Exhibition opening at 6 pm 8th November 2022

Exhibition opening:
6 pm 8th November 2022 

Graphics Gallery of the University of SWPS Wrocław

08.11 - 30.11

Curators: Sławek Decyk, Michał Jakubowicz


Basia Budniak
Sławomir Decyk
Tomek Dobiszewski
Michał Jakubowicz
Paweł Kula
Diego López Calvin
Tarja Trygg
Tomasz Wendland
Ilan Wolff
Piotr Wołyński

Since its inception in 2000, the Solaris project, a proposal in the field of slow photography, has involved the manipulation of images and the undermining of the social contract in defining the photographic medium. Long, anti-flicker shots lasting from a few months to a few years specifically emancipate the most important subject in photography, namely – light, captured in terms of an object.

The solarigraphic method assumes a hybrid process combining the use of analogue light-sensitive materials, conventional cameras and ready-made or DIY constructions, image processing using scanners, digital but raw post-production (limited to parameters such as framing, contrast, brightness) and distribution of the images in art and net-art spaces. Making the Solaris project’s formula available – first on the server, now on many author websites – popularises it among visual artists from all over the world, translating into a diversity of solar drawings. The specificity of solarigraphic images is influenced by a number of factors, the most important of which are: long exposures to light (time), geographical location (location and climate), constructional assumptions made (camera), and social consent to the presence of cameras in public space (culture/society).

Exposure of the paper negatives over several months reveals drawings – called ‘the path of the sun’, ‘solar tracks’ – dependent on the movement of the planet Earth, having the sunlit camera aperture as its ‘stylus’. When the camera is directed against the light, and the process takes at least a few weeks, the photograph makes visible how the Earth moves the image by creating cyclical lines on it. In extreme conditions, exposures take place without a camera, using solarigrams, i.e. in conditions where the matrix is adjacent to the real object, while the object of the image, still remains light.

The images change due to the geographical location of the cameras. Other variables, i.e. seasons, length of days, humidity, affect the materiality of the mechanisms and the condition of the negatives. Strong exposures sometimes directly burn the drawings, while high humidity imposes separate layers adding material qualities to the images of the objects.

The mechanical basis of solarigraphy are pinhole cameras (#pinholecamera) which are contemporary, creative modifications of the camera obscura. Due to the materials or products used to realise the cameras, solarigraphic techniques have a recycled, but also a symbolic or subversive character, as they set out processual co-texts (U. Eco) for the images created.

In the world’s metropolises and large cities, social consent to the presence of cameras monitoring public life is high. However, it is a different thing to process a single image over many months or years with artisanal cameras. Unidentified objects, cans, boxes, photographic papers left in public spaces are often destroyed by passers-by. In this way, the photographs become testimonies of the consent, or lack thereof, to what deviates from the norm in public space. In other cases, the images show views from places where artists’ studios are located or where art mixes with privacy.

Michał Jakubowicz

Thank you for the photos and your patience.
To the eye and without your commentary, it is clear that these are half-yearly sun exposures, more than technically correct. All solariums should have one, at least one solarigraph hanging on the wall:). However, for the person seeking something more than the technicalities of the pinhole process, something more than the delight in the shade and depth of the green, transcending the aesthetic aspects of the images offers a chance to free one’s thoughts from this prison. Any attempt to go beyond the template that exists in solarigraphy (that of the first project) and to seek other ways and apply one’s own solutions to working with the phenomenon of light can become an extremely valuable experience.

Twenty-two years have passed since the first page of the Solaris 2000 Project was made public on the now defunct servers. Solarigraphy and its accompanying ideas (whether adapted literally or misunderstood, including those developed and popularised under the renamed solargraphy – Tarja Trygg) are now operating globally. This effect of transformation and manipulation, as a consequence of the release of the ideas of the Solaris 2000 Project, was considered by its creators. The name solarigraphy was not coined to describe its technical aspects, nor as a mere naming of such images. As we understood it and intended it, it was a kind of artistic practice, a proposal for a shared experience of light sensitivity on a global scale, precisely thanks to the emergence of the Internet at the time. The middle ‘i’ in the name was used to emphasise the completely new possibilities of the web in the art field. The name solarigraphy as a word created in Polish was translated into English around 2003 as solargraphy.

From today’s perspective, it can be considered that the Solaris 2000 Project was not just a kind of introduction, an initiation, an invitation to take a ‘common photograph’, but rather a self-contained, genuinely open-ended phenomenon waiting for its metamorphoses and deformations.
Let’s look at solarigraphy as a potential of possibilities coupled with every decision of the realised project. Solarigraphy understood as the broadening of the experience of photosensitivity, which is an intermediary and not an end in the recognition of the possibilities of art. Photosensitivity is a language of art with the potential to encode views beyond the realms of our visibility.

Sławomir (Slavo) Decyk


from 5 pm to 9 pm 

on Tuesday 18.10. 2022

Curator: Juraj Čarný

Exhibiting artists:

Luchezar Boyadjiev /BG/, Ladislav Čarný, Džumelec (Erik Sikora), Aldo Giannotti /A-I/, Daniela Krajčová, Kundy Crew, Stano Masár, Jarmila Mitríková / Dávid Demjanovič, Dan Perjovschi /RO/, Ivana Šáteková, Shooty, Dušan Zahoranský



The Wandering Gallery is proud to announce collaboration of with 8 Mediations Biennale Polska 2022 in Mosina and Wroclaw.

“We have created a system that prefer false information not because we want it, but false information makes companies more money than true. The truth is boring.”
Sandy Parakilas, former operations manager Facebook

In 2021, we met for the first time on a mass scale with hoaxes that not only endangered human lives, but also directly killed. The irresponsible behaviour of people spreading misinformation questioning the safe principles (social distancing, wearing robes, but also the existence of the virus) has been exacerbated by algorithms that determine the priority distribution of fake news. And we had no idea that in 2022 the war would begin in Ukraine and about 30% of the population in Slovakia would be on the side of the aggressor. The disinformation scene disseminating unsubstantiated and misleading information is not adequately counterbalanced by institutions that disseminate facts on social networks with comparable force. Being a victim of a disinformation war is relatively easy, especially when unprepared and uneducated people stand against troll farms and sophisticated social networking algorithms.

The Wandering Gallery is a nomadic public art platform (balcony built on a small truck) presenting contemporary art, music and workshops in regions (summer festivals, squares, housing estates, schools and). We focus on places where extremism grows uncontrollably, we talk to people for whom attending a cultural event or cultural institution is an unimaginable or unattainable luxury. In collaboration with international artists and through the metaphoric language of art we draw people’s attention playfully to the risks of extremism, racism, xenophobia and disinformation. The vision is to help people learn to think critically.

In cooperation with 8 Mediations Biennale Polska we will present concert and exhibition on a topic inspired by the work of activist group Kundy Crew.

video documents:

One day a kind of angry person came to Socrates: “Have you heard, Socrates, what your friend has done? I must tell you at once.”
“Wait,” the sage interrupted.
“Have you sifted what you want to tell me through three sieves?”
“Through three sieves?” the man asked in surprise.
“Yes, yes, through three sieves. The first sieve is the truth. Have you examined whether everything you want to tell me is really true?”
“No, I just heard it and . . .”
“Then you must have sifted it through the second sieve, which is good. Is what you want to tell me, when you can no longer prove it to be true, at least good?”
The other answered hesitantly: “Not at all, on the contrary…”
“Ah!” interrupted Socrates. “Then let’s use the third sieve and see if what you want to tell me and what upset you so much is necessary!”
“It really isn’t necessary…”
“Well,” smiled the wise man, “if it is neither true, nor good, nor necessary, you had better forget it and do not burden yourself or me with it!”

The Wandering Gallery visited Budapest, Warsaw, Prague, Graz, Maribor, Koper, Celje, Zürich, Roma, Torino and other cities between 2007-2010. We covered 18 566 km in Slovakia, 75 878 spectators attended our performances between 2017-21.

In cooperation with Mediations Biennale Polska and Mosina Cultural Center

Supported using public funding by Slovak Arts Council


8 Mediatons Biennale Polska


Basia Budniak

– visual artist working with photographs and video images. She is interested in photography performativity, its multi-level experiences – from the moment of image production, through its contemplation ultimately to its deconstruction. She experiments with the moment of contact with a camera – starting with private uses and ending with political ones. She frequently treats visuality as a starting point for artistic endeavours by which she explores spaces of image impact on humans as well as human involvement in images.

Sławomir Decyk

born in 1968, lives and works in Poznań. Since 2002 he has been employed at the Faculty of Photography of the University of the Arts in Poznań. He is involved in a broadly-understood phenomenon of photography, installation and motion picture. A reflexive attitude of his creative works is featured by the confrontation of forgotten or omitted methods of imaging with current practices of medium experiencing, defining the border areas of photography (in particular those identified as post-media), gaining new means of expression and tools that lead to outreaching one’s imagination. He is a co-creator of Solarigraphics and author of a unique series of cyclographics. He participated in more than 70 exhibitions in Poland and abroad, i.e. in: Great Britain, Australia, China, Spain, Canada, Germany, Slovakia.
Since 2020 he has been running Experimental Photography Atelier at the Faculty of Photography of the M. Abrakanowicz University of Art in Poznań.

Tomasz Dobiszewski

was born in 1977 in Bydgoszcz. In 2005 he graduated from the Academy of Fine Arts in Poznan, he completed his diploma in the Intermedia Photography Studio under the supervision of Dr. hab. Krzysztof J. Baranowski and Prof. Stefan Wojnecki. In 2018, he graduated from the Interdepartmental Doctoral Studies at the Eugeniusz Geppert Academy of Fine Art and Design in Wroclaw, he defended his doctoral thesis in 2020. Since 2018, he works in the Department of Media Art. In 2008-2010 he was associated with the Foto-Medium-Art gallery in Krakow. He has collaborated with the groups FUgg, laubyn, 6_3 and the Musical Theater Capitol in Wroclaw. He lives and works in Wroclaw.

He formulates his artistic statement using photography, video, animation, multimedia and site-specific installations, mail art or book art. In his works, which show the processes how to artistically tame the media, he does not stop at purely conceptual cognitive strategies, but enriches the discourse with extra-intellectual elements, such as sensual impressions and intuitive cognition. His experiments with a new tool are carried out not only to achieve predictable results, but he attempts to shift the emphasis to the periphery of a given method and use the inherent, although non-basic, properties of devices and technologies, which often tend to be more interesting and unevident. Recently, he has been focusing on visualising unperceptible phenomena, which not only broadens our knowledge of the surrounding world, but also deepens our imagination and develops visual thinking. Works in the The Bunkier Sztuki Collection in Krakow (PL), Palace of the Governors Photo Archives at the New Mexico History Museum, Santa Fe (USA), Contemporary Art Collection of The Lower Silesian Society for the Encouragement of Fine Arts (PL), Collection of the Gallery of Modern Art of Leon Wyczolkowski’s Museum (PL), The Book Art Museum in Lodz (PL) and in private collections. Artistic Scholarship of the President of Wroclaw (2022). Jerzy Grotowski Scholarship for achievements in the field of art (2017). Scholarship of the Polish Ministry of Culture and National Heritage (2012).

Michał Jakubowicz

born in 1977 in Wrocław, visual artist applying photography, film, objects, drawings in his works. Author of such books as:  Dziady (2020), sub (2018), subPark (2016), collection of studies Eksperyment koło fotografii (2018) and a monograph Medium na białym tle (2008). He is concerned with the theory and practice of visual arts as modes of contemplating culture and communication. He works at the SWPS University of Social Sciences and Humanities as university professor.

Paweł Kula

develops optical devices and toys. He works with plant photosensitive pigments, using afterimages and the phenomenon of phosphorescence. He is interested in photographic processing, found images which are impossible to be recorded and non-camera techniques. He is a co-inventor of solarigraphics, one of the more popular alternative photographic methods enabling extremely long shutter speeds. He designs educational activities for institutions of culture, schools and galleries using the language of visual arts and DIY practices. Great fan of indoor plants, working on his recreational plot and winter swimming.

Photo by: David Jiménez

Diego López Calvin

Soria, Spain 1965. Degree in Information Sciences from the Universidad Complutense of Madrid, Spain. Independent photographer and visual artist based in Madrid, carry out editorial commissions and reports for different media, producers, and advertising agencies. He has published his works in the leading newspapers and magazines of the country and abroad. He was teaching photography at the Public University Rey Juan Carlos from 2016 to 2019. He has spent more than 20 years practicing pinhole photography, photographic techniques of the XIX century, and very long-time exposures. He develops artistic projects and teaches workshops using alternative processes of photography in relation to astronomy, geolocation, and collective participation through working groups in social networks. His work has been exhibited in Spain, Poland, Australia, France, UK, Jordan, Palestine, Israel, EE.UU, Chile and Dubai.

Miłosz Pobiedziński

Born in 1973 in Wałbrzych. In the years 1997-2002, he studied painting at the Faculty of Fine Arts of the Nicolaus Copernicus University in Toruń in the atelier of Professor Mieczysław Wiśniewski and photography under Dr. Zdzisław Mackiewicz. Since 2004, he has been a research and teaching staff member at the university as a professor in the Department of Visual Arts in the Faculty of Industrial Forms in Krakow. Fields of artistic activity: installations, ready mades, performance, painting, creative photography.

He has held 15 solo exhibitions. Since 2000, he has participated in more than 60 collective exhibitions at home and abroad, presenting his works in galleries such as: National Museum in Lviv, Museum of Book and Printing in Kiev, Polish Institute in Stockholm, Studentenwerk in Göttingen, Le Château des Arcys in France, El Gallery Art Centre in Elbląg, District Museum in Toruń, Archaeological Museum in Poznań, Museum of the Warsaw Archdiocese in Warsaw, Wozownia Art Gallery in Toruń, Arsenal Municipal Art Gallery in Poznań, Pałac Sztuki in Kraków, Galeria Bielska BWA in Bielsko-Biała, Galeria Władysława Hasiora in Zakopane, Zamek Książąt Pomorskich and Museum of Contemporary Art in Szczecin.
Works can be found in the collections of the Studentenwerk in Göttingen, the Museum of Contemporary Art in Szczecin, the In Situ Foundation for Contemporary Art in Sokołowsk, as well as in private collections in France and the USA and Great Britain.

Tarja Trygg

Twenty years hooked on solargraphy, solargrapher and visual artist. Education: Licentiate of Arts, University of Arts and Design, and Art educator/ Fine Arts. She has worked as a senior lecturer at Aalto University, teaching photography at the Department of Art. She is currently emerita and concentrates on her doctoral thesis on FACING THE SUN. Exploration of Solargraphy Observing the Universe through a Pinhole Photography without a lens. For mapping research material, 2006-2012, Tarja Trygg created a global solargraphy project on the Internet to invite volunteers to place her homemade pinhole cameras at several latitudes worldwide []. In addition, she has widely promoted solargraphy teaching, keeping lectures, and workshops, writing articles, holding solo exhibitions, and attending group exhibitions and international projects. In January 2022, her newest solo exhibition on The Amazing World of Solargraphy was at ARS Longa Gallery in Helsinki, Finland, to show the world from other perspectives what we cannot see with the naked eyes.

Tomasz Wendland

Born in 1960 in Poznań.

Adam Mickiewicz University (History of Art), 1981-1984.
Alanus Kunsthochschule Alfter/Bonn Germany (paintings), 1990.
Academy of Fine Arts in Poznan (drawing, sculpture, education), 1993.
PhD „The Unknown”, Dartington College of Art, Plymouth University, Great Britain, 2009.
Habilitation „Black Light”, University of Art in Poznan, 2012.

Artist working in fields of: video and sound, installarion, sculpture, photography, object, performance. It’s common to all works to search for the presence of the mystery, its sensual experience.
Curator and initiator of international project such as Mediations Biennale in Poznań, Hotel de Inmigrantes, Pavilion0, and many shows in Belgium, China, Germany, Hungary, Indonesia, Italy, Israel, Japan, Korea, Turkey, Urugway, USA and Poland.

Ilan Wolff

I was born in 1955 in Nahariya, Israel. After my photography study (1978-1981) in Haifa – Israel, I moved to Europe (Amsterdam) and adopted the Camera Obscura technique using only round, cylindrical pinhole cameras. Since 1992 I have lived in Paris and transferred my studio and other rooms to a Camera Obscura (C.O.) in order to create a new way of working. I could combine pinhole and photogram technique (Sténogram) by photographing the outside world with objects and or the human body on the photographing paper inside the C.O. room. From 1995 I have also used my van – car as a pinhole camera. Moving to Seyssel (France) in 1997 I started to use the photogram technique as well. By creating images in my studio using light and heat (Calorigram technique) as energy – the “4 elements” series for example. From 2004 I started to work outdoors in nature using the night as my darkroom and the moon – light as my energy to create images (Lunagram technique) using mainly nature as objects.
Since 2010 I have been based in Vicar (Spain) experimenting with pinhole & photogram techniques, giving workshops in Germany, France and Spain.

Piotr Wołyński

born in 1959 in Poznan, a visual artist, he has worked in the field of creative photography since the end of the 1970s. He treats photography as a social paradigm of concentration of attention and ordering meanings, which requires constant experiments and reappraisals. He studied philosophy and cultural studies at the Adam Mickiewicz University in Poznan. In addition to his artistic pursuits, he publishes critical texts and organizes exhibitions. Since 1985, he has been associated with the Academy of Fine Arts in Poznan; initially, as Assistant Professor in the studio of Professor Stefan Wojnecki, and since the 1990s he has managed his own studio. He is the author of more than ten solo exhibitions, also participant of a host of collective events.

Sławomir Decyk

ur. w 1968 roku, mieszka i pracuje w Poznaniu. Od 2002 roku jest pracownikiem Wydziału Fotografii UAP. Zajmuje się szeroko rozumianym zjawiskiem fotografii, instalacją oraz obrazem ruchomym. Refleksyjną postawę jego działań twórczych cechuje konfrontacja zapomnianych lub pomijanych metod obrazowania z aktualną praktyką doświadczania medium, definiowanie granicznych obszarów fotografii (w szczególności tych określanych jako postmedialne), poszukiwanie nowych środków wyrazu i narzędzi pozwalających przekroczyć własną wyobraźnię. Jest współtwórcą Solarigrafii i autorem unikalnej serii Cyklografii. Brał udział w ponad 70 wystawach w Polsce i za granicą, między innymi: Wielkiej Brytanii, Australii, Chinach, Hiszpanii, Kanadzie, Niemczech, Słowacji. Od roku 2020 prowadzi Pracownię Fotografii Eksperymentalnej na Wydziale Fotografii Uniwersytetu Artystycznego im. M. Abakanowicz w Poznaniu.