We invite you to explore the fascinating world of art in our exhibitions and gallery section. It’s a place where we want to share our passion for art by showcasing unique works created using the highest quality printing technologies. Our exhibitions and gallery provide a space where artistic creativity meets printing excellence, resulting in one-of-a-kind artworks. Take a closer look at our exhibition projects and gallery, where art becomes not only an object of admiration but also a source of inspiration.

The most internationally recognized Polish photographer, considered one of the pioneers of advertising photography, will participate in the jubilee edition of the EnergaCAMERIMAGE Festival. From November 13th at the Znaki Czasu Center for Contemporary Art in Toruń, you will be able to see a retrospective exhibition titled “Ryszard Horowitz. Photocompositions 1969–2022.” The artist will not only present his most important works but will also meet with festival guests and Toruń residents.

Ryszard Horowitz was a precursor in the use of special effects in photography in the era before digital imaging. With the development of technology, he created subsequent works, utilizing innovative techniques and computer programs. He became a role model for graphic designers and photographers in the field of advertising, and his works set global trends, inspiring several generations of photographers.

During this year’s jubilee edition of the EnergaCAMERIMAGE Festival, Horowitz’s works will be displayed at the Znaki Czasu Center for Contemporary Art in Toruń and at the headquarters of the Tumult Foundation. The exhibition will include, among other works, a diptych of festival posters consisting of photocompositions from 1993 and 2022, commemorating 30 years of Camerimage. Both posters from the diptych, autographed by the master, will be available for purchase to the first 30 interested individuals. The artist will also participate in an open meeting with the residents of Toruń and guests of the EnergaCAMERIMAGE Festival (scheduled for November 14, 2022, at 8:00 PM at the William Horzyca Theatre). The event will be accompanied by the screening of the documentary film “Polanski, Horowitz. Hometown,” telling the story of the childhood of two great artists whose fates intertwined during World War II.

“Dune” is an adaptation of the famous novel of the same title by Frank Herbert. Greig Fraser, who works as a cinematographer on the production, is also a very talented photographer. He decided to share thirteen photos that provide a close look at the production’s characters. You can find them in the gallery below. It was Denis Villeneuve, the director of “Dune,” who was impressed by Greig Fraser’s talent and encouraged him to take photos on set. When Greig Fraser expressed his nervousness about taking them for a specific purpose, he was told that he shouldn’t have any purpose, and perhaps they would end up with a few shots for an album at the end of production.

Greig Fraser mentioned that when he started taking photographs, he realized how much satisfaction it brought him. Instead of distracting him from his work, taking photos allowed him to focus and see what needed to be captured to tell the story effectively.

Mysterious forest, twinkling lights, a starry sky, and the sounds of nature… The European Film Center CAMERIMAGE and the CAMERIMAGE Cinema invite you to an exhibition that will transport viewers into the enchanted world of The Little Prince! The “Little Prince” exhibition is an interactive display of illustrations by Eliška Podzimková, where her images come to life and move as if touched by a magical wand.

During a two-week journey through Iceland, the artist was captivated by the local nature. She found much inspiration there for preparing a new edition of The Little Prince book. In Podzimková’s works, you can discover impressions of moments spent on the island and its breathtaking beauty.

Thanks to augmented reality, visitors to the exhibition will be able to bring its elements to life using the Artivive app.

The idea behind the exhibition is to create the magical world of The Little Prince, which enchants not only the eyes but also stimulates the other senses. Through it, one can momentarily forget about everyday life and return, if only for a while, to childhood – Eliška Podzimková.

• I meet some of these people for coffee at “Bromberg Kaffee.” Like alchemists from centuries ago, the individuals in the photos also transform their surroundings, businesses, and passions into “gold.” They fantastically arrange their lives in Bydgoszcz. Some never leave our city, while others, enchanted by it, move here from all over Poland. Even from Warsaw.

I present here works from sixteen years of my activity. It’s a collection of various photo sessions with the image as the connecting thread. Some are my clients: musicians from the Bydgoszcz Academy of Music, a photographer, founders of two companies, and the owner of a dance studio. In the next photo, there’s a relaxation master whom I call a “shaman.”

For critics, the fundamental question remains: why didn’t “The Devil,” as a potential masterpiece, become one or turn out as one? Was it solely because of censorship? Why does “The Devil” seem so weak today when it was supposed to be so brilliant? This is a fundamental question. But can it even be asked? It always sounds false, especially in reference to a work that has been shelved for years. And then, years later, in a completely different era, it’s taken down and… poorly understood by the audience.

“The Devil” is Andrzej Żuławski’s best film, although years of forced shelving (it was only released in 1988) did not add any value or charm to it. The film has aged significantly – that is, the poetics in which Żuławski shot it has aged. But since he did not significantly change this poetics over the next two decades, reaching such heights as the subway scene in Berlin with Isabelle Adjani in “Possession,” one might think that the poetics were correct but the execution was imperfect. What Adjani could win in “Possession,” Leszek Teleszyński couldn’t achieve in “The Devil.” That’s why Wojciech Pszoniak in the role of the devil is so lonely in this film.

“The Devil on the Gdańsk Avenue” was also supposed to be a masterpiece, a superproduction, joining the worldwide wave of sci-fi films led by Stanley Kubrick’s “2001: A Space Odyssey” (1968). Unfortunately, once again, the communist authorities deprived the creators of the opportunity for full recognition, destroying the film even before its completion, even destroying the sets.

So it’s not surprising that the young director left the country.

The Andrzej Żuławski project at the CSW is a story about unfulfilled Polish film masterpieces, about opportunities wasted by censorship and the ambitions of PRL-era officials.