GALLERIES AND MUSEUMS, Bielsko-Biała. Poland.

11th – 27th October 2019, 10.00 a.m. – 6.00 p.m.

You need tickets for the main exhibitions.

MAIN EXHIBITIONS

Solo exhibitions of world renowned artists photographers from Europe, America, Australia, Africa.

Document, landscape, portrait, reportage, experiment.

Traditional photography and digital media.

CLEMENS ASCHER (Austria)

There is No Release from the Brain Police

Exhibition: B&B Photography Gallery, 1 Maja 12

Meeting with the Artist: Auditorium of WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 12th October, 10:00 a.m.

THE EXHIBITION

The Art of Clemens Ascher is multi-allusive, in both his use of layered symbolism and his treatment of photography as a medium.

His practice spans from conceptual series, which depict entirely constructed realities, to non-fictional – representational photographs, which relate portraiture to still life, architectural or landscape photography. He searches to reveal the metaphysical, the non-objective and the wonderful in everyday life.

While his conceptual projects mostly attend to different forms of societal control and oppression, his “representational” works show a great interest in a wider field of social structures and the human influence on nature, in a truly spellbinding way.

***

In his Works and particularly in this exhibition Clemens Ascher continues to critically explore different methods of societal control.

From Capitalism and Advertising via Patriotism and nationalism to Religion – generated ideas like fears, hopes or desires are implanted into people’s minds, in order to control them.

Ever since such controlling structures use strong symbols to represent their belief systems, which is also the starting point of Ascher’s Works.

In his photography he recreates similar symbols representing and satirising these manipulative methods.

He continues to construct a parallel world, in which these topics occur in heightened form and multi allusive. This parallel world is entirely constructed – through photorealistic collage. The people function like interchangeable marionettes playing on a theatrical stage.

Formally the large format works appear nearly painterly, graphically reduced and with pleasing colours again just like tempting candies in the shop window


CLEMENS ASCHER

Born in 1983 in Innsbruck.

He graduated from the Miami Ad School Europe in Hamburg, where he completed his qualifications as an art director and commercial photographer. His talent was already discovered while he was still studying and won him awards such as the ‘German Student of the year’ from the European Design & Advertising Awards.

Once he graduated, he completed a long-term photography assistant job in Hamburg, before launching his freelance photographer career in 2008.

Since then he has participated in several group and solo shows in Austria and works for international clients.

Clemens lives and works between Vienna, Innsbruck, London, and Hamburg.

VINCENT DESCOTILS (France)

The Guardians

Exhibition: Bielska BWA Gallery, 1 Maja 11

Meeting with the Artist: Auditorium of WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 12th October, 10:55 a.m.

THE EXHIBITION

“The truth of the moment takes precedence over everything.”

The exhibition consists of intimate, black and white limited edition pigment prints (one of the non-silver / chromate techniques in photography), glued on a small wooden boards. Each picture resembles a dark, but still beautiful dream—from portraiture, through architecture, to thoughtful scenery.

VINCENT DESCOTILS

Represented by Melting Art Gallery in Lille and Galerie Courcelles in Paris. Born in 1965, lives in Combs la Ville (Seine et Marne). Since 1994 has exhibited his works at collective or solo exhibitions organised by cultural institutions and galleries in France and abroad.

His photographs are published in specialist press (including: Réponses photo, Miroirs de l’arts). He makes photographic reports for the cinema, television, theater or as part of educational projects abroad (e.g. for the Phare Ponleu Selpack school in Cambodia or in Brazil with the Guarani Indians).

He began his professional practice as an illustrator for press and publishing houses for children, and currently he implements visual communication projects for musicians, theater and dance groups. For about fifteen years, he has been designing sets for exhibitions, for theaters, but above all, for the contemporary dance group “Planquette des Animaux Humides”. He creates time-lapse videos for videoclips and live performances. He also leads visual arts workshops and regularly works as an artist and photographer for many institutions (La Cimade, cultural associations, MJC), kindergartens and art schools.

JULIA FULLERTON-BATTEN  (Germany)

Old Father Thames

Exhibition: STARA FABRYKA (OLD FACTORY), Plac Żwirki i Wigury 8

Meeting with the Artist: Auditorium of WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 12th October, 11:50 a.m.

THE EXHIBITION

The River Thames is not even the longest river in the British Isles and a mere pygmy in comparison with many other rivers in the world, yet its significance to British and world history is immense. The river starts as a small trickle in hills to the north west of London and travels for nearly 450 km through the south of England, the centre of London and thence out into the North Sea via the Thames Estuary, meandering its way through some of England’s most picturesque towns and villages.

The Thames has been a fascination for me ever since I moved from Germany to live in Oxford as a teenager and now in West London, both times close to the River Thames. Its constantly changing face with the tide and the seasons, the activities on and around the river are for me compulsive viewing and inspiration.

I am not alone in my admiration of the glories of the river. Notably, it has been an inspiration to many painters. Monet painted the river repeatedly. Turner too captured the working river revealing the early nineteenth century fumes and smoke from the city’s factories and river traffic. Whistler was yet another. In the 1860s and 1870s he painted the bustling, rapidly changing urban neighbourhoods close to the river.

But it is the history of the Thames along its entire length that appeals to me as a story-telling photographer. There are an infinite variety of stories encompassing birth, baptism, death, flooding, forgotten leisure activities, as well as the stories of the ‘Ladies Bridge’, messages in a bottle, Dickensian ‘Mudlarkers’, prostitution, damaged masterpieces, and countless other whimsical, idiosyncratic and tragic happenings. My fascination with the Thames has transcended into a major project. I am now two years into an opus of a work, selecting, researching and photographing historical and cultural narratives from along its banks. The result to-date is my still unfinished work – Old Father Thames.

JULIA FULLERTON-BATTEN

Julia was born in Bremen, Germany. Her early life was spent in Germany and the USA. At sixteen she moved to the UK where she completed her secondary education and subsequently studied photography at college. She assisted professional photographers for five years before a first commercial assignment kick-started her professional career in 2000. She first gained recognition as a fine-art photographer in 2005 with ‘Teenage Stories’.

She has now completed thirteen major projects and is progressing through her large-scale project ‘Old Father Thames’, illustrating historical stories, customs and traditions to be found along the entire length of the River Thames from its source to the Thames Estuary at the North Sea. She has published two books*. Julia lives in London with her husband and two young boys.

She is a worldwide acclaimed and exhibited fine-art photographer. Her use of unusual locations, highly creative settings, street-cast models, accented with cinematic lighting are hallmarks of her very distinctive style of photography. She insinuates visual tensions in her images, and imbues them with a hint of mystery, which combine to tease the viewer to re-examine the picture, each time seeing more content and finding a deeper meaning. These distinctive qualities have established enthusiasts for her work worldwide and at all ends of the cultural spectrum, from casual viewers to connoisseurs of fine-art photography.

Fullerton-Batten has won countless awards for her fine-art work. She is a Hasselblad Ambassador and has a Fellowship at the RPS. She was commissioned by The National Portrait Gallery in London to shoot portraits of leading people in the UK National Health Service, which are held there in a permanent collection. Other of her images are also in permanent collection at the Musee de l’Elysee, Lausanne, Switzerland. Her work is featured in professional photographic magazines around the world; she is also sought after as a speaker at international events and as a judge for prestigious international photographic competitions.

STEPHANIE GENGOTTI (Italy)

Circus Love

Exhibition: Ryenk 7 Gallery, Rynek 7

Meeting with the Artist: Auditorium of WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 12th October, 12:45 p.m.

THE EXHIBITION

Perhaps there is nothing more anachronistic. A legacy of a past millennium, kept alive in microcosms on the fringe of reality, in many of the forgotten European countries. They manifest for pleasure and nostalgia of times, now buried among the ruined pages of worn history books.

The Circus so outdated, yet so perfect, like a symbol of a world without frontiers. The Circus with its delight and its despair is a metaphor for life.

The Lives of the Artists are filled with love, victory and triumph, defeat and humiliation; nomadic lives which follow diagonal or circular routes, like the cycles of seasons.

The circus symbolizes both freedom and enslavement.

The liberty to not obey a master, nor borders. Slaves to relentlessly cold and rainy winters, which invade the precarious caravans and summers in which the suffocating sun beats down on the dusty roads to barter with one’s last breath.

They work for themselves, their families and fellow adventurers.

The circus is not only art and creativity, but also patience and preparation, physical training and manual labour; it consists of study, design, blood and sweat, working diligently for hours to come up with a new show and long days of gruelling tests. All this perhaps with just a few dollars in your pocket and little food in your pantry, contented by your staging ground which could be the parking lot of a supermarket.

Dreams every now and then of a house and a bit of stability? Instead, you’re still in your trailer, under the big top, or outdoors in front of a selected audience of 60 people. Clearly this show is not for everyone.

The Brunette Bros family, the greatest and second smallest circus in the world, is a confirmation that humanity still exits in this hyper technological world.

STEPHANIE GENGOTTI

She lives for travelling and photography. Her dual Italian and French nationality is an added value in her cultural background, the result of a kaleidoscopic and mixed assembly of Greek, Japanese and American family origins.

Her Rome home is the starting point for many of her multiple explorations, the lab where she prepares and processes all her storytelling ingredients. Her parents, both flight attendants, gave her the chance to travel all over the world from early childhood. With no hypocrisy or false myths: she was only 7 years old when her father took her to Bombay and showed her a street with small children forced into prostitution.

Maybe this is why she immediately learnt to look at the surrounding and global reality with the irresistible need to narrate, stepping right into the least explored aspects of human society. From gypsy camps to the remote African villages, fearlessly mixing portraits and landscape as different parts of the Whole. Her eyes do not expect to judge reality, but she follows individuals and talks about the most intimate and secret side of people and the environment.

The originality of her approach and her personality which is free and quite far from the pre-established schemes, is expressed through an accurate choice of long-term projects.

Photographic art is almost a therapeutic medium. The need to establish an empathic and direct relationship often leads her to live in the same house and in the same identical daily routine as the main characters in her stories. A photograph is only the very last act, the catharsis, in a long and slow knowledge path.

She has a degree in English and French Translation, a graduate diploma in photojournalism issued by the Scuola Romana di Fotografia, where she also attended a Master class in fashion and portrait photography.

She collaborates with Italian and international press, like l’Espresso, Stern, The New York Times, Yo Dona, El Mundo.

In 2010, she was awarded the FNAC prize for her project ‘Along The River’. She is currently represented by the Agence Myop in France. Her work has been exhibited at Italian and international art galleries and festivals.

MICHAEL HANKE (Czech Republic)

Michael Hanke – Photography

Exhibition: Regional Cultural Centre, 1 Maja 8

Meeting with the Artist: Auditorium of WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 12th October, 1:40 p.m.

THE EXHIBITION

The exhibition titled simply as “PHOTOGRAPHY” presents the selection of the images from the most successful photographic projects of the author, including both photo series awarded at the World Press Photo: “Youth Chess Tournaments” (2017 – 2nd Prize Sports Stories) and “Never Saw Him Cry” (2019 – 2nd Prize Sports Stories). Although the exhibition covers photographs from different projects, they all have one thing in common – a strong focus on people and their emotions.

MICHAEL HANKE

Born in 1972 in Kladno. His photographic career began when he was 40 years old, however, only one year later, he began to receive prestigious awards for his work, both at regional (Czech Press Photo) and international level (World Press Photo, Sony World Photography Awards, International Photographer of the Year). He is two-time World Press Photo winner. In 2017 he was awarded for his ‘Youth Chess Tournaments’ photo series, and in 2019 for ‘Never Saw Him Cry’ photo series. From the very beginning of his career, he has dedicated his work to the humanistic black-and-white documentary photography, focusing on long-term projects.

MARISKA KARTO (Suriname)

Timetraveller

Exhibition: TO TU GALLERY, Wzgórze 2

Meeting with the Artist: AUDITORIUM OF WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 12th October, 5:45 p.m.

THE EXHIBITION

I call the exhibition “Timetraveller” because my work tells the story of our way through the life. I pull away time from its structure and time appears to be just a definition. In this way I make our journey of life visible in portraits and hyperphoto collages.

In my hyperphoto collages I tell a story, not a story of a single person, but a story of our world. Our old world and our new world blended together, because without past there is no present, without present there is no future, without future there will be no dreams.

I believe that, besides beauty and aesthetic designs, art also aims self-reflection.

MARISKA KARTO

Mariska Karto started her career as a photo artist in 2012 officially. In short time she has won various well known international awards (including the PX3 Prix De La Photographie De Paris, First place Gold Award, in complete category Professionals Fine Art) and is also nominated as Ambassador of tolerance by Palace of Tolerance in 2016. Since 2015 she is a Photography Digital / Design/ IT/ Hybride teacher the Netherlands.

In short time Mariska Karto was able to develope her creative forces to the utmost levels and creates next to her visual ethereal storytelling portraits, masterful complex hyperphoto collages that goes further than beyond this world. In her work time plays an important role.

In her hyperphoto collages she brings stories of our travels in time and society together and make them one journey. Mariska is fascinated with issues in our current time in society, both at urban level and at international global level. She believes that, besides beauty and aesthetic designs, art also aims self-reflection.

Her ethereal visual storytelling work contains a powerful atmosphere of mystery, heavenly dark and dreamy language.

KATRINA KEPULE (Latvia)

Sit Silently

Exhibition: SFERA II GALLERY, Mostowa 5 (2nd floor)

Meeting with the Artist: AUDITORIUM OF WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 12th October, 6:40 p.m.

THE EXHIBITION

The exhibition portrays outskirts of Latvia as well as the outlying moments of its capital centre. It reflects on silence in its aspect of contemplation, quiescent leisure, unpretentious celebration of life. At the same time the silence emerges as manifestation of dealing with inner dramas via the resignation. To remain silent representing a detached monument of inner resentment still seems to be quite common ways for this (Post-Soviet) territory, at least, the route, often travelled by the author.

Images tend to touch those points where contemporary Europe meets different layers of the past (like Soviet and National Awakening period in Latvia) which conflict and complement each other at the same time. Pictures capture author’s urge for a slower time zone, sense of home and creativity of daily routines beyond the usual urban experience. While admiring peripheral moments with their own significance, values and feeling, author seeks to localize her own identity or core.

This reminds of a passage from Franz Kafka: You do not need to leave your room. Remain sitting at your table and listen. Do not even listen, simply wait, be quiet, still and solitary. The world will freely offer itself to you to be unmasked, it has no choice, it will roll in ecstasy at your feet.

KATRINA KEPULE

She received her first professional education in photography at Riga vocational school No 34 (2000). Then continued with a B.A. in Audio and Visual Culture and Theory from the Latvian Academy of Culture (2008). Her introduction to contemporary photography started at International Summer School of Photography (ISSP) in Ludza (2009) and continued with a two year informal education program at the International Summer School of Photography in 2014. She has participated in masterclass by Jan Grarup: Essence of photojournalism (2013) Artist’s Book making workshop by Nico Baumgarten (2014), Stairway to photobook, Akina-ISSP (2018), Jason Fulford workshop – Visual Language: How Pictures Speak to Each Other (ISSP 2018). She graduated from contemporary photography and personal projects Master studies as a recipient of the Roberto Villagraz scholarship at EFTI, Madrid (2016). I have worked as a photo reporter at Chancellery of the Latvian Parliament (2010) and on assignments for Helsingin Sanomat (from 2017).

She took part in numerous international exhibitions (solo and group) and is the author of a few personal books.

ANDRZEJ KIEŁBOWICZ (Canada)

Poland Before 1989

Exhibition: SFERA II GALLERY, Mostowa 5 (2nd floor)

THE EXHIBITION

I was born 10 years after the war. I was lucky enough to spend my early youth in the Coca Cola and accelerating by the small Fiat decade of Gierek. Believing in the power of press photography, I joined as a “junior” group of the very best Polish photojournalists of those years. Sławek Biegański, Krzysztof Barański, Andrzej Baturo were my mentors and good friends. I worked successively in “Na Przełaj”, “Together” and “ITD”.

Gierek brought hope that the communist system could be human friendly and reformable. We tried to look at socialism’s hands, point out what is bad, in order to change and improve it.

Hence these photos…

A large proportion of them have never been published because of censorship. They depict a sad reality – especially now, after my last visit to Poland in the spring of 2019, during which I realized that our dreams of better and more beautiful Poland were finally coming true.

During martial law, we lost the illusion that the system was reformable and our “mission” was discontinued. The newspaper and magazine agencies were closed for six months. The photojournalists previously engaged in social and political life, not willing to be a tube of communist propaganda, moved to nature or religious magazines. I landed in “Music Magazine”. Later frustrated by the hopeless decade of 80s I emigrated to Canada.

Now, after thirty years, I want to share these photos with you.

ANDRZEJ KIEŁBOWICZ

Born in 1955 in Warsaw, Poland.

He emigrated to Canada in 1988 where he lives up till now.

Documentary Photographer, Graphic Designer.

In 70s he was a photojournalist in a few important magazines of those times: “Na Przełaj”, “Razem” and “ITD”.

He is a member of the Graphic Designers of Canada and the National Association of Photoshop Professionals.

He worked as a Photoshop editor for David Suzuki Foundation, WWF, Tides Canada, BC Ministry of Environment, the University of Victoria.

His work is in the collection of the Museum of History of Photography in Cracow. Recently he is an instructor of photography in Victoria, BC Canada and runs digital photography courses and workshops (www.goingdigital.ca).

JUUL KRAIJER (The Netherlands)

Chimaera

Exhibition: PPP ART GALLERY, Rynek 27

Meeting with the Artist: AUDITORIUM OF WSA, ul. Modrzewskiego 12 – AUTHORS’ MARATHON, 13th October, 10:00 a.m.

THE EXHIBITION

Documenting an unreal reality.

The magic of photography for me lies in being able to extract a lasting image from an ephemeral and near to impossible situation I’ve painstakingly set up in my studio. For “Chimaera” I have worked together with a contorsioniste and a dancer whose bodies are amazing instruments. Their faces and femininity are deliberately not shown, only limbs, back, hair, throat. I am fascinated by the transformative potential of these bodies. They seem to transcend the human form. At times they are reminicent of a shell, a fossil or an insect.

The animals and other additions act as interlopers in the image; often seeming to merge with the human limbs. For a moment the boundaries of the body, as a container of the self, are transcended.

Resonating with these are photographs of flowers and fruits, their flesh studded with beetles, and of dried skeletal leaves, their veins protuding like a ribcage.

***

My works operate on the intersection of illusion and reality. They share an emblemata-like concision, showing no more than what is strictly necessary. In each image, the figure looms out of an undefined background. Definition of time is absent as well. No hairstyles or dress belonging to any specific period are shown, no hint of a narrative is present.

The postures are deliberately restrained and intensely concentrated. They seem to have been adopted for eternity, a vehicle for meaning rather than portrayals of individuals.

I’m trying to conjure up an image which has the power of a catalyst. An artwork should be a magical object, the artist a veritable sorcerer; animating the inanimate.

***

“Chimaera” has previously been shown in Huis Marseille Museum for Photography (Amsterdam, 2017).

JUUL KRAIJER

Born in 1970. She graduated from the Rotterdam Academy of Fine Arts in 1994. Her consistent, authentic oeuvre consists mainly of drawings but also includes sculptures and video-works. In recent years she has embraced photography as an important medium.

Institutions which have hosted solo exhibitions of the artist’s work include Stedelijk Museum, Amsterdam (2001); Gemeentemuseum, The Hague (2006); Cobra Museum of Modern Art, Amstelveen (2004 and 2009); Kunsthalle Giessen, Germany (2014); Drents Museum, Assen (2015); and Huis Marseille Museum for Photography, Amsterdam (2017).

Her work has been awarded four Dutch art prizes and two Lensculture Awards and has been included in major international exhibitions such as ARS 06 at the Museum of Contemporary Art Kiasma, Helsinki (2006); The Third Moscow Biennale of Contemporary Art (2009); and Kochi-Muziris Biennale, India (2018).

Her work is represented in public collections internationally, including The Museum of Modern Art, New York; the Museum of Contemporary Art Kiasma, Helsinki; the Museum of Old and New Art, Tasmania; Museum Kunst Palast, Düsseldorf; Kupferstichkabinett Berlin; Museum Moderner Kunst Vienna; Fondation Louis Vuitton, Paris; Boijmans van Beuningen, Rotterdam; and Huis Marseille Museum for Photography, Amsterdam.

She is represented by Vadehra Art Gallery (New Delhi) and Galleria Monica De Cardenas (Milan | Zuoz)

Juul Kraijer’s current work is supported with a Stipendium Established Artists from the Dutch Mondriaan Foundation.

DANIEL KUSAK (Poland)

“Planeta [nie] Niebieska”

Installation: STARA FABRYKA (OLD FACTORY), Plac Żwirki i Wigury 8

KIM JEST DANIEL KUSAK

Pochodzący z Bielska-Białej absolwent studiów magisterskich na wydziale Sztuki Mediów ze specjalizacją Fotografia na Akademii Sztuk Pięknych im. E. Gepperta we Wrocławiu. Specjalizuje się w fotografii intermedialnej i animacji. Często w swoich pracach łączy techniki tradycyjne i cyfrowe. Członek krakowskiej grupy Mikrokosmos oraz bielskiego Stowarzyszenia Społeczno-Kulturalnego Fabryka Animacji. Realizuje działania wchodzące w zakres sztuki zaangażowanej.

INSTALACJA

Obiekt powstał jako część praktyczna pracy magisterskiej. Jest to jeden z elementów pojawiających się w działaniach grupy artystycznej pochodzącej połowicznie z Krakowa i Wrocławia – Mikrokosmosu. Centrum jest grupa muzyczna o tej samej nazwie, od której wszystko się zaczęło, a działania wchodzące w jej zakres są ukierunkowane właśnie na działania około prospołeczne.

Planeta [nie]Niebieska to swojego rodzaju mobil. Jednak w tym wypadku rzeźba
kinetyczna nie jest poruszana za pomocą podmuchów wiatru bądź zmiany panującej temperatury, a w wyniku faktycznego zetknięcia się z widzem. To widz, tudzież raczej w tym wypadku należy użyć stwierdzenia, uczestnik performance’u, może nadać piłce ruch. Ruch ten jest niebywale istotny – właśnie dlatego obiekt posiada taką formę, która w naturalny sposób kojarzy się z grą. Piłka jest rekwizytem performance’u, którego celem jest zabawa. (a co za tym idzie integracja uczestników)

Fotografie prezentowane na powierzchni piłki to różne, trzymające się razem ręce
mające przypominać swoją formą plątaninę nici wełnianej włóczki. Ręce w tym wypadku to symbol będący manifestem wsparcia, trwania i pomocy. Oplatają one kulę światła.

TISH MURTHA (United Kingdom)

Youth Unemployment – 1981

Exhibition: “KUBISZÓWKA” CULTURAL CENTRE, ul. Słowackiego 17

THE EXHIBITION

The pictures and text in the original Youth Unemployment exhibition, and now in the book, were a direct response to the rising rate of unemployment among the area’s youth, part of a national trend that had reached catastrophic proportions in the Thatcher era.

The photos document the many facets of the problem, the alienation of a generation made redundant by economic forces beyond their control and largely beyond their understanding.

The brutality of living on subsistence benefits, the endless, aimless days, the inability to see any acceptable future and the deep sense of frustration and powerlessness.

Tish worried that the pressures of unemployment were diverse and would always stay with these young people, having repercussions for years to come. She was really enraged by the political landscape of the time. She saw Youth Unemployment as the squandering of a whole generation of human potential.

TISH MURTHA

Patricia Anne “Tish” Murtha (14 March 1956 – 13 March 2013) was a British social documentary photographer, best known for documenting marginalised communities, social realism and working class life in Newcastle upon Tyne and the North East of England.

In 1976, aged 20, Tish left home to study at the School of Documentary Photography at Newport College of Art, newly set up by Magnum Photos member David Hurn. After graduating in 1978, she returned to Newcastle and set out to document “marginalized communities from the inside” – unlike other photographers who came to document social poverty in the region at the time, Tish didn’t just document it, she actually lived it, as the third of ten children brought up in Elswick, she captured the lives of her friends, family and the community around her while herself on a job scheme for the unemployed.

Tish’s interest in photography was always on a practical level, she loved to photograph people and was always very interested in them. She didn’t get the level of intimacy and humanity in her images by being an opportunist, she found she had a gift and a strong social conscience, and really believed she could help change things and make people take notice by stimulating discussions on real issues through her photography.

Tish sadly died on March 13th 2013 the day before what would have been her 57th birthday, after suffering a sudden brain aneurysm. As an organ donor she went on to save the lives of four women and eyesight of four men.

A book of the Youth Unemployment series was posthumously published by her daughter Ella through Bluecoat Press in 2017.

ESPEN RASMUSSEN (Norway)

Hard.Land

Exhibition: STARA FABRYKA (OLD FACTORY), pl. Żwirki i Wigury 8

Meeting with the artist: AUDITORIUM OF WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 13th October, 11:50 a.m.

THE EXHIBITION

HARD.LAND – a journey through the US Rust Belt.

The smoke from the chimneys lay heavily over the cities. Millions of workers walked through the factory gates every morning. With the well paid work, generations was growing up with the belief in the American Dream: That your generation will be better off than the previous one. That you will be able to afford your own house with a garden, a car, vacations and education for your kids. This dream made the US to a dream in itself.

Then it became silent.

The smoke disappeared, the factories closed their doors and millions of industrial jobs were lost.

Today, whole communities have turned into ghost towns. The unemployment rate is soaring many places and well paid jobs have been replaced by work in the so-called service sector, work that only pay minimum wages. Many need two or three jobs to be able to cope. Others don’t have work at all.

46 million Americans lives below the poverty line (2016 numbers). This has created huge social challenges. The Blue Collar America, the working middle class, has become much poorer, the few rich ones has become extremely rich. This has created anger among many Americans, anger that many says brought Donald Trump to the White House and that he is still benefiting from.

What happened to the world’s most powerful industry giant?

From 2014 to 2017 I travelled through the former US Rust Belt together with writer Roy F. Andersen. From Chicago to Detroit, to Youngstown and Beckley ending up in New York. The area where the car industry created the middle class, where the leading steel of the world used to be produced and where the black gold, the coal, made families able to build their own homes.

I met firefighters, fast-food-workers, Vietnam veterans, gangs members, unemployed, musicians, industry workers, coal miners, people who still believe in the American Dream – and many who have lost their hope. This is the people who struggles to keep the American Dream alive: The Middle Class, the unemployed, the new poor and the workers on low or minimum wage.

I investigate what has happened to the former middle class, and the consequences of low income, unemployment, drugs and flight from the former industrial towns. I have also meet people who are fighting back and visited communities that have a drive for turning things around.

ESPEN RASMUSSEN

Born in 1976, based at Nesodden, close to Oslo. He is constantly working on his own photo projects. Rasmussen focuses specially on humanitarian issues and the challenges related to climate change. Rasmussen works as a photo editor in Norway’s largest weekly news magazine, VG Helg and is represented by Panos Pictures.

He has won numerous awards for his work, including three prizes from the World Press Photo, first place in Sony World Photography Awards, several in the Picture of the Year international (POYi) and 44 awards in the Norwegian Picture of the Year, including Photographer of the Year in 2015, 2016 and 2018 as well as the main prize, Picture of the Year in 2004 and 2016.

In 2007, Espen received 60.000 dollar from the Freedom of Expression Foundation to continue his long-term project on refugees and IDPs around the world, which was published as the book TRANSIT by Dewi Lewis publishing house in 2011, as well as a major exhibition at the Nobel Peace Center in Oslo.

Rasmussen is freelance lecturing photography at universities such as the Oslo University College and he is also frequently giving presentations at photo festivals and for a wide range of other audiences.

For the last eight years, he has been one of three editors/mentors in Norwegian Journal of Photography (NJP). In 2011 I was chosen as the Nobel Peace Prize photographer, documenting the peace prize winners and exhibiting the work at th Noble Peace Center in Oslo.

Rasmussen has worked on several major long-term projects, among them: “Transit” – about refugees and displaced around the world, “Hard.Land” – a project on what happened with the American middle class in the Rust Belt, and “White Rage” – a one year journey among right wing people in the U.S. and in Europe.

His work has been exhibited at the Nobel Peace Center (Oslo), The Humanity House (The Hague), UNHCR headquarter (Geneva) and DokuFest international film festival (Kosovo), among other places. Clients include the The New York Times, The Independent, Intelligent Life, MSF (Doctors Without Borders), NRC (The Norwegian Refugee Council) and UNHCR. His work has appeared in magazines such as Time, Newsweek, National Geographic, Der Spiegel and the Economist and newspapers such as The Guardian, The Sunday Telegraph and The New York Times.

MICHAŁ SOLARSKI (Poland / United Kingdom)

Sea Resorts from behind the Iron Curtain

Exhibition: STARA FABRYKA (OLD FACTORY), pl. Żwirki i Wigury 8

Meeting with the Artist: AUDITORIUM OF WSA, ul. Modrzewskiego 12 – AUTHORS’ MARATHON, 13th October, 5:20 p.m.

THE EXHIBITION

The last three decades in countries that once remained behind the Iron Curtain, there is some crazy chase for prosperity, for lost time, for a missed opportunity. All tricks are allowed, and although not everyone is holding an even pace, they will eventually catch up with the mythical West. We are very close in many areas of life, we are like them, maybe even better, because we’re working more and more. In the long run, such a chase can be exhausting, we lose in the course of not only strength, but also something more: health, calmness, balance. Fortunately, there is a security brake in the life of every community – it’s free time. We do not have to pretend anybody, chase anyone. We can, at least for a moment, devote ourselves to the old, good rituals that build up the very specific rest culture. We have free time! Let the masks drop! Solarski, throughout his many years of work, has been exploring this area, the culture of leisure and all these in an extremely insightful way. From here and now, he is immersed in, he brings out the past. He equally uses the observer’s able eye as well as his sensitivity and personal, emotional experiences. The author constantly refers to memories, to his own childhood spent behind the curtain. As a result the created images are strongly marked with nostalgia. It is not important for Solarski whether they are concrete beaches of Balaton Lake, or spas somewhere beyond the Ural. Time seems to have stopped in the places that Solarski reaches.

Tomasz Liboska

Documentary photographer, working in London, where he studied documentary photography at The London College of Communication.

He carries out his projects mainly in Central Europe and in the countries of the former Soviet Union. At work, he refers to personal experiences and memories.

His photographs have been shown at many individual and collective exhibitions, including the Multimedia Art Museum in Moscow or the Beniaki Museum in Athens. Has received many international awards, his works were published, among others, in National Geographic, The Guardian, TIME and New York Magazine.

VEE SPEERS (Australia)

Dystopia

Exhibition: BIELSKA BWA GALLERY, ul. 3 Maja 11

Meeting with the Artist: AUDITORIUM OF WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 13th October, 1:40 p.m.

THE EXHIBITION

Against the background of a utopian world that has come unhinged, the characters in Dystopia are searching for order in chaos, poised as masters of their own destiny. They are protagonists, fictional heroes emerging from a world that is twisted and frayed. The girl with the butterflies seems to metamorphose from an impossible bind, an angelic Icarus with the metal wings pauses before he plans his escape, and a young girl carries her lamb to safer grounds.

Inspired by dark tales and mythology, legends and operas, and referencing biblical quests, Speers questions the shattered freedom of the world we live in. From warriors caught in an imaginary battleground, to narcissus, consumed until death by her own image, Speers paints over the shadows of historical references to unveil a world with new frontiers.

Vee Speers invents her own dystopia and speaks directly of our violence-infected era and barbaric wars. The concerns, the troubles and fears are like arrows that cross over these young men and women who are but themselves. In this world, the characters are at once both masculine and feminine, changing, transforming and fulfilling their dream to be free.

Speers’ characters are heroes, shamans and fighters who appear invincible. They seem to come straight out of madness, a circus, a poem, either from a distant past, or from the future. Maybe they come from a new mythology, from Mad Max or from a Tim Burton movie. The Australian artist grooms, dresses and masks her subjects. She also disguises colours. Just like those black & white movies that are colourised, she gives her portraits tints for which time leaves no trace. A necklace made of skulls and teeth, a pair of metallic wings, a horse head, wooden limbs, shears: she arms her gang, right on time, for the big battle. Trapped in these worlds where everything has fallen apart, they have no choice but to fight.

Julie Esteve, 2017

VEE SPEERS

She is an Australian artist living in Paris. She studied fine art and photography in Brisbane which was followed by a five year career in Sydney with the ABC television as a stills photographer. A short stay in France in 1990 became a permanent move to Paris, which for Speers, is a place with ‘unlimited potential and endless creative inspiration.’

In the 90’s, Speers assisted some of the best fashion photographers, but this experience was short-lived as she soon became bored with the fashion world, preferring to draw inspiration from the cinematic masterpieces of John Waters, Pedro Almodovar, David Lynch, Tim Burton and Peter Greenaway.

Speers has exhibited in museums, galleries, festivals and International Art Fairs in London, Paris, Miami, NYC, Atlanta, China, Ireland, Singapore, Japan, Tunisia, Brazil, Mexico, Australia, Sweden, Italy, Norway, Luxembourg and Athens and her work has been published on the covers of BLINK, Fotomagazin Germany, Zoom, Public Art, Photo International, Images Magazine, A Conceptual Magazine, The British Journal of Photography, Genti di Fotografia, Italy, CHANCE, The Sunday Times UK, Russian Photo and Video, Swedish Photo, with features in Shooter, Zoom, Art Investor, Germany, Shots UK, Photo District News NYC, Photographica Tokyo, EYEMAZING, American Black + White, Milk, Fotomagazin, Chinese Photography, Bloom, Arte Al Limite, etc.

Her book ‘Bordello’ with a foreword by Karl Lagerfeld is soldout, as well as her second book ‘The Birthday Party’ released in 2008 by Dewi Lewis, UK and her recent monograph – Bulletproof, released in 2014 by Kehrer Verlag.

Speers’ portraits have been acquired by Sir Elton John, Michael Wilson, Hoffmans, Alan Siegel, Lawrence Schiller, DZ Bank, 21C Hotels, Museum of Fine Arts Houston, George Eastman House etc.

DARO SULAKAURI (Georgia)

House Divided

Exhibition: GALLERY, 11 Listopada 24

THE EXHIBITION

Changing Horizons covers just some of the stories Sulakauri has produced in her country over the years: It chronicles my journey as a photographer, and the relationships with the people I have met over the years.

Everything’s subjective, she adds. I just try to tell the story in the most truthful light.

DARO SULAKAURI

She is a Georgian photojournalist based in Tbilisi. Her work chronicles social and political issues in Caucasus. She Graduated from the ICP in 2006, where she was awarded the John and Mary Phillips Scholarship and ICP Director’s Fund for her work on anti-war movement in New York.

Upon completing her studies she returned to the Pankisi Gorge in Georgia to document a hidden narrative of the Chechen conflict in an outpost of refugees The project won second place in the Magnum Foundation’s Young Photographer in the Caucasus award in 2009.

Sulakauri was also awarded first prize for her story on Early Marriages by Lens Culture EU prize for journalism and Human Right House in London.

She was included in a list of 30 under 30 Women Photographers and Photo District News 30 emerging photographers to watch.

She is a participant of World Press Photo Joop Swart Masterclass 2017 and 2018 Reuters Photojournalism grantee As of 2018.

Sulakauri is an official Canon Ambassador.

Her work can be seen in publications such as The New York Times, National Geographic, der Spiegel, Forbes Magazine, Reporters without borders, GEO Magazine and many other.

MARIA ŠVARBOVA (Slovakia)

Personal Photography

Exhibition: “KUBISZÓWKA” CULTURAL CENTRE, Słowackiego 17

THE EXHIBITION

“In the Swimming Pool” is Maria’s largest and continuing series. Sparked by a hunt for interesting location, her fascination with the space of public swimming pools contributed to developing her visual style. Sterile, geometric beauty of old pools, usually built in the Socialist Era, set the tone for these photographs. There is almost a theatrical quality to the highly controlled sceneries that Maria captures. The figures are mid-movement, but there is no joyful playfulness to them. Frozen in the composition, the swimmers are as smooth and cold as the pools tiles. The colours softly vibrate in a dream-like atmosphere. Despite the retro setting, the pictures somehow evoke a futuristic feeling as well, as if they were taken somewhere completely alien. There is no disturbing emotion, there is no individuality in their stillness. The artificial detachment, created by Maria’s visual vision, allows unique visual pleasure, unattainable in real life.

MARIA ŠVARBOVA

Born in 1988. Despite studying restoration and archaeology, her preferred artistic medium is photography. From 2010 to the present, the immediacy of Maria’s photographic instinct continues to garner international acclaim and is setting new precedents in photographic expression.

The recipient of several prestigious awards, her solo and group exhibitions have placed her among the vanguard of her contemporaries, attracting

features in Vogue, Forbes, The Guardian, and publications around the world; her work is frequently in the limelight of social media. Maria’s reputation also earned her a commission for a billboard-sized promotion on the massive Taipei 101 tower, in Taiwan.

Maria’s distinctive style departs from traditional portraiture and focuses on experimentation with space, colour, and atmosphere. Taking an interest in Socialist era architecture and public spaces, Maria transforms each scene with a modern freshness that highlights the depth and range of her creative

palette. The human body throughout her oeuvre is more or less a peripheral afterthought, often portrayed as aloof and demure rather than substantive. Carefully composed figures create thematic, dream-like scenes with ordinary objects. Her images hold a silent tension that hint at emergent possibilities under the lilt of clean and smooth surfaces.

There is often a sense of cool detachment and liminality in Maria’s work. Routine actions such as exercise, doctor appointments, and domestic tasks are reframed with a visual purity that is soothing and symmetrical and at times reverberant with an ethereal stillness. The overall effect evokes

a contemplative silence in an extended moment of promise and awareness—a quality difficult to achieve in the rapid pace of modern life. Maria’s postmodern vision boldly articulates a dialogue that compels the viewer to respond to the mystery, loneliness, and isolation of the human experience.

Nevertheless, deeply embedded within the aqueous pastels, Maria’s compositions hold to a celebratory elegance that transforms the viewer’s gaze into an enduring reverence for life’s simple beauty.

VASSILIS TANGOUILIS (Greece)

Clarity and Confusion

Exhibition: STARA SFERA II GALLERY, Mostowa 5 (2nd floor)

Meeting with the Artist: AUDITORIUM OF WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 13th October, 3:30 p.m.

THE EXHIBITION

Through the years I tried to elaborate the “Confusion” concept mainly by trying to keep my photos simple. There is a misunderstanding here that simple means easy. Actually, it is quite the opposite. Having a photo with a boat or a tree or an abandoned house “resting” in a large negative space is so challenging for me since I have to intrigue the eyes and the mind of the viewer and at the same time to make the viewer wonder about the clarity of this work. In other words, to confuse the viewer about something so ordinary and simple. A large portion of my work is minimal having this kind of vision. I want to make this confusion more challenging and I think this next step was the decisive one since I managed to give my personal signature to this peculiar and at the same time so interesting perception of my “reality”.

My intention was to create photos with a “Clarity” character and this means that a viewer instantly and clearly understands my subject but at the same time a big question mark is revealed. The coexistence of these two contradictory feelings seems to be a mind game but actually for me is the only way to elaborate my vision and express my own feelings. How I succeed “Clarity and Confusion” in my photos? Mainly with my post processing workflow and of course the choice of the frame. Always try to find the appropriate weather conditions when I shoot using the elements of mist, snow, rain, storms as a medium to create confusion. And of course above all the power of long exposure photography.

VASSILLIS TANGOULIS

An international black and white fine art photographer. He has been multi-awarded in many international photography contests like, Sony World Photography Awards, PX3 Prix de la Photographie Paris, IPA International Photography Awards (IPA). Also winning works of him have been selected to be presented in galleries in USA and in Europe.

His photographic vision is better described as capturing the time in a world where “present” is only an infinitesimal part of time, a fleeting illusion dividing almost infinite past and future. For him Fine Art photography is an alternative way to express a common subject so that each individual artist can reveal secret aspects about it. In order to do this, each artist experiments with light, time, and spatial coordinates– and then through one’s processing, one reveals a subject framed in a transformed world in which its dimensions can be easily described and visualized.

Recently published his first photo book with the title “Silent world”.

ÁDÁM URBÁN (Hungary)

Aszód 2018

Exhibition: BIELSKA BWA GALLERY, 3 Maja 11

THE EXHIBITION

My father, Tamás Urban photographer, photojournalist—in 1975 he made a photo series for his diploma in the Aszód Juvenile Detention Center and showcased it in the premises of the facility. The exhibition got banned on the spot and were not allowed to show it in public later, in Budapest either. Since then more than four decades passed. Fortuitously I learnt that the pictures of the censored exhibition are still kept in the basement archives.

Being a photographer myself this serendipity triggered the idea to parallel the pictures, impressions and thoughts of father and son, past and present on the original scene.

The Juvenile Detention Center is a special place: for those who live here temporarily it is a punishment and indispensable support. The inmates of correction facility are youngsters, whose life took a wrong turn painfully early. They caught incorrect demeanour patterns at home—as the solely available around them—and later committed crime.

The aim of the institution to correct these wrong behavioural patterns, distorted moral standards and values through edification and support reintegration to society. For the most problematic juveniles, those who fight with alcohol, drug dependency or behaviour problems there are special home-groups.

The tension between punishment and educational purposes makes the institution to restrict the freedom of these youngsters while they do everything they can to improve them.

As a photographer during the last couple of years I spent significant amount of time with the inmates, who are sentenced for theft, robbery or other guilty acts. I gained insights of their closed community, which rejects and expels any outsider with a deep, instinctive emotional reaction, coming from their guts. The first pictures were taken nearly after a month, weeks were invested to blend in without camera.

ADAM URBAN

A freelance photographer.

He worked as fashion, commercial and portrait photographer for agencies. Recently he moved towards documentary and photojournalist series. Amongst other prestigious acknowledgements, he got awarded on Hungarian Press Photo Exhibition in multiple categories, portrayed his works in solo exhibitions as well as in professional publications. He is member of Association of Hungarian Photographers and RANDOM art collective.

Recently he became known by his documentary works of Capital Circus of Budapest and Aszod Juvenile Detention Center.

He mesmerised by the world of the circus since childhood and these ties got strengthened over time by the aspiration to show the life behind the scenes. The artists of the circus accepted him, embraced his work as an artist on his own right. Aerialists, trapezists, jugglers, stars of the stage lights let him to show that world, what is hidden from the spectators – which is the highest level of trust photographers can claim.

The high trust level is a constant pattern in his career. In Aszód Juvenile Detention Center, he spent a significant amount of time with the inmates, who were sentenced for theft, robbery or other acts, and gained insights of their closed community, which rejects and expels any outsider with a deep, instinctive emotional reaction, coming from their guts. The results of this trust speak for themselves on the photo series highly applauded by the photographers’ community.

TAMÁS URBÁN (Hungary)

Aszód 1974

Exhibition: BIELSKA BWA GALLERY, 3 Maja 11

THE EXHIBITION

Urbán and Urbán in Aszód

It was an extraordinary situation, even for a photo-museologist who has seen much (sometimes even too much) anyway, when the photographer Ádám Urbán entered the gates of the Aszód Juvenile Detention Center for the first time in his life, at the beginning of last year. Like father, like son: this first visit was followed by countless more, similarly to the year 1975, when Tamás Urbán, gathering all necessary clearances, visited the – back then – municipality almost every week, specifically one special part of it, the brick buildings built in the previous century, standing on the hill. Tamás Urbán was studying at the Journalism School of the Association of Hungarian Journalists (MÚOSZ) right around that time, and this became his portfolio. He took his photographs on black and white film, but he did not only take pictures. He also talked to the kids there, he did smaller or bigger favors for the tough guys, he listened to their grievances, and in turn, they wrote him letters and journals, gave him drawings… It also grew into something more than a report. This was the place where his – by now – well-discernible approach was formed, his ethical perspective, his humanistic photojournalist attitude that is more than just carrying out a task and then leaving in a rush. All of which make the most significant units in the oeuvre of Tamás Urbán stand out in comparison with others’ photo reports, however good they may be. After Aszód, it was the ambulance, then prisons, then drug addicts, then prostitutes, and finally, there came the series about ‘the Butterfly,’ which encompasses all this probably the most graphically. But these are separate stories, let us stick to Aszód now. Back then, the exhibition was opened by Éva Keleti, on December 13, 1975. Keleti was his teacher in the journalism school, and there was another speaker, a comrade, a superior authority. To Keleti’s suggestion that this work was worth presenting in the capital as well, the comrade clearly indicated right there at the opening ceremony, that the exhibition was never to leave the premises of the institution. And so it happened. The copies were stored in a dry room for forty years, and later they hung several of them in their internal museum as well. When we first visited there and saw the images from this bygone exhibition, all three of us had a similar feeling than when the Magnum’s First exhibition was discovered in a warehouse the same way it was taken off the walls in 1954. The 40-year-old copies discovered here, in Aszód, were supplemented by the pictures taken by Ádám Urbán, photographed with the technology of the 21st century. He did not mimic his father, and he did not do a remake of the existing images: he just set foot in the situation, like his father before him, and photographed how a present-day photographer saw the present-day inmates of the century-old institution. And this is what lends an interesting passage to these two sets of photographs that are remarkable on their own right as well, creating a dialogue that shouts over a time period of forty years. Presenting the same theme in the particular language of two generations, the changing people and the yet identical situations… in the distinctive and still, in many ways so similar delivery of the two Urbáns.

Károly Kincses, The Juvenile Detention Center Aszód

TAMÁS URBAN

Born in 1945 in Szatmárnémeti. He graduated in 1964 in Debrecen. Later he studied in the Journalist School of MÚOSZ (National Association of Hungarian Journalists), where Éva Keleti and Tamás Féner were his mentors.

In 1976 with few others he was the the founder of Studio of Young Photographers. In the seventies he was the very first to work as photographer in youth detention centres, jails and other correctional facilities; later, in the eighties he worked on crushing scenes of homicides, accidents and casualties, shot portraits of loafers, punks and prostitutes. From 1990 he worked for the Stern magazine in Hamburg.

For some twenty years he lived and worked amongst the youth, what provided opportunity for him to absorb the problems of the young generation, which was never shown in the media before that. He was one of the very few who was able to show the negative aspects of the regime and society even during the socialist era. In this period he created photo series about abortion, jails and youth detention facilities, homicide and accident scenes, emergency workers, prostitutes and in general about all those stuck on the periphery of society.

DANIELLE VAN ZADELHOFF (The Netherlands/Belgium)

Soul Spirits

Exhibition: HISTORICAL MUSEUM in Bielsko-Biała, STARA FABRYKA, pl. Żwirki i Wigury 8

Meeting with the Artist: AUDITORIUM OF WSA, Modrzewskiego 12 – AUTHORS’ MARATHON, 13th October, 4:25 p.m.

THE EXHIBITION

“I am inspired by the big themes in life, loneliness, vulnerability, the raw pure emotions in daily life. I want to capture this in the image, something that is almost invisible, but always present.”

“I was raised in a Protestant school with a Catholic grandmother and a humanistic father. Religion is so integrated in our society and it is also a big theme in the seventeenth century painting.”

It brings us to her background of restoring historical buildings. In her images this becomes visible through the sophisticated touch and finesse of her work and the attention to detail and proportions.

Characteristic for Danielle’s work is the frequent use of Claire-obscure (combination of the dark background and the light foreground, the light source is not determinable, might be from the sun or a candle). This technique was popular among the painters in the Renaissance period such as Caravaggio, Rembrandt, Murillo and others.

“When I am working in my studio I always become fascinated by the light, which makes the models transcend above themselves and head to something universal.”

DANIELLE VAN ZADELHOFF

Born in 1963 in Amsterdam, Holland. Now she has her workplace in Antwerp, Belgium.

In 2013 she purchased her first camera and from that moment on, she became obsessed with photography, and it became the way to express herself.

Starting young in an art minded family ,with a father who also painted and sculpted, she has been engaged in art . She spent a lot of time in the family home library filled with books about history and art. A couple of years after the death of her father, she got acquainted with the photographer Leopold Beels van Heemstede, who introduced photography into her life and became her mentor. To learn the technical aspects she followed almost a yearlong daily professional training in Antwerp.

The combination of photography and her education and fascination with the human psyche gives her photos a tension that leaves no one untouched.

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