Following exhibitions and projects
At the exhibition Nature in Art we show contemporary works of more than 70 artists from many countries, in techniques ranging from painting, photography and video to object and installation. The exhibition has been divided into five parts: beauty, ecology, confrontation, matter and symbol.
The exhibition presents archival photographic materials from the race and folklore sections as well as the landscape sections of the Institute of German Works in the East. (IDO), which are now to be found at the Institute of Ethnology and Cultural Anthropology of the Jagiellonian University and in the Jagiellonian University Archives. The photographs created during World War II, mainly of the Podhale and Lemko highlanders, were incorporated into the symbolic form of the Carpathian iconostasis.
Stanisław Dróżdż is one of the most significant representatives of Polish conceptual art and the most renowned Polish concrete poet. The year 2019 is the year of the 80th anniversary of the poet’s birthday and also the 10th anniversary of his death. In commemoration, the Museum is presenting an individual exhibition of the artist, which comprises entirely works from the MOCAK Collection.
The LEBENSMITTEL (Foodstuffs) photobook and exhibition project by the German photographer Michael Schmidt, born in Berlin in 1945, comprises 177 photographs, taken between 2006 and 2010, on twenty-six trips around Germany, Norway, the Netherlands, Austria, Italy, and Spain. The photographs were shot at feedlots and slaughterhouses, fish farms and commercial greenhouses, fruit farms and vegetable plantations, pasta factories and cheese dairies, as well as at various plants processing meat, potatoes, and insects.
Artist Anna Orłowska, chose the Lenin Steelworks’ fortress-like administrative centre, popularly known as the ‘Doge’s Palace’, as the starting point for her exhibition. In addition to photographing of the ‘Doge’s Palace’, Orłowska took shots of the nineteenth-century manor house of painter Jan Matejko, located just a kilometre away. The physical proximity of these two buildings, constructed in eras so apparently mutually antithetical, became a point of departure for reflections on the intellectual and formal affinities between the art of Matejko – the greatest of Polish pompiers – and socialist realism.