{"id":24703,"date":"2023-08-11T17:40:02","date_gmt":"2023-08-11T15:40:02","guid":{"rendered":"https:\/\/kwartalnikfotografia.pl\/?p=24703"},"modified":"2023-08-13T10:34:53","modified_gmt":"2023-08-13T08:34:53","slug":"kwartalnik-fotografia-nr-42-juz-jest","status":"publish","type":"post","link":"https:\/\/kwartalnikfotografia.pl\/en\/kwartalnik-fotografia-nr-42-juz-jest\/","title":{"rendered":"\"Quarterly Photography\" issue 42 is here!"},"content":{"rendered":"

This morning the print run of the latest issue arrived. We immediately began packing, labeling and shipping. As assured by InPost, the first readers will receive their favorite photography magazine as early as Monday, August 14. Those who have not pre-ordered KF 42 can still do so.<\/p>\n\n\n\n

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Table of contents of \"Photography Quarterly\" No. 42<\/figcaption><\/figure>\n\n\n\n

Just go in HERE and order<\/a>. It's really worth it - quote here in full Foreword<\/em> Piotr Nowak, who is the managing editor of this issue: <\/p>\n\n\n\n

It's August, a time of vacation, rest and pleasant weather. Not for everyone. The war doesn't take a vacation break, doesn't take a vacation and doesn't care about the weather outside the window. We begin issue 42 with two \"stories\" about the war, the war in Ukraine. Marek M. Berezovsky not only introduces the cruel world of war, but also describes it in the form of a diary. Amazing photographs and great empathy. <\/p>\n\n\n\n

Two-time Grand Press Photo Winner for the best photo of 2022 and 2023, Wojciech Grz\u0119dzinski, agreed to answer some questions. Grz\u0119dzinski's answers and moving photos leave no illusions about what is happening beyond our eastern border. <\/p>\n\n\n\n

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Photo by Wojciech Grz\u0119dzi\u0144ski <\/figcaption><\/figure>\n\n\n\n

42-200<\/em> Jacenty D\u0119dek's sensitive \"double portraits\" become mirrors of the city, of people in search of identity. Jurek Orawski, on the other hand, touches on the subject of immortality and memory of stone using the example of two projects by Jakub Byrczek. Negatives<\/em> from the 1970s depicting the now-defunct Pilsudski heap in Jaworzana, and pinhole photographs made using stone in collaboration with children. Both projects are united by place and stone after many years. Zbigniew Tomaszczuk discusses the temporal separateness and worldview of the eastern borderland in Tadeusz \u017baczek's photographs. Zaczek's black-and-white, brilliantly composed, almost cinematic frames are nevertheless a very sensitive documentation of the Orthodox world on the Polish side of the Bug River. <\/p>\n\n\n\n

Waldemar Sliwczynski leans into Tomasz Mielech's \"documentation of the past.\" Trying to save disappearing localities through photography seems to be the only thing that can be done at the moment for the areas adjacent to the Turow mine. Taro Moberly from California is photographing the place he moved to in 2015, which is Kyoto, Japan. The photographer's work is brought to us by Agata Mayer. <\/p>\n\n\n\n

The work of Grzegorz Przyborek, on the sidelines of his large exhibition during Fotofestiwal, is introduced by El\u017cbieta \u0141ubowicz.<\/p>\n\n\n\n

Aleksandra Sliwczynska-Kupidura writes about Abzgram <\/em>and school non-obviousness by Karolina Wojtas and the exhibition held at C\/O Berlin. Some good mood is provided by group portraits by Roman Franc. The indispensable Vladim\u00edr Birgus wrote about the photographs of the man who is the adopted son of Red Horse, a shaman from the Navajo tribe, and whose works hang in the Museum of Fine Arts in Houston and the Museum of Modern Art in Rio de Janeiro, among others.<\/p>\n\n\n\n

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Photo by Tomasz Tomaszewski<\/figcaption><\/figure>\n\n\n\n

Birgus-Szalast doublespeak for Arkadiusz Gola's series -. Black and White Earth,<\/em> are amazing photographs from Upper Silesia that have a considerable dose of positive vibes in a land where for many people there is little reason to smile. The series opens with Iga Niewiadomska's interview with Tomasz Tomaszewski about his latest book The World Is Where You Stop. <\/em>Then we have a conversation between Monika Piotrowska and the editors of PHOTONEWS \/ Zeitung f\u00fcr Fotografie, an opinionated photography magazine in Germany. Waldemar Sliwczynski asked Marek Szyryk whether photography needs a word. <\/p>\n\n\n\n

Anka Gregorczyk and Waldemar Sliwczynski summed up this year's Fotofestiwal in Lodz, which was held under the theme of Hope\/Hope. <\/em>Waldemar Sliwczynski also reported on the exhibition Contacts 2023, which was held at the Jelenia Gora BWA and the Photography Academy. For those who are passionate about the history of photography, an important exhibition in 2023 was Photography. Artistic Photography in Poland 1927-1978<\/em>, curated by Adam Mazur and Lukasz Gorczyca. We present a polemic by critics Krzysztof Jurecki and Weronika Kobylinska, to which Adam Mazur responds. In the Young Portfolio section, we present Milena Soporowska and her relationship between the occult and the domestic environment in interesting and abstract works. Finally, we invite you to read book reviews.  <\/p>\n\n\n\n

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Photo by Arkadiusz Gola<\/figcaption><\/figure>\n\n\n\n

I wish you a pleasant reading and invite you to our website, where, in addition to articles, archival issues of KF, books and collectible prints are waiting for you. The issue is enriched by \"Review\", the periodical of the Charles School of Photography. The next issue of KF in the fall, in November 2023.<\/p>\n\n\n\n

<\/p>","protected":false},"excerpt":{"rendered":"

This morning the print run of the latest issue arrived. We immediately began packing, labeling and shipping. As assured by InPost, the first readers will receive their favorite photography magazine as early as Monday, August 14. Those who have not pre-ordered KF 42 can still do so. Just go HERE and order. It's really worth it - to quote in full from the Introduction by Piotr Nowak,...<\/p>","protected":false},"author":22,"featured_media":24702,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[221],"tags":[268,248,314,280,578],"class_list":["post-24703","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eseje","tag-analogowa","tag-czarno-biala","tag-eksperyment","tag-fotografia-polska","tag-fotografia-zagraniczna"],"_links":{"self":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/24703","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/comments?post=24703"}],"version-history":[{"count":3,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/24703\/revisions"}],"predecessor-version":[{"id":24721,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/posts\/24703\/revisions\/24721"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/media\/24702"}],"wp:attachment":[{"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/media?parent=24703"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/categories?post=24703"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kwartalnikfotografia.pl\/en\/wp-json\/wp\/v2\/tags?post=24703"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}