Category: exhibitions

Wojciech Prażmowski

Wojciech Prażmowski was born in 1949 in Częstochowa, Poland. He began working as a photographer in 1968 and participated in the National Exhibition of Fine Art Photography in Czestochowa. In 1975 he graduated from the Skola Vytvarnej Fotografie in Brno, Czech Republic, and from the National Higher School of Film, Television and Theatre in tsidi, Poland. To date, he has participated in over 300 photographic exhibitions in Poland and abroad. Praimowski has been a member of the Association of Polish Artists Photographers (ZPAF) since 1977. Initially involved in metaphorical photography, with elements of conceptualism, he later produced,photo-ob-jects: His works are held in the collections of the tocii Art Museum, Centre for Contemporary Art Ujazdowski Castle in Warsaw, The National Museum in Warsaw, and the Museum of Modern Art in New York.

“Miłosz: From Around Here” is a project created by Wojciech Prażmowski, implemented under Ministry of Culture and National Heritage “Milosz 201 presenting places connected to the life and work of Czeslaw Milosz.The project is an imaginary journey, following the Master’s footsteps after, important for the poet, places in Poland and Lithuania. The author of the exhibition travelled over 7000 kilometres in Lithuania and Suwalki region, made nearly 3000 photographs, visiting dozens of towns and places in Poland and Lithuania: among others : Babance, Wigry, Rachelany, but above all Vilnius…Wiwulskiego street, Bernardi ne Alley, KrOlewska street, etc.. etc.

The idea of the exhibition is the intermingling of cultures and “from around here” belief. When Milosz is in Berkeley- he’s local when in Krakow – he’s loc’ and in Lithuania – as well. The importance of this exhibition is Milosz’s poetry which is and will be time-less, to taste- from Tomaszow, to Klaipeda and Sydney. Working on the exhibition – Prazmowski – often deliberately sought to unify he images, almost to symmetrical combinations.

Major Sium Yimesghen


My name is Major Sium Yimesghen, an eritrean citizen. I ani currently living in Malta as a migrant ( to be resettled to a third country). The aim of my artistic project is to introduce people the lived realities of migrants and refugees; to tell people that people are fleeing their homelands after having being left with no choice to free themselves from shackles of dictatorship, tyranny, atrocities, tortures, slavery, political crisis , and civil war.

Anna Grzelewska

Anna Grzelewska is a photographer and director of documentary films. She was born in Warsaw In 1976 and continues to live there. A student of Cultural Studies at the University of Warsaw, she also graduated from the Warsaw School of Wajda, and attended the Institut Tviirti Fotografie (ITF) in Opava, Czech Republic. Her photographs have been published, among others, in the following magazines: The Guardian, Geo, Election, Politics, cross section, Newsweek Poland, Rzeczpospolita, Elle, Beauty of Life, Exklusiv, Kikimora and Gaga.

„JULIA WANNABE” project shows growing up of my daughter Julia. My purpose was to ,.earch for sources of woman’s identity and to approach to the moment when a girl becomes a woman. There is something ambiguous and perturbing in this transition. The culture pictures childhood as a land of happiness: sweet and innocent. Also, our memory tends to wipe any flaws out of this image. Shooting Julia I wanted to look at the process of growing up in a more comp* way. It is not a reportage, a diary or family album, but an attempt to capture the universality of this time. It is also a photographic reinterpretation of the psychological process of transfer – the photographic image is the result of Julia’s experience and my own childhood memories.

The tittle of the project is a reference to „Madonna wannabe” (=Me., who listen to Madonna’s music are dressing and doing make-up` exar tly like she does. With these external attributes they try to discover the escense of being Madonna, the essence of femininity she embodies. Paradoxically, it helps them to express themselves.

Eugenia Maximova

Eugenia Maximova was born in Ruse, Bulgaria. 
She graduated from The University of Vienna, reading journalism and communication science. 
 Eugenia Maximova is particularly interested in visual anthropology. Her journalistic background influences many of her projects, and although they often differ from the traditional concept of ‘photojournalism’, the goal of her images is to bring to light the lives of others and to communicate socio-political models and tendencies, examining their consequences for society and culture.  Currently Eugenia works as a freelance Photographer. Her clients include: GEO, National Geographic, Die Zeit, Moscow News, The Guardian and many more. Eugenia’s work is represented by The Anzenberger Gallery/ Agency.

Associated Nostalgia

“Kitsch and the human propensity for exaggerating have always fascinated me,” says Eugenia Maximova, who was born behind the Iron curtain, in the Bulgarian city of ruse on the banks of the river Danube. “Many of my childhood memories relate to kitsch. It was on open display in almost every household growing up – crystal and ceramic dinner sets, vases and figurines, hard-to-acquire foreign objects, plastic fruit and flowers. They were showcased behind glass and were the pride of the house.”

But it was only when she started working on the design for Kitchen Stories From the Balkans – her self- published photobook, based on her much- published series of modest interiors – that she began to think about how to include “some of those incredible plastic tablecloth patterns so beloved in these latitudes”. Then came the discovery that the garish tablecloths have been manufactured in her hometown for many years; all the serendipity she needed to forge a new project, Associated Nostalgia.

“Kitsch is sometimes difficult to digest, but for many it is also unpretentious and tasteful,” states the journalism graduate, who picked up a camera eight years ago after the sudden death of her mother, a noted painter, and who regards her work as something of an antidote to the usual stories about the region, focusing on conflict. “Kitsch doesn’t require lots of preparation, rethinking or consideration. In fact, it barely requires any thinking at all. Kitsch is melodramatic, sentimental and folksy, but it also entertains. The kitsch culture of today flourishes across all areas of life.” But, she insists, the work remains a form of social observation and commentary.

“The scarcity of goods during communism created a culture of showing off, in which people behave ostentatiously. Kitsch was also widely used as political propaganda during that period. Art’s sole raison d’etre was to bolster a dictatorial regime and glorify its leaders.”

Marja Pirilä

Born in 1957 in Rovaniemi, Finland, close  to the Arctic Circle. In 1986 gradu, a hotographer from the University Art and Design in Helsinki, aced as p Finland/ department of photography and as Master of Science (MS) from the University of Helsinki/ Ecological zoology. I have had dozens of solo exhi_ bitions and participated in numerous group exhibitions both in Finland and abroad. Many public and private art collections include art works of mine. In 2000 i received The Finnish State Award for Photography.


The choice of the camera obscura method as a tool in 1996 was a natural corol-lary to years of working with pinhole photography. Both techniques are slow and unpredictable and compel one to slow up and stop amid the daily routi-ne. Moreover, the actual process is crucial in both. They present a challenge to experiment and extend conventional photography. My idea in embarking on the„Interior/Exterior” project was a nocturnal inspira-tion in 1996 after seeing some black-and-white images of Abelardo Morel in a photo magazine. In the room converted into a camera obscura I could capture an image of a person and at the same time that person’s room and the view from the window – what an all-encompassing method by which to photograph a person’s living environment! The originally documentary idea soon expanded in a new direction. The pictu-res began to form not only a person’s living environment but also to constitute an excursion into the mental landscape: reflections of memories, reveries, fears and dreams. Working on this series was for me like taking photographs for a family album: visitations to people and also to myself. To take the pictures I transform people’s rooms into camera obscura by covering the windows of the room with blac-kout plastic and placing on top of the hole cut in it a simple convex lens. Then the view outside the window is reflected upside down into the room forming a dreamy layered space. This and the occupant of the room I thenphotograph with a conventional camera. In camera obscura darkness, silence and slowness compel one to contemplate the world in a novel way, from new angles. When the space transforms into a “dark roo m it conjures upthe core and magic of photography a is my most gain and again. That is when I feel most acutely that „Interior/Exterior” 1 am working with light. with the ost extensive and long-lasting project accoM met od. So far I have been working with this project in Finland and, Norway. Italy and France, and the work continues.

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