops and meetings organised by Stefan Wojnecki in the 1980’s. Similar exhibitions are organised by Jerzy Olek, Krzysztof Cichosz (Łódź), Marek Grygiel (Warsaw), and Zbigniew Turlej (Kraków). In Kraków, there are other festivals of photography. Marianna Michałowska was a curator of the show in Poznan. She concentrated on “unusual” aspects of photography. She considers photography as social phenomenon. She believes that, in the artistic process, common experiences turn artefacts. Contemporary art accompanies social events, but it rarely tries to change it. Photographers, who more closely watch every-day events, are able to add their personal commentary to the reality. Their work was analysed in the text by Łukasz Abramowicz which was published in the biennial catalogue.

366 rituala oslobađanja

Author(s): Igor Grubić / Language(s): Croatian Issue: 2/2009

A "másik" háború: Kőbányai János képriportja

Author(s): János Kőbányai / Language(s): Hungarian Issue: 1/1991

A Belated Interview with André Kertész

Author(s): Károly Kincses / Language(s): English Issue: 181/2006

It is twenty years since André Kertész died. As a young historian, I had the chance to meet him on one occasion, but there was no opportunity to ask him any questions, much though I would have liked to do so. Now, having written two books and a good dozen articles about him, not to speak ofhaving curated at least that many exhibitions of his work, the time seems ripe for me to put those questions to him in an imaginary interview.

A Cabinet of Curiosities - The Photographic Practices of Gábor Kerekes

Author(s): Károly Kincses / Language(s): English Issue: 193/2009

Here I would like to discuss a photographer who brings a unique hue to the Hungarian palette of photography. Both in his personality and work, Gábor Kerekes combines the most modern twenty-first-century photographic methods with alchemist practices. There is a self-evident artlessness in his use of methods ranging from the camera obscura and Polaroid to the latest digital techniques. All this is done with the care and creativity that conveys the kind of mysticism inherent in his studies of nature in retro style. Perhaps in all contemporary Hungarian photography, it is in Kerekes’s art that one can find the presence of the quality expected until about the beginning of the twentieth century in every master photographer, that is, to be able to choose from his arsenal of many techniques the one most suited for transmitting a given message. Hence Kerekes, unlike most photographers at the mercy of contemporary technology, works with great independence, which is of great benefit to his pictures.

A fénykép fogadtatása Magyarországon

Az első év története

Author(s): Zsuzsa Farkas / Language(s): Hungarian Issue: 4/2017

A fotográfia mint performatív folyamat

Author(s): Tibor Jakab / Language(s): Hungarian Issue: 38/2020

In my study, I will examine photography as a performative process. According to Richard Shusterman, the operation of photographing a human subject “can be a locus of true aesthetic experience and value”. The process involves artistic performance and aesthetic experiences. Schusterman also points to the dramatic dimension of photography and stresses the importance of studying its somatic, dramatic, and performative operations. I consider it important to distinguish between photography and photograph. I dissect the components of the photographic process: the photographer, the subject or subject to be photographed, the camera and its associated technical accessories (i.e., the equipment), the location, and the spatial and temporal location of the subject. I also focus on the performative nature of theatrical photographs. In connection with the performative nature of theatrical photographs, I will examine the neglected area that relates to the performative operation of photographing theatrical photographs and may be a source of aesthetic experience.

A fotografikus tapasztalat az irodalomban

Author(s): Júlia Nyikos / Language(s): Hungarian Issue: 69/2008

A fotók és a festmények szerepe Ottlik Géza mûveiben

Author(s): Miklós Sághy / Language(s): Hungarian Issue: 05/2011

Ottlik életmûvét vizsgálva feltûnô és szembeötlô jelenség, hogy írásainak fôszereplôi majdhogynem mind mûvészek. Noha e mûvészkarakterek közt találunk írót (Medve Gábor, Szebek Miklós), zenészt (Jacobi Péter) és festôt, mégis úgy gondolom, az utóbbi tevékenységforma, vagyis a festészet és ezzel összefüggésben a képzômûvész létforma kiemelt helyet foglal el az életmûben, amit mi sem bizonyít jobban, mint hogy három publikálásra szánt regényének (HAJNALI HÁZTETÔK, ISKOLA A HATÁRON, BUDA) fôszereplôi mind festôk, vagy éppen festônek készülnek. Ugyanígy festô a fôszereplôje a SZERELEM és a LA CONCEPCIÓN címû novelláknak is.

A Fresh Perspective on Primitivism

Author(s): Stella Pelše / Language(s): English Issue: 19/2016

The article reviews the book by Jeremy Howard, Irēna Bužinska and Z. S. Strother "Vladimir Markov and Russian Primitivism. A Charter for the Avant-Garde (Ashgate, 2015). The work is considered an important contribution to the research of this artist's legacy