6. Leica Street Photo

6. Leica Street Photo

The 6th edition of the Leica Street Photo contest organized by Leica Camera Poland has already ended. Leica Street Photo is a prestigious competition, which focuses on street photography.

The 6th edition of the Leica Street Photo contest organized by Leica Camera Poland has already ended. Leica Street Photo is a prestigious competition, which focuses on street photography. Elliott Erwitt said „a good image tells the story in one frame”. In 2016 from the submitted applications the jury selcted 26 the best photographs. They will be presented at the post-competition exhibition at the Leica 6x7 Gallery Warsaw – a unique event which presents a variety of street photography to the general public.

Several winners of the previous editions of Leica Street Photo was later awarded in international competitions such as the World Press Photo and Leica Oskar Barnack Award.
Opening of the exhibition will be held on 2 September at 19:00

Ania Kłosek (photographer)
Beata Łyżwa-Sokół (photo editor, „Duży Format”)
Stefano De Luigi (photographer, VII Photo Agency)
Chris Niedenthal (photographer)
Maciej Jeziorek (photographer, Napo Images, Forum)
Rafał Łochowski (Leica 6x7 Gallery Warszawa)





Celebrated Chicago photographer Sadnro Miller, and world-renowned actor John Malkovich, collaborate on a new photographic series now in Leica 6×7 Gallery Warszawa. We are pleased to present the debut of Malkovich, Malkovich, Malkovich: Homage to Photographic Masters, a new photographic collaboration between Chicago photographer Sandro Miller and actor John Malkovich.

Celebrated Chicago photographer Sadnro Miller, and world-renowned actor John Malkovich, collaborate on a new photographic series now in Leica 6×7 Gallery Warszawa. We are pleased to present the debut of Malkovich, Malkovich, Malkovich: Homage to Photographic Masters, a new photographic collaboration between Chicago photographer Sandro Miller and actor John Malkovich.

We are pleased to present the debut of Malkovich, Malkovich, Malkovich: Homage to Photographic Masters, a new photographic collaboration between Chicago photographer Sandro Miller and actor John Malkovich. At the age of sixteen, upon seeing the work of Irving Penn, Sandro Miller knew he wanted to become a photographer. Mostly self-taught, Sandro relied on books published by many of the great artists canonized in photographic history. Through their pictures, he learned the art of composition, lighting and portraiture. More than 30 years later, with clients ranging from Forbes, GQ and Esquire, to American Express, Coca-Cola and BMW, Sandro has secured his place as one of the top advertising photographers worldwide.

His success in the commercial world allows him to continue his personal projects, which has included working in Cuba, photographing American blues musicians, various dance troupes, and extended endeavors with John Malkovich, his long time friend and collaborator. Sandro first met Malkovich in the late 1990s, while working on a job for Steppenwolf Theater. More than 16 years later, Sandro and John are still collaborating, which can be seen in their latest project, Malkovich, Malkovich, Malkovich: Homage to Photographic Masters.

In 2013, Sandro decided to do a project honoring the men and women whose photographs helped shape his career. After selecting thirty-five images to emulate, Sandro contacted Malkovich, who instantly agreed to participate. When speaking about Malkovich, Sandro states: “John is the most brilliant, prolific person I know. His genius is unparalleled. I can suggest a mood or an idea and within moments, he literally morphs into the character right in front of my eyes. He is so trusting of my work and our process… I’m truly blessed to have him as my friend and collaborator.”

Malkovich, Malkovich, Malkovich: Homage to Photographic Masters honors photographs that have impacted Sandro. Pieces include Irving Penn’s photograph of Truman Capote in a corner; Bert Stern’s photographs of Marilyn Monroe; Dorothea Lange’s image of a migrant mother; Robert Mapplethorpe’s self-portrait with a gun; Annie Leibovitz’s iconic image of John Lennon and Yoko Ono; Diane Arbus’s classic photo of a boy with a hand grenade; Richard Avedon’s beekeeper, among many others.

John Malkovich is considered to be one the greatest American actors of the 21st century. In Malkovich, Malkovich, Malkovich: Homage to Photographic Masters, he demonstrates his chameleon-like proclivity, morphing into Albert Einstein, Che Guevara, John Lennon and Andy Warhol. Through his immense skill and Sandro’s amazing photographic eye, Malkovich, Malkovich, Malkovich: Homage to Photographic Masters pays respect to photographic history through the genius of a photographer and his muse.





Justyna Mielnikiewicz for over ten years has photographed Caucasus, trying to understand the complex situation in the region, mentality of its inhabitants and finally ways of the war and its longterm side effects on the day-to-day life. The result of this quest is “Woman with a Monkey”, a photobook which leads us in a way a good travelguide does, via Georgia, Armenia, Azerbaijan and their autonomous republics: Georgia’s Abkhazia and South Ossetia, and Azerbaijan’s Upper Karabakh. These names are quite exotic to most of us. If we think about them at all, it’s mainly in the context of blood and thunder, ceaseless pursuits of independence and problematic post-soviet nostalgia.

A front-line perspective has never been a best vantage point. Mielnikiewicz presents here a front-page news story but avoids speaking about it in direct terms. She tracks down the ordinary – the most prosaic and simple stories of day-to-day existence. She talks to people, spies on them or simply observe. As a result, we are presented with a broad perspective on the situation, with no judgement and no favours given to either side of the story. These images not only demolish stereotypes, as a consequence, any sorts of conclusions are so much harder to reach. This kind of approach to the subject seems like the only right one if our goal is to understand what exactly has happened in the Caucasus region in the last decade.
“Woman with a Monkey” is a project that goes b
eyond the scope of documentary genre. It was created over the years in the artist’s natural habitat (she’s been living in Georgia for over ten years now). Mielnikiewicz makes no secret of her emotional relationship with Caucasus. Meticulously executed and designed photobook, which summarises perfectly this project, has won this year’s Book of the Year contest and was also a finalist in the Best Photography Book category at the prestigous 72nd Picture of the Year International Competition (POYi).

The exhibition at Leica Gallery Warszawa is a Polish premiere of the project. Here it steps away from the divisions introduced by the chapters in the book. Photographs are mixed and together they form a very different set, where nothing is dictated by its geographical location. For this exhibition we wish to invite the viewer to make their own combinations, look for and connect images accordingly. There’s no simple story to be told here. It’s all polarised, diverse and multi-layered – “Woman with a Monkey” asks questions instead of giving you a straight answer.

Joanna Kinowska

“Back in 2002 in Tbilisi, when fancy cafes still had generators outside because of constant power cuts, I was at an unusual fashion show put on by a cosmetic company in a nightclub. Models with dark-painted faces were showing off discordant, brash clothing and bare skin while doing an African-style dance to modern pop music. In the far corner of the club I saw a woman with a monkey. She was strikingly beautiful and stood motionless, deep in her thoughts, holding the monkey as if it were her child. Was she a performer from a long-closed circus, a desperate mother trying to feed her family or someone displaced by war? She may have been all of these, or none. But beautiful and alone, she stood out in the smoky din like a beam of light.

There is a renown Caucasus legend that when God had passed out land to the people of the world, one nation arrived late. God was angry and asked why they were late and they replied that they got carried away celebrating the beautiful world He had created and lost track of time. God became so pleased that He gave them the best piece of land he had set aside for Himself. It is favorite story cited by many journalists writing about Georgia, however, I have heard the same story told by Abkhaz, Chechens and Armenians and have seen it written in an Azeri restaurant menu.

The ethnic conflicts of the 1990s were a direct result of the Soviet Union’s divide and conquer policy. When it fell, its arbitrary borders clashed along political lines, not ethnic. Ethnic conflict was the result, not the cause of political struggles over who had the right to develop a nation-state at a chaotic time in history. Each party to the conflicts distorts the historical narrative to justify their claims to the land. History is not linear. I have seen major historic events completely vanish from the chronology when they don’t fit into the current national agenda of defining the good guys from the bad guys.

I have traveled the region and witnessed a momentous decade up close, from revolutions that have brought hope and change to some and misfortune to others, to the perversion of war, which arrived at my door. Life here for me is a voyage to extremes, where even a simple taxi ride can turn out to be trip down Alice’s rabbit hole. However, my desire has been to find the deeper nuances of how individuals have managed to withstand the last twenty turbulent years in this region. My quest is by no means complete, as the Caucasus is a life-long phenomenon. Woman With A Monkey is a tribute to a place that has not only become my second homeland, but also a place that I am devoted to understand.

My partner, Paul Rimple has shared much of this journey with me, so I have invited him to contribute a few stories.”

Justyna Mielnikiewicz





Driving across America with your camera does not seem like an extraordinary idea for a series of photographs. There are people who would say that after Robert Frank there’s really no point in repeating this particular route. Nevertheless, for over 50 years many photographers embarked on the same journey, creating their own photographic documentation. Some of them approach the subject like photojournalists, others focus more on the surrounding landscapes. There are also photographers who concentrate on people only and those who simply follow in Frank’s steps. The list goes on.

Jacek Fota found a different way to describe his roadtrip across the States. Long kilometres, vast space, occasional meetings. In spite of its smooth surface, these images bring certain uneasiness. There is something obscure, coarse and surreal about them. Here there are field notes, a visual notebook, which helps you to remember. The viewer repeatedly experiences the feeling of deja vu. You will find images that are clearly inspired by existing images. Their sheer number is also disturbing. Has Fota been to the same places? Did he choose the exact same point of view on purpose? Or maybe since there are so many of these anonymous, almost-the same shots, we already have lost our objective outlook on them?

The result of this journey is a book “Some Things are Quieter than Others”. A purely visual notebook without one word of explanation. Words supposedly spoil the image, trying to explain too much of the image. Fota erased all captions, anecdotes, even place names. What is left for the viewer are images, almost unfamiliar but then we have seen it somewhere already.




The 5th edition of the Leica Street Photo contest organized by Leica Camera Poland has already ended. Leica Street Photo is a prestigious competition, which focuses on street photography. Elliott Erwitt said „a good image tells the story in one frame”. Among the submitted applications the jury will select the best twenty photographs. They will be presented at the post-competition exhibition at the Leica Gallery Warsaw – a unique event which presents a variety of street photography to the general public. The winners, apart from participation in the exhibition at the Leica Gallery, will receive a collector’s edition print of Polish street photography forerunner – Bogdan Dziworski.

Several winners of the previous editions of Leica Street Photo was later awarded in international competitions such as the World Press Photo and Leica Oskar Barnack Award.
Opening of the exhibition will be held on 4 September at 20.00

Monika Szewczyk-Wittek (Napo Images)
Wiktoria Wojciechowska (visual artist, photographer, Leica Oscar Barnack Award 2015 – Newcomer)
Wojciech Grzędziński (photographer)
Bart Pogoda (photographer)
Mateusz Grybczyński (Polish Street Photography, photographer)
Rafał Łochowski (Leica Gallery Warszawa)
Laureaci poprzednich edycji to Tomasz Lazar, Mateusz Sarełło, Adrian Wykrota, Damian Chrobak, Mariusz Janiszewski, Maciej Dakowicz, Izabela Urbaniak, Tomasz Ślesicki, Krzysztof Wierzbowski, Luc Kordas, Marek Lapis, Ania Kłosek, Marta Rybicka, Paweł Piotrowski, Angelika Wdowska, Wiktoria Wojciechowska, Jamie Howard.





Ralph Gibson was born in 1939 in Los Angeles. His adventure with photography started already when he served in the US Navy, following which he graduated from the San Francisco Institute of Art. He worked as assistant to Dorothea Lange and Robert Frank – two legendary photographers. Gibson very quickly started working on his own projects. His artistic career has been blooming for over five decades now. He is known for his love for books and photographic albums, he has several dozen publications to his name. In the 1970s he set up his own publishing house, Lustrum Press.

For Gibson, photography has never been the medium allowing capturing an exceptional moment. Instead, he focused on changing ordinary objects and situations into photographic works of art. A characteristic of Gibson’s work is the building of narratives and relationships among his photographs. He considers this extremely important. Therefore his exhibitions are different – not just collections of individual photographs, rather they are tales, built through relations between images.

Gibson is photographing with Leica cameras since 1961. He was photographing on film only for over 50 years. It is therefore a novelty that MONO was shot using only a digital camera – the Leica M Monochrom.

The project itself was created in the course of several months in 2013, during Gibson’s travel round the world. This is very classical, typical Gibson-style photography. The formal play of shapes and shadows are intertwined with emotions. The artist observes the world and skillfully builds tension, through his masterful control of composition and light.

This is how Ralph Gibson recounts his work on this project: These words about making images could be written in English, French, or any number of languages we know exist in the world. I am writing both about images, and my lifelong relationship to the creative process. We could talk about the moon in many different languages, but it would still be the moon being described.

So, when I work in digital, I might be describing the same subject, but in a different language, a somewhat altered syntax. But the subject is the same… And the very moment I discovered that I could get my “look” on digital, I was convinced that this was a new language I wanted very much to explore.





Wojtek Wieteska is one of Poland’s most famous photographers, originating from the European school of journalistic photography. His style stands out due to a conceptual approach to reality. In “Nailing Love” he comes even closer to a conceptual use of photography, building a self-referential project from works created from the 1980s to the present day.

“Are notions or words photogenic? What inspires me to take pictures and what is a fact or an object ready to be immortalized through photography?”, Wieteska comments on his new exhibition. “I use photography, moving images, objects. I consider their mutual relations. When selecting and displaying works, I am interested in the meaning of individuality and originality, copying and duplicating, durability and destructibility. Wandering around the edges of photography and encountering new connections – this is what I currently find the most interesting”.

“Nailing Love” isn’t just an exhibition of photos. Also on display is an archival film rinsing apparatus with 12 photos which in the course of a month-long process will become degraded instead of archived, photos printed using different means and in many sizes – proof sheets next to photo wallpaper. All this makes for an intriguing, never obvious and unusual exhibition.

The curator is Adam Mazur: “This exhibition is a turning point; you can’t say that in this project, any single photo says anything about the world or about Wieteska’s perception. The photos say the most about their author – they make no sense separately, but do make sense as a narrative carefully built for months. Wieteska invokes Marcel Proust, Francisco Goya, he quotes Rembrandt. For example, he seeks out in his archives and very carefully places a picture of his son next to photos of an ancient figurine, and looks for connections among it all”.





The Tomasz Wysocki exhibition at the Leica Gallery Warszawa is the first comprehensive presentation of the work of this artist on the threshold of his career. This is also the first time the gallery has ever staged a debut exhibition. The exhibition comprises three separate projects carried out by Wysocki in 2013—2015, during the course of his studies at the Łódź Film School. The exhibition is accompanied by a photobook — the artist’s first publication.

The first project, Return to Eden, is a story about trying to find our identity, about who we are, inside and out. This is also Wysocki’s first studio project. The second cycle of images, In-visibilis, was inspired by a collection of fashion for blind people, and relates to the senses. This is about a world for those who cannot see arranged by those who can. Both cycles make use of a highly ascetic artistic language of isolated events. White predominates. People and objects are clearly visible — but the real theme of the image is obscured.

The last project, Exodus 2064, is the most spectacular of the three. This is a vision of the future that has come out of the artist’s experiments with hypnosis. When talking about this project, Wysocki quotes a short dialogue from the film The Truman Show:

“Christof, let me ask you, why do you think that Truman has never come close to discovering the true nature of his world until now?”

“We accept the reality of the world with which we’re presented. It’s as simple as that.”

Tomasz Wysocki constructs his world and the people in it. The settings in his photographs are created with a specific frame in mind. Every element is meticulously arranged with no manipulation or compositing. Digital editing technology is only used for basic retouching and colour correction. Wysocki juxtaposes diverse elements — shapes, textures and shades of hues. The combined use of soft lighting and the frozen movements of his subjects gives rise to images that do not leave a trace of such typically photographic means of expression as depth of field, multiple planes, the decisive moment or accidental behaviour of the subject. These works defy the restrictions of a single medium and position themselves on the interface of staged photography and painting.

Tomasz Wysocki (born in 1990) is a student at the Polish National Film School in Łódź. His work has been shown at the following exhibitions: 45 frames from PhotoVogue, Milan 2015 (collective exhibition held by the editorial office of Vogue Italia at the Leica Gallery in Milan); The National Film & Photo School, Copenhagen (collective exhibition held during the Copenhagen Photo Festival 2013); Assemblage, Øksnehallen, Copenhagen 2014 (collective exhibition); and other exhibitions held as part of the Łódź Fotofestiwal in 2014 (collective exhibition) and 2015 (individual exhibition). Recipient of the Award of the Minister of Culture and National Heritage. Ministry of Science scholarship holder, 2014.





Szymon Brodziak does not like to mix philosophy with his work. He takes photos mostly under contract from various companies, for advertisements and image-building campaigns. And he is the best in his trade – during the 2013 Cannes Film Festival, FashionTV awarded him the title of the “World’s best black and white campaign photographer”. His recently published album – BRODZIAK “ONE” – carries a special message written – as recognition for his talent – by June Newton, wife of the legendary photographer Helmut Newton. The official premiere of this album, combined with an exhibition, was held in October 2014 in Rome.

BRODZIAK “ONE” is a synopsis of the last ten years of Szymon’s photographic work, whose photographic credo is, “You are what you see”. He portrays primarily women – beautiful, powerful, unsettling – sometimes naked, always in black and white. His work is seen sometimes as controversial, as the models in the photos appear in strange poses and locations, and even in weird roles – a woman-lamp, a mannequin being transported to warehouse, a doll hanging on the door or even … a Christmas tree. But there are also classical or even romantic – photographs, portraits, which draw the viewer’s attention by the play of lights.

Leica Gallery presents works created for the advertising campaigns of Martini Cava, Noti, Bizuu or Mercedes-Benz, for limited issues of calendars, fashion editorials, as well as portrait session of such well-known women as Ania Dąbrowska or Anna Mucha.

Szymon Brodziak has an education in economics, but photography is his passion. He abandoned a family business to work as assistant during fashion shoots and image campaigns, which today are the main focus of his activity. Since 2006, he has received numerous international awards at photographic competitions in the USA and in Europe, including three gold medals at the Prix de la Photographie Paris 2012 – both for the advertising campaigns and his own projects. Already as a student, he received the Johnnie Walker “Keep Walking” Award for the constant turning of his dreams into reality and for the passion in marking new trails in the search for beauty. In 2013, during the Cannes Film Festival, he has received the Fashion TV award for the “world’s best black and white campaign photographer”. In 2014 he published his album “ONE”, awarded with the Gold Medal in the “book” category of the international competition Prix de la Photographie Paris. He runs his own gallery in Poznań.

Producent: Justyna Kociszewska





Luna-graphy is a theatre in which all the lights went out. The shiver of eeriness, the sense of the invisible happening… A night butterfly is born in the dark: the moth which moves on the fine line between the lit external world and the inner illumination of one’s soul.

Light exposure darkens the image. Lunaris escapes the obvious, abandons what is known and predictable while chasing the new. He plays the game of unknown with himself and with reality and introduces an additional self-limitation: he uses only the light of the Moon to create a new palette of colours. In this way he conjures a moonlit world, full of poetry and escaping clear-cut definitions.

Lunaris penetrates the spiritual, the intuitive, the mystic. He leads the soul which always travels from the birth of God through hope, silence and power right until the exit to hell. Emotions in these photographs are very intense, there is no space for shades of gray and understatements. Lunaris’ works are dense, surging with colors, details, symbols and hidden meanings.

The silhouettes moving in those photographs are the co-creators of the magic: Jean Daniel Fricker and Céline Angèle. Their spiritual quest took them from Butoh, the Japanese performance art, to a very personal form of expressing themselves through movement. Their performance is a very specific non-dance, a body’s decision made at a given moment, determined by intuition and by acceptance of what arises.




The Four Seasons

„The Four Seasons” is the title of both the exhibition and the latest album by the author. The photos have been taken in the Lublin region, where the artist has been living, on and off, for the last few years. The several years which I have spent down under – says the photographer – were, on one hand, a wonderful experience of opening up to another culture, but on another hand, have awoken nostalgia for the places of my youth, and not only for them. The Australian climate deprives those arriving from Eastern Europe of the clearly defined rhythm of life, imposed by the clearly defined four seasons of the year. The photographs present Polish landscapes, immortalized during different seasons.

Many of those images are reminiscent of paintings, such as those by Gierymski or Falat. The painterly illusion encompasses also the preparation of the works and the manner for their presentation – there is no glass separating us from the photos, we even get the impression that the paint has only just dried. Sikora engages in dialogue with painting using sophisticated photographic measures, moving away from documentary photography. Most images do not show people or their homes, there is no trace of urban civilization. We do perceive human existence in those photos, through very subtle hints: the geometric layout of fields, the presence of the road, a pathway worn in grass. The temperature of light and the colors change from one minute to another, and Sikora’s series shows their whole palette. They become looped in series, as they do each year, and – what is surprising – they are difficult to recognize.

There is a meme circulating the Internet, mocking our knowledge of the world. It juxtaposes five images of leaves with five logos of large international companies. We do not have a problem identifying the Nike or McDonald’s logo, but when it comes to telling a maple leaf from a linden one, this could prove difficult. The case is similar with Sikora’s latest series. We are no longer able to tell whether the view of the edge of the forest is taken on an autumn morning, or a winter afternoon. Thanks to the photos of Tomek Sikora, we can try to sensitize ourselves again to those small differences in the light and temperature, and to calmly look at the cyclical metamorphoses of nature.

The exhibition accompanies the premiere of the album: Tomek Sikora, “The Four Seaons”, publisher: Boni Libri, Lublin 2014. The album is on sale at Leica Gallery Warsaw. The Gallery is also offering exhibited works.



Jan Brykczynski


Those Boikos are the weirdest tribe the length and breadth of the Carpathians. No-one else is quite so troublesome. The Boikos are a little mute. They are not good at talking about themselves. And, just like the Germans do not call themselves “Germans”, they also do not call themselves “Boikos”. They consider “Boiko” an insult. They call themselves Verkhovynians, Rusyns, Galicians, but not Boikos. They might agree to the name “Boikovshchizna” for where they live, but anyway, not one of them knows the bounds of their territory.

Taras Prochasko

In 2009, Jan Brykczynski wandered into a village in the Ukrainian Carpathians, just a few kilometers away from the Polish border. He returned there for three subsequent years. Gradually and slowly, he gained the trust of its inhabitants, isolated by the mountains from the rest of the world. Step by step, they have shown him their life, in which events happen primarily for magical reasons, thoughts can have causative power, white magic battles with the black one, and the good with the evil. For them, the most important thing is their tradition – they are strongly rooted in it, it gives them strength to live in the harsh mountainous conditions. Their everyday life is as much real and unreal for someone from the outside. It is most reminiscent of the archetypical images of rural life, still functioning in our culture. This fairytale, oniric and surreal aspect shows in the photographs of Jan Brykczynski.

The part of BOIKO project was among the finalists of the Fotofestiwal 2013 in Łódź. The complete series was exhibited for the first time at the Month of Photography in Bratislava in 2013, and then went to Anzenberger Gallery in Vienna. There was also an artbook BOIKO published in 2014 (available at Leica Store Warszawa).

Jan Brykczyński, (b. 1979), is a documentary photographer, based in Warsaw. He is a founding partner of Sputnik Photos. Scholarship holder of International Visegrad Fund and Ministry of Culture. Jan has won numerous photography prizes, such as 2013 The European Photo Exhibition Award and The Syngenta Photography Award. He is represented worldwide by Anzenberger Agency in Vienna. He lives in Warsaw with his wife and daughter.



Evgenia Arbugaeva, Ciril Jazbec

Oskar Barnack Awards 2013

Evgenia Arbugaeva, Ciril Jazbec // Oskar Barnack Awards 2013



Leica Camera

Vivian Maier

The amateur

Vivian Maier // The amateur



Anita Andrzejewska


Anita Andrzejewska travels a lot. The viewers will find more of „being” than of travel in her works, more meetings, intimacy, time and focus on another human being than of the journalistic verve, temporariness or rush.

Over the years, Andrzejewska has developed her unique manner of photographing. Every photo from the history of photography is an instance of frozen time, a captured, immobilized moment. However, in the case of Andrzejewska’s work those photographs-moments seem to last longer. There are no spectacular actions, no decisive moments. Instead there’s plenty of peacefulness, duration and silence. The composition is always carefully planned and the resulting image appears to be more universal.

The author herself recalls, „I was in the isolated state of Arakan, near the border with Bangladesh where the Muslim minority Rohingya lives. Those people are unwanted on both sides of the border, are practically stateless, live in abject poverty without any right to legal work, education, owning a home. In the town called Sittwe I photographed Rohingya women who came to draw water from the wells. I visited them for several days.”

She photographed also a several-day feast to honor the Nats – spirits which can be either protective or malicious. Their cult is derived from animism and was incorporated into the Buddhist tradition. Anita says, “during those festivals people bring offerings of rice, flowers, money, alcohol and cigarettes, they communicate with the spirits through mediums who dance and unite with the spirits during a trance. The mediums are usually men dressed up as women, who inherit contacts with a specific Nat from their ancestors.”

All the photographs shown in the exhibition depict daily life and fall within the genre of documentary photography. But the location and time become immaterial. Most of the photographs comprising the “Slowly” exhibition were taken in Burma (Myanmar), at the verge of important social changes, during a very tumultuous episode of the country’s history, but the majority of them are timeless. The viewer could even believe that some of them were created decades earlier. In the series of works, we notice the themes that Andrzejewska likes best: portraits – records of meetings and conversations; landscapes – allowing to attach the images to a specific location and finally still lives and details – fragments of everyday life, perfect complement of history. The history which has been happening invariably and unceasingly, before the photographer arrived, during the time when Anita was taking her photos and the history which continues unchanged after the woman with camera has left. Slowly.

Anita Andrzejewska – is a graduate of the faculty of graphic arts of the Krakow Academy of Fine Arts, a photographer, traveler and illustrator of children’s books. For many years she has been involved in art and social projects linking Europe and Asia. She conducted art workshops for children in Ahmedabad in India and in Istanbul; she has traveled several times to Iran, where she collaborated on photography and literature projects in Tehran, Esfahan, Shiraz and Yazd.

She received a scholarship of the Minister of Culture, won numerous domestic and foreign prizes and awards, including the competition for a photographic project for the Santa Fe Center for Visual Arts (the USA) and in a French competition for illustration to children’s books, Figures Futur.

She has presented her works in such countries as Iceland, Japan, the USA, Iran, Turkey, Germany, Czech Republic, France, Greece, Spain, Hungary and Slovakia. She has had eleven individual photographic exhibitions, of which the most important ones include “Looking” (2011, Warsaw, Krakow, Lodz), “Noor-e Jan” (2009; Warsaw, Katowice, Athens, Istanbul), “Footprints” (2007; Torun), “Places” (2004; Katowice).

She runs photography workshops. The works presented at this exhibition were all made using the traditional silver gelatin technique.




The exhibition will consist of photos of Polish artists represented by the Leica Gallery Warszawa and foreign photographers with whom the gallery is working.

In less than two months we will see a selection of photographs taken by:

Anita Andrzejewska
Adam Lunaris
Elliott Erwitt
Bogdan Dziworski
Jacek Fota
Jacek Poremba
Jacob Aue Sobol
Kacper Kowalski
Nobuyoshi Araki
Paweł Żak
Paweł Jaszczuk
Thomas Hoepker
Szymon Szcześniak
Wojtek Wieteska

In our gallery we will show the photographs that could be seen in the Leica Gallery during the curators exhibitions, new photographs which are not presented in our space and also photographs of upcoming exhibitions. All photographs are collectors’ prints that can be purchased at the Leica Gallery Warszawa.

Kurator: Justyna Kociszewska





Nobuyoshi Araki became internationally famous through his undisputed photographic artistry, but also through the controversial style and the scandals which have accompanied most of his exhibitions for decades. His creative work has often verged on the pornographic, as he photographed women in a manner which raised the rage of feminists. On the other hand, in many of his images the viewers find exceptional sensitivity, nostalgia and subtlety.

Araki is a prolific artist. His portfolio covers dozens of thou- sands of photographs, collected into almost five hundred albums and presented in countless exhibitions held on all the continents. He has been working almost incessantly since the mid-1960s. In Japan, he is a famous persona –his popularity can be compared only to the popularity of pop music or movie stars. Among the Western public, Araki is holding its own against Andy Warhol in the rivalry for the title of the biggest eccentric of popular culture.

The present exhibition at Leica Gallery Warsaw has been prepared in cooperation with the Viennese photography gallery Ostlicht. This is an extensive review of the work of the Japanese master. The exhibition presents his works covering the period from 1968 to 2012: the famous Kinbaku scenes, colorful still lives, Polaroids and finally, scenes from the „Darakuen” (Paradise) series. We also present an exceptional collection of publications: books and brochures, many of which have been hand-made or hand-decorated by Araki himself.

Nobuyoshi Araki (born in 1940 in Tokyo) studied photography and movie direction at the Chiba university. After graduation, he started work at the Dentsu agency, where he met his future wife – Yoko.

The motives of Araki’s work include the typical aesthetic of Japanese culture as well as traces of inspiration by the classic masters of Western photography (Cartier-Bresson or Man Ray). The most frequent themes of his photographs include still lives, street photography, corporality and sex (Eros) and the circle of life and death (Thanatos), repre- sented by the “Sentimental journey” – a monumental se- ries which documents his relationship with wife Yoko and the grappling with suffering after her premature death.





The Western belief that the body is a source of sin has never caught on in Japan. The concept of clean/unclean does not exist. Sex, eroticism, pornography — all this is a part of life, art, a natural human need, which in Japan is not subject to moral evaluation. Whatever you do with your body is your own business.

Latex bodysuits, school uniforms, dolls that look like people and people dressed as dolls, young girls wearing masks of anime characters, metal hooks piercing the bodies — this is just a small sample of the night games played by thrill-hungry Japanese. Tokyo has the so-called happening bars — ostensibly regular hang-outs, as everywhere else, the only difference being that the patrons all are naked.

Photographing these places took the artist three years. He would get up at night, grab his bike and start the search. Hundreds of kilometers across sleeping Tokyo. You cannot just walk into such a club. First you need to find such a place, next you need someone who would introduce you in. The club owner must agree to taking pictures and next, you need the consent of the persons whom you want to photograph. First you always need to talk. The photogra- pher must become an invisible part of the club, only then he will go unnoticed. The models bare themselves before the camera, reveal their secrets. During the night they pretend, play games, dress up, turn into somebody else. When the morning comes, they will cover their huge tattoos, wounds, holes in the flesh made by the hooks, bruises with an elegant suit or stylish dress.

During daytime, Paweł Jaszczuk worked, among others, for Sony Music Japan. He cooperated with the well-known Japanese DJ Takkyū Ishino (who has given shows also in Poland), with artists such as Ukawa Naohiro and Kenji Shimamura. He took fashion shoots for magazines and companies, including the British TOP SHOP or the best-known Australian shoe company, the UGG. He also worked with the Polish magazine Twój Styl.

But commercial photographs had a major drawback for him – they are short-lived. For the Artist it is the large format that matters, the exhibitions. He had quite a lot of these. Germany, Denmark, Holland, Switzerland, China, Japan – to name just a few countries. The British „HUH. Magazine” praised him for always showing the raw, unretouched faces of the characters. Texts about Paweł and his work have been published in the British Journal of Photography, the French Photo Magazine, the German Nude Paper, American Carpicious Magazine or the Chinese Glob- al Times. In 2009, the US-based publishing house Morel Books issued a a limited edition of Jaszczuk’s photobook: “Salarymen”. The whole print-run sold out in a matter of days. Amon others at the most famous Paris boutique, Colette.

Kurator: Rafał Łochowski
Producent: Jarosław Szamborski



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Kacper Kowalski

Side effects

Kowalski, the winner of World Press Photo, a photographer and a pilot, next to his well known and widely acclaimed works, will present new photographs, all in striking formats. The opening reception will be accompanied by Kowalski's photobook premiere.

With a degree in architecture, Kowalski focuses on aerial photography. He is nowadays one of world's best pilot photographers; taking his shots from a paraglider he captures previously unseen natural environments and normally inaccessible cityscapes. However, these are not merely pretty pictures.
"When flying, I cannot build a relationship with people the way it is in classical photography. I look at forests, fields and lakes. I look at natural catastrophes and I watch people taking rest - what I see is a portrait of civilization."
For his images he's received numerous awards, including the World Press Photo award in 2009 (Arts and Entertainment category), Grand Press Photo award, International Photography Award (IPA), Sony World Photography Award.



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Sputnik Photos

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