Album

Author(s): Willy Römer / Language(s): Polish / Issue: 58/2009

Zamieszczone tutaj zdjęcia pochodzą z 1916 roku i przedstawiają żydowskie dzielnice Warszawy. Pokazują głównie życie uliczne i gwarne targowiska Mirowa i Muranowa, skupiając się na mieszkańcach miasta: przechodniach, sprzedawcach ulicznych, robotnikach. Fotografie zarejestrowały Warszawę, jakiej już nie ma — zginęła podczas II wojny pod gruzami getta. Prezentowany wybór zdjęć jest fragmentem wystawy Miasto na szklanych negatywach. Warszawa 1916 w fotografiach Willy’ego Römera, eksponowanej w Domu Spotkań z Historią (luty–kwiecień 2009). Na wystawie można było zobaczyć około 100 fotografii z okresu I wojny światowej, wykonanych na ziemiach polskich. Są one częścią prywatnej kolekcji liczącej 60 tysięcy odbitek i 50 tysięcy szklanych negatywów. Berlińczyk Willy Römer (1887–1979) naukę zawodu rozpoczął w Berlińskim Towarzystwie Fotograficznym, a następnie pracował w Paryżu i Niemczech jako fotograf prasowy. Od 1915 roku służył w wojsku, początkowo na terenie Rosji i ziem polskich, później we Flandrii. Po wojnie powrócił do rodzinnego miasta. Był jednym z najlepszych fotograficznych sprawozdawców rewolucyjnych zamieszek w Berlinie (1918–19). Następnie, wraz z kupcem Walterem Bernsteinem, przejął agencję fotograficzną „Photothek”. Przetrwała ona do 1933 roku; z chwilą dojścia do władzy nazistów została zadenuncjowana jako „firma żydowska” i zamknięta. W 1942 roku Römer został służbowo oddelegowany do Poznania i zatrudniony w oficjalnej gazecie NSDAP „Ostdeutscher Beobachter”. Po wojnie zamieszkał w Berlinie i zajął się porządkowaniem swojego archiwum fotograficznego. Zdjęcia Römera udostępniło Stowarzyszenie ABZ e.V. z Berlina. Część fotografii została zaprezentowana publicznie po raz pierwszy od 90 lat.

Album

Author(s): Author Not Specified / Language(s): Polish / Issue: 62/2010

Na zaproszenie władz ZSRR, do Kraju Rad przyjechała delegacja działaczy związkowych górników angielskich, których tłumaczką została Tamara Sołoniewicz. Od września do października 1926 odwiedzili oni: Leningrad, Moskwę, Tułę, Charków, kopalnie Donbasu, Rostów, pola naftowe wokół Groznego, Kisłowodzk, Piatigorsk, Mineralne Wody, Władykaukaz, Przełęcz Krzyżową w Wielkim Kaukazie, Tbilisi i Baku. Albumy ze zdjęciami z podróży otrzymali wszyscy członkowie delegacji.

Album

Author(s): Author Not Specified / Language(s): Polish / Issue: 69/2011

Gdy przed dziesięciu laty („Karta” 35) próbowaliśmy po raz pierwszy opisać Armię Polską w ZSRR oraz ją pokazać – znaleźliśmy niewiele fotografii z jej początków. Wszystkie zdjęcia pochodziły z archiwów krajowych. W ostatnich latach obraz ten znacznie nam się poszerzył, dzięki współpracy z Instytutem Polskim i Muzeum im. gen. Sikorskiego w Londynie. Przedstawiamy wybór z jego ogromnej kolekcji stworzonej przez emigrantów.Mija 70 lat od chwili, gdy – w wyniku ataku Hitlera na Stalina – na niespełna dwa lata Sowieci stali się, choćby deklaratywnie, sprzymierzeńcem Polski. Dzięki temu ponad 100 tysięcy polskich obywateli wyrwało się z sowieckich rąk. Ich historia, pokazywana tu w osobnych kadrach, nie została dotąd w pełni opisana.

Album

Author(s): Author Not Specified / Language(s): Polish / Issue: 53/2007

W Albumie prezentujemy zdjęcia z archiwum Polskiej Agencji Prasowej. Ich autorzy — fotoreporterzy poprzedniczek PAP, głównie Centralnej Agencji Fotograficznej — towarzyszyli powojennemu odradzaniu się życia w stolicy. Fotografie zostały opracowane we współpracy PAP z Domem Spotkań z Historią i znalazły się na otwartej w 2007 roku wystawie Inna Polska. Fotografie PAP 1945–47, przygotowanej we współpracy z Ośrodkiem KARTA w siedzibie DSH w Warszawie (Karowa 20).

Albüm

Author(s): Author Not Specified / Language(s): Turkish / Issue: 82/2015

Album zdjęć Jana Bułhaka ofiarowany przez Józefa Piłsudskiego Helenie i Ignacemu Paderewskim

Author(s): Wanda Mossakowska,Jolanta B. Kucharska / Language(s): Polish / Issue: 9/2000

An album of Jan Bułhak’s photographs presented to Helena and Ignacy Paderewski by Józef Piłsudski In the autumn of 1919, Józef Piłsudski, the head of the Polish state, presented to Ignacy Paderewski, the famous pianist and the Prime Minister and Minister of Foreign Affairs, an album with photographs entitled „Lithuania” by the Vilnius photographer Jan Bułhak (fig. 1). On the second page of the album there is a hand-written dedication to Helena and Ignacy Paderewski, dated April 19, 1919 (fig. 3), in which Piłsudski thanked the Paderewskis for their under­standing and political support during his military expedition to Vilnius in 1919. The album is in the possession of the Institute of Musicology of the Jagiellonian University in Cracow. The present article briefly considers the circumstances of the capture of Vilnius by the Polish army from the hands of the Bolsheviks during the military campaign in April 12-19, 1919 and Piłsudski’s stay in the capital of Lithuania between April 21 and 27 the same year. It also presents the correspondence between Piłsudski and Paderewski from that time. The authors analyse the album composed of forty-eight photographs arranged at random. The careless character of the album was due to the haste of its preparation and difficulties in obtaining photographic and bookbinding materials during the military campaign which had not finished in this area. The album contains fourteen photographs of Vilnius (fig. 4), two photographs of its vicini­ties (Kalwaria and Puszkarnia), as well as of numerous photographs of other localities, such as Nieśwież (Niaswiż; fig. 6) with a castle of the Radziwiłł family and Bohdanów an estate of the painter Ferdynand Ruszczyc (fig. 5). There arc also many photographs of landscapes and motifs of nature, so characteristic of the work of Bułhak, one of the most eminent Polish photographers. Digitalized and reedited material

Aleksandra Gach i Igor Smirnow (Anna M. Zarychta) - Author Gallery

Author(s): / Language(s): Polish / Issue: 19/2012

Alex Rotas: Growing Old Competitively: Photographs of Masters Athletes

Author(s): Lubica Volanská / Language(s): English / Issue: 2/2018

Review of: ALEX ROTAS GROWING OLD COMPETITIVELY: PHOTOGRAPHS OF MASTERS ATHLETES Bristol: Alex Rotas Publishing, 2014, 69 p

Alias aka Alias

Author(s): Joanna Jopek / Language(s): Polish / Issue: 106/2011

The author describes this year’s Photomonth in Krakow (13 May-12 June 2011). She points out the distinctiveness of this edition from those previous, which were, above all, “traditional” photography exhibitions. This time round, the curators decided upon a conceptual approach to the event, asking twenty-two writers to invent biographies of fictional artists, and twenty-three photography artists to execute the fictional works from the texts. This idea not only gave a breath of fresh air to the festival, but also served as a basis for considering issues of post-modern identity, the free movement between creation and authenticity, and the fluid boundaries between staging and reality.

All Eyes in Swinging London: Antonioni’s “Blow-Up” and the Maze of Violence

Author(s): Slawomir Maslon / Language(s): English / Publication Year: 0

Antonioni’s “Blow-Up”, released in late 1966, is usually taken, on the one hand, to represent (celebratingly and scandalously) the youth culture of Swinging London and, on the other, the problems of (tenuous) relation between reality and its representation (the main protagonist thinks he discovers a murder by analysing photographs he has taken). Although most critics have attempted to link these two levels by means of some existential metaphor (most often: the main protagonist who represents the image-crazed youth of Swinging London encounters its biggest taboo, death, which is unrepresentable to boot), the paper proposes a more literal and political interpretation arguing that the abstraction of blurry grain of silver halide into which the image of the corpse finally dissolves in a series of photographic blow-ups is a way of representing something which also cannot have a proper image: the all-pervasive but no longer perceptible lowkey everyday violence which constitutes the propelling force of the supposedly emancipated “swinging” lifestyle.

All Roads Lead to Guča: Modes of Representing Serbia and Serbs during the Guča Trumpet Festival

Author(s): Marija Krstic / Language(s): English / Issue: 2/2012

In this paper I research a famous Serbian music event, the Dragačevo Trumpet Festival, better known as the Guča festival, by analysing festival’s photographs. I use visitors’ photographs available on one of the websites dedicated to Guča, www.guca.rs and media data, in order to question how the festival’s photographs visually represent the Serbs by discussing several motifs found in the images: festival itself, carnivalesque, national(-istic) elements, and Roma and Serb dualism. The main goal of the paper is to explain and show how Guča festival found its place in modern Serbia and contributed inventing modern European Serbia in spite of its rural, folk, barbarian and sometimes nationalist representation.

Alles riecht nach Nachkrieg

Author(s): Helmut Veil / Language(s): German / Issue: 06/2004

review of: Helga Paris. Fotografien/Photographs, Hannover (Sprengel Museum) 2004 (deutsch/engl., 320 pp., ca. 220 s/w-Abb.)

Alvydas Lukys

Author(s): / Language(s): Lithuanian / Issue: 71/2012

Art photographer Alvydas Lukys was born in 1958 in Šiauliai. In 1984 he graduated from Vilnius Civil Engineering Institute (now Vilnius Gediminas Technical University) and was accepted into the Lithuanian Union of Art Photographers. In 1990, Lukys became the head of Graphic Department Photo Studio of Vilnius Academy of Fine Arts and later – the head of Studio of Image of the same Accademy. In 1997 Lukys together with his colleagues founded the Department of Photography and Video Art (now the Photography and Media Arts Department) and developed the concept and programe of photography and media studies. From 2007 he is a professor. In Lithuania and abroad Lukys held more than twenty personal exhibitions. He also works as a supervisor of art projects and exhibitions. Lukys’s works are acquired by the Lithuanian Art Museum, the Lithuanian Union of Art Photographers, Photographic Art Museum in Odense (Denmark), Contemporary Art Centre in Vilnius, and private collectors.

Amatőrök és fényképészmozgalmak Kolozsváron – a kezdetektől a 20. század közepéig

Author(s): Dorottya Újvári / Language(s): Hungarian / Issue: 1/2016

Romania’s history of photography is not very well known, it has interesting details that have never been researched. We know very little about the first photography exhibitions or about the amateur photographers from the late 19th or early 20th century, despite their presence in the country. In Cluj-Napoca, the first amateur photographers’ exhibition was held in 1906, and we also know about one organized in the middle of the First World War. This was special, because some soldiers sent pictures taken at the battlefield. After 1920, the first photography clubs appeared, that had the goal of educating the community about this art form. We have mostly written sources about these, but we hope that someday photographs will also appear.

Amikor még minden lehetségesnek látszott

Author(s): Walter Zadek / Language(s): Hungarian / Issue: 2/1991

The Photos of Walter Zadek Made in Palestina Between 1935 and 1941

AN EMBLEMATIC SHOT OF THE HUNGARIAN REVOLUTION OF 1956: THE LIFE STORY BEHIND THE PHOTOGRAPH AND THE AFTERLIFE OF THE PHOTOGRAPH

Author(s): Eszter Balázs / Language(s): English / Issue: 1/2006

Armed teenagers who fought in the 1956 revolution are preserved in the nation’s memory as “the kids from Pest”, among them, there were several girls who did not get a separate designation, however several photographs of them survived and some appeared widely in the world press. My fellow researcher, a French journalist Phil Casoar, and I selected a captivating photograph of an armed young man and a young woman wearing a red-cross armband that might be described as the extraordinary starting point of our research. In November 1956, numerous prominent western weekly magazines published the photo; subsequently books, documentary films and exhibitions made it widely known. It first appeared as the opening image in a series of articles about the Hungarian revolution, entitled “Budapest Heroes”, appearing in the magazine Paris Match. During the Cold War, the image became well-known in the west as well as the east, but it was placed on opposite poles. In the west, the characters were portrayed as heroes who defied the Soviet tanks; in socialist Hungary and in the east, they were officially considered to be criminals along with other armed rebels. Subsequently, the Hungarian political police used the photos as conclusive evidence during trials. In my presentation I use approximately 35 photographs and documents related to the Paris Match picture to discuss our investigation since 1999, the fate of the young woman appearing in that picture, and the different usages of the Paris Match picture.

An Eye on the Other. On Human Rights

Author(s): Alicja Weclawiak / Language(s): English / Issue: 1/2017

The aim of the study is to show the role of culture in constructing human rights and translating them from theory to practice. After the fall of the Berlin Wall, the Western world seemed to unite, the differences between the developing West and the East that had been functioning behind the Iron Curtain, began to disappear. However, on September 11, 2001 new problems and cultural differences revealed themselves. It became clear, that - despite globalization - the world is not becoming the same. There are divisions that exclude security, so important for maintaining the status quo. Human rights established after the Second World War function well only in theory, and in practice there are many examples that question the effectiveness of these laws. One of them is the current refugee crisis. The article shows the role of art, and more specifically reportage photography, which is giving the voice to the Other, who needs help and can effectively speak to the social worlds, bringing the history of a particular person/group closer, revealing what connects us culturally.

Analiza historyczna sposobów obrazowania. Obrazy zakorzenione w technice

Author(s): Karolina Glówka / Language(s): Polish / Issue: 02/2016

The aim of this paper is to historically analyse the formative impact of image production in communication practices, and thus, in the visual culture at large. Technical devices change investigated phenomena. Imaging technologies shape vision and construct the real at the same time. The image as a field of active powers seems particularly relevant for the ubiquity of visual presentations in contemporary communication. The interinanimation of seeing practicesand imaging technology calls for understanding the order of organization and productionof visualized knowledge influenced by different forms of instrumentalization. This research helps to establish the relationship between imagining methods created in the past and contemporary imaging technologies. The integration of historical usages of visualisation methods emerges technological dimension of culture. These findings shed light on how methods of visualisation, deployed in the past, have been inextricably tied to communication practices.The aim of this paper is to historically analyse the formative impact of image production in communication practices, and thus, in the visual culture at large. Technical devices change investigated phenomena. Imaging technologies shape vision and construct the real at the same time. The image as a field of active powers seems particularly relevant for the ubiquity of visual presentations in contemporary communication. The inter in animation of seeing practices and imaging technology calls for understanding the order of organization and production of visualized knowledge influenced by different forms of instrumentalization. This research helps to establish the relationship between imagining methods created in the past and contemporary imaging technologies. The integration of historical usages of visualisation methods emerges technological dimension of culture. These findings shed light on how methods of visualisation, deployed in the past, have been inextricably tied to communication practices.

Analiza umjetničke upotrebe medijskog diskursa na primjeru fotografskog ciklusa Women of Allah

Author(s): Dragan Calovic / Language(s): Croatian / Issue: 9/2016

In this text, author analyzes artistic use of media discourse in Shirin Neshat’s work Women of Allah. Analysis is conducted through examination of elements that are related with meaning production. The elements that are taken in consideration are chador, weapon and farsi text. Text shows that author, by applying specific artistic approach, destabilizes interpretation of photographs, by which she attract viewer to examine his/her own approaches to reading.

Anapus reprezentacinio mąstymo: ne-žmoniško stiliaus paieškos

Author(s): Kristina Karvelyte / Language(s): Lithuanian / Issue: 4/2010

The article reflects and pursues Clair Colebrook‘s idea that the new philosophical thinking requires new writing style or grammar, which could dispose subject‘s point of view. Such position gives possibility to reflect few correlative problems, i.e. concepts of new and stile, which are mostly accepted in the context of literature than philosophy. The intersection between both discurses are found in ouevre of such thinkers as Gilles Deleuze, Michel Foucault and writers as Jorge Luis Borges, Raymond Roussel or Alain Robbe-Grillet. New and style here becomes means for overcoming representative thinking. These concepts are also related with notion of postmodern subject. Foucault‘s statement about the death of an author directs us towards a new space and thought without speaking subject. Can we interpret the notion of style as midway, compromise between the language-being understood as the condition of writing/ speaking/thinking and an author understood as creator of the discourse? Is that a mode of conceptual production? Does postmodern philosophical discourse really produce inhuman style or it just gives a subjective description about the inhuman? What strategies are proposed?