12.06.2014 close
LANDSZAFT photo

LANDSZAFT

04.06.2014–01.07.2014
Opening: 04.06.2014, 20:00

PAUZA, ul. Floriańska 18
KRAKÓW
MON–SAT: 10:00–00:00 | SUN: 10:00–00:00

Paweł Stelmach's exhibition "Landschaft"
LANDSCHAFT - landscape, outside, view, daub, kish, etc.A Landschaft is a picture of little artistic value, showing the landscape.
Artist's website: http://www.pawelstelmach.pl/

CIRCOLO FOTOGRAFICO L'OBIECTIVO OF DOLOphoto

CIRCOLO FOTOGRAFICO L'OBIECTIVO OF DOLO

05.06.2014–29.06.2014
Opening: 05.06.2014, 18:00

Nowohuckie Centrum Kultury, Al. Jana Pawła II 232
Daily: 8:00-20:00

A year after their first visit to the Krakow Photographic Club, L'Obiettivo of Dolo – a town in the province of Venice – in the north of Italy, we continue our "photography brotherhood" and in the first week of June, five members of the Club will be hosted by the KPC. They're bringing 70 photographs (printed on forex board) ready for the exhibition in the Nowa Huta Cultural Centre.

Kryptochromphoto

Kryptochrom

06.06.2014–15.06.2014
Opening: 06.06.2014, 20:00

Cellar Gallery, ul. Wielopole 12

Meetingsphoto

Meetings

07.06.2014–25.06.2014
Opening: 07.05.2014, 18:00

PAUZA IN GARDEN, ul. Rajska 12
KRAKÓW
Mon–Fri: 9:00–23:00, Sat: 10:00–23:00, Sun: 11:00–21:00

A collective exhibition of photographs by graduates of the Course in Artistic Photography curated by Zbigniew Pozarzycki, artistic supervisor of the group of photographers. The photographers are: Magda Kasprzak, Alina Kręcisz, Agnieszka Kowalik, Dorota Łapa-Maik, Leszek Motyka.
Exhibition organisers: Artistic Photography Course /Śródmiejski Cultural Centre in Krakow.

http://www.kursfotografiiartystycznej.pl/

The way you see itphoto

The way you see it

07.06.2014–03.07.2014
Opening: 07.06.2014, 19:00

Galeria Szara Kamienica, Rynek Główny 6
Tue–Fri: 13:00–18:00, Sat–Sun: 12:00–16:00

Artists: Cecilia Bonilla, Sława Harasymowicz, Eva Stenram
Curator: Małgorzata Mleczko

The aim of the exhibition is to explore and redefine "narrative" in relation to photography.
Transforming their original photos, the artists want to test their susceptibility to interference. The use of the prototypes solely as a "base" should expose the subjectivity of photography, as well as exposing the mechanisms used in the media and advertising. Through the secondary appropriation of known and readily associated images their conventional and, as it turns out, fictional status will be enhanced.