11.08.2026 / Activities, News
Night of Photography 2026
Photography and video presentations across Warsaw’s Old and New Town, meetings with artists from Poland and abroad, the premiere of a new publication, workshops, and screenings created especially for the city’s historic spaces – on 4 September 2026, the Museum of Warsaw invites you to the fourth edition of the Night of Photography. This year’s event is held under the slogan “Making the City Your Own.”
Museum of Warsaw, Room of Photography, 42 Old Town Market Square
16:00 – guided tour of the Room of Photographs (meeting at the ticket counters)
Space is limited. Free tickets are available for download online or at the ticket counter of the Museum of Warsaw.
Tour in Polish.
From 25 August to December 2026, Room 2 of the Room of Photographs will present the exhibition “Making the City Your Own” curated by Julia Staniszewska.
A selection of contemporary works from the Museum of Warsaw’s photography collection. The artworks presented here depict the city through the eyes of renowned and emerging artists, as well as people for whom photography is a means of working through the experience of migration. These photographs reflect an attempt to build a relationship with the local space.
Making the city one’s own requires action – for example, walking around with a camera. Seen from the street level, the city never reveals itself in its entirety. Closest are the sidewalks, and the fences. Upon them unfolds a struggle of signs and slogans. Making one’s own also means confronting what is difficult, foreign To see mare, one has to lift one’s head, look around, change one’s perspective – yet even then, one sees only a fragment.
Making the city one’s own occurs through rituals, like shoveling snow, playing footbll, walking the dog. lt means also observing nature, turning towards the wild Warsaw – a city where birds weave a nest in the building at Five Corners’ Square.
Museum of Warsaw, Lapidarium, 40 Old Town Market Square
17:00–18:00 – premiere of a new publication „Aleksander Minorski: Photography As Intervention”
A meeting with the authors of the book’s essays: Łukasz Bertram, Marta Rakoczy, Piotr Głogowski, Katarzyna Uchowicz, Michał Przepierski i Karolina Puchała-Rojek. The discussion will be moderated by Bogna Świątkowska.
Meeting in Polish.
18:00–19:00 – lecture with Jorge Ribalta, a Spanish artist, critic, and curator of the research project and exhibition “Unknown City Beneath the Mist. New Images from Barcelona’s Peripheries”
Lecture in English.
Masterclass on the research project and exhibition Unknown City Beneath the Mist. New Images from Barcelona’s Peripheries.
The exhibition was on view at MACBA in Barcelona from 21 June 2024 to 12 January 2025.
The exhibition’s curator, Jorge Ribalta, will talk about the three-year research project dedicated to Barcelona as seen from the perspective of its peripheries. The project continues a tradition of local photographic initiatives documenting the city’s urban development in the period leading up to the 1992 Olympic Games.
Jorge Ribalta will present the origins of the project and its creative process, drawing on a critical and civic tradition that understands photography as a counter-discourse to the city’s promotional narrative.
The peripheries have always been the most innovative parts of the city, the place where emerging tendencies first manifest themselves. A project focused on the peripheries therefore offers a perspective on Barcelona’s evolution in the coming years, while also providing an important record of the city in the current decade.
(based on press materials provided by MACBA, Barcelona)
Jorge Ribalta is an artist, researcher, editor and independent curator, based in Barcelona, Spain.
In the last years, has shown his work at the CRP Nord-Pas de Calais (Douchy-les-Mines, France), Linea di Confine (Rubiera, Italy), Württembergischer Kunstverein (Stuttgart, Germany), La Virreina (Barcelona, Spain), Fundación Mapfre (Madrid, Spain) and the 2023 Sao Paulo Biennial.
At Museum Reina Sofia, Madrid, he has curated a tetralogy of exhibitions that compose a political history of documentary photography, including A Hard, Merciless Light. The Worker-Photography Movement, 1926–1939 (2011), Not Yet. On the Reinvention of Documentary and the Critique of Modernism (2015), Marc Pataut. First Attempts (2018) and Documentary Genealogies. Photography, 1848–1917 (2022).
Curator of several exhibitions on Barcelona including:
Barcelona. The Metropolis in the Age of Photography, 1860–2004 (Virreina, Barcelona, 2016) and more recently Unknown City Under the Mist. New Images from Barcelona’s Peripheries (MACBA, Barcelona 2024).
Also curator of an exhibition on contemporary photographic surveys in Spain: In Spain. Photography, commissions, territories (Museo ICO, Madrid, 2021).
A selection of his essays and interviews is published in Spanish: El espacio público de la fotografía. Ensayos y entrevistas [Photography’s Public Space. Essays and interviews], Arcadia-Virreina, Barcelona, 2018.
Museum of Warsaw, 30-42 Old Town Market Square
19:15 – official opening of Night of Photography, presentation of certificates to the winners of the “Making the City Your Own” competition (one-time screening)
19:45–20:00 – premiere screenings of works by the winners of the photography competition: Marya Boy, Anna Maksymiuk, Aga Nowak, the collective – Katarina Pupavac and Yavuz Memnun, Alexandra Se Glück, Valentyn Zinchenko
The central figure of 52°12’22.09″N21°01’33.75″E is a staghorn sumac (Rhus typhina L.) that Marya Boy discovered near her home. It is a migratory tree, dioecious and sometimes polygamous, with a complex biology, a fluid identity, and a remarkable ability to adapt to new environments. Introduced to Europe from North America in the seventeenth century, it was initially valued as an ornamental plant but is now widely regarded as an invasive species. Its history became a starting point for the artist’s reflections on migration, the fluidity of roles, adaptation, and the ongoing negotiation of one’s place in the world.
Through her encounter with this tree, the artist also explores contemporary rituals and belief systems, as well as the human need to find meaning in the relationships between the human and more-than-human worlds. For the Indigenous peoples of North America, the staghorn sumac held practical, medicinal, and ceremonial significance. In this project, it opens up a space for reflection on the sacred, memory, and experiences that transcend everyday life. Its presence in the urban landscape reveals the tensions embedded in interspecies relationships: the same plant may be perceived as beautiful, valuable, and medicinal, while at the same time being regarded as alien and invasive. Within this contradiction, the sumac becomes a figure of complex relationships—both between people and between humans and the natural world.
Artist: Marya Boy
Performers / collaborators: Oliwia Czarnocka, Tomek Góralczyk, Marta Pieczul
Location: Morskie Oko Park, Warsaw, 2025
Marya Boy is a visual artist whose practice is rooted in photography, textile work, installation and performative acts. She currently lives and works between Warsaw and Barcelona. Marya Boy is a figure brought to life within her artistic practice, a deliberate onomastic and conceptual gesture, as well as a tribute to her great-great-grandmother.
Her work develops through long-term engagement in relationships with people, places, and objects. She is drawn to encounters that open up possibilities of intimacy, movement, and transformation. Her practice engages with the experience of migration and unequal access to mobility, in both the human and non-human world, which forms one of the key areas of her interest. She explores how the body and the socio-political landscape reflect and shape one another, approaching them as a field of tension between private experience and collective memory. At the same time, she develops projects that trace the passage of time and the emotional weight of transformation.
The project emerged from the artist’s experience of working as a cleaner in private homes – from being allowed into places she would otherwise never have had access to. Entering these spaces, touching other people’s belongings, and quietly observing the traces of their everyday routines, Anna Maksymiuk began to realize that every home is a silent portrait of its owner. Through textures, colours, the arrangement of objects, order and disorder, these interiors spoke of the emotions they held, of the people who lived there, and of who they were when no one was watching.
Cleaning became her point of departure – the first step toward learning to look with greater attention. Over time, she began seeking out similar spaces beyond her work: interiors that, in subtle yet honest ways, revealed something about the lives of those who inhabited them. She transformed these observations into photographs, documenting how a home becomes an extension of a person, and how its interior reveals human vulnerability, solitude, tenderness, and fear.
My Interior is an attempt to understand that what is visible – the arrangement of objects, the texture of fabrics, the light falling into a kitchen – is always a reflection of what lies within. The homes we inhabit are maps of our emotions, and by looking closely at them, we may discover something truthful about ourselves.
Ania Maksymiuk is a documentary photographer. Her work explores the relationship between people and the spaces they inhabit, focusing on memory, identity, and the social dimensions of everyday life. Her project My Interior, based on years of observing private homes, examines how domestic spaces become quiet records of human emotions, experiences, and personal histories.
“Vistula – a never-ending story” is a photographic record of everyday life along the Vistula River in Warsaw.
In the summer of 2022, Aga Nowak walked about 40 kilometres along the eastern and western banks of the Vistula River, discovering a wild natural world hidden right in the heart of a European capital. Being new to the city – having moved to Warsaw from London for a year to study photography – this vast area dividing the city in two sparked her curiosity.
“District Vistula,” Warsaw’s unofficial district, is a place to gather with friends around a bonfire or host a family picnic. It is the city’s beach, a quiet space for meditation and connecting with nature, and a path for cycling to work.
It is a democratic space shared by the residents of an increasingly culturally diverse city.
2022 – ongoing
Aga Nowak – London-based photographer originally from south-eastern Poland. She is interested in everyday human stories, environmental issues, and the relationship between humans and the natural world.
Aga splits her time between working on long-term projects and working as a manager within the creative industry. She holds a degree in Polish philology from the University of Rzeszów. She studied photography at the Academy of Photography in Warsaw and the National Film School in Łódź.
Two-person collaborative project. The series explores how the process of making Warsaw one’s own is shaped by both an internal sense of home and external validation through systems of permission. Between administrative interiors and peripheral green, nature is not an escape but an ‘in‑between’ where the city persists. It also asks who gets to define what ‘integrated’ means. The ending remains unresolved. Making the city one’s own remains unfinished.
Yavuz Memnun born in Istanbul and based in Warsaw since 2016, Yavuz Memnun is an expat whose practice is shaped by travel, observation, and human connection. Having visited 52 countries, he draws inspiration from encounters across diverse cultures and communities. Since 2025, he has been working with analog photography, with a particular focus on black-and-white film. He independently develops and scans his own negatives, embracing the tactile and deliberate nature of the analog process as an integral part of his practice.
Katarina Pupavac (Kika) born in Kragujevac (Serbia), based in Warsaw, lived in Belgrade, Dresden, and Cologne. Shaped by moving between countries, cities, and endless migration paperwork. Constantly questioning the spaces between belonging and not fully belonging.
In 2018, on a whim, she bought an analog camera at a flea market. A random €17 purchase quickly became her main tool for self-expression and a way of observing the world.
Inspired by the uncertainties of living in the EU as a non-EU citizen, analog-era photographers, and the films of Aki and Mika Kaurismäki.
In many Warsaw courtyards, especially in Praga-Północ, there are figures of the Madonna. Most of them were created during the war, and residents continue to take care of them to this day. These Madonnas became a symbol of extraordinary faith and the desire to live despite everything. Today, they are the only light in the crumbling courtyards of Brzeska Street, once the drug hotspot of Warsaw.
For Alexandra Se Glück, this is a distinctly Warsaw story and a subject she returns to again and again. She is drawn to the dramatic contrast between sanctity and brutal reality. To create this project, she had to gain the trust of residents and the “gatekeepers” of the courtyards, who allowed her into spaces inaccessible to ordinary passers-by.
The project has become her own urban legend, unfolding around three figures: the Madonna – the guardian of the courtyards; Praga-Północ – the feminine face of the district; and Łukasz – a young man standing at the gate, keeping watch as a lookout.
For a long time, the artist tried to understand why this place affected her so deeply. As she says: “I feel as if I were dying there myself. It keeps pulling me towards those gates like a ghost. And it becomes frightening and feverish because of this strange love, this unhealthy closeness to him.”
ARTISTS
Project Creator & Creative Director – Alexandra Se Glück
Staged Photography – Marta Kaczmarek
Documentary Photography – Alexandra Se Glück
CAST
Madonna – Alexandra Se Glück
Łukasz “Czujka” – Paweł Bednarek
Praga-Północ – Lena Ramud Marszał
CREATIVE TEAM
Make-up Artist – Aksinnia Chyrvonets
Stylist – Alexandra Se Glück
Behind-the-Scenes Videographer – Kseniya Gayduk
Post-production – Alexandra Se Glück
Location 1 – Praski Klondike
Location 2 – Jurand Kisielewski-Tygler
Alexandra Se Glück is a Belarusian director, creative director, and photographer. She builds visual narratives using digital technologies and text, inspired by street sexuality and urban mythology. In her practice, she combines magical urbanism with raw social observation, often finding the characters of her work on the street.
She graduated in Film and Television Directing from the Belarusian State Academy of Arts. She moved to Warsaw in 2022. Her diverse migration experiences, including work in a nightclub, have significantly influenced the development of her visual language.
Her works, including screenplays and exhibition projects, have been presented at the Berlinale European Film Market, Fringe Festival, the Museum of Warsaw, and in Temptress Magazine.
This series is dedicated to the people, objects, and places that caught the artist’s attention. Valentyn has been living in Warsaw for three years, but the photos were taken over the last six months. The series may seem random, but it is not. Half of the photos are black and white, half are in color, some were taken with a digital camera, some on film, some manually, and some with a compact camera. This variety shows the different moods and states that he was going through. It is hard for him to describe these states with words, so maybe that is why he uses a camera. In a short period of time, not only do people and relationships change, but also the way of looking, everyday life, and lifestyle. People have a special place in this series – they were the ones who attracted artist’s attention most often and co-created the experience of that time.
Valentyn Zinchenko comes from Dnipro, Ukraine, and currently lives in Warsaw. He works with photography, focusing on people, everyday life, and situations that catch his attention. In photography, he is interested in emotions, ambiguity, the body, light, and relationships between people. Concert photography is also an important part of his practice.
20:00–23:00 – Barcelona in the Spotlight (on a loop) – screenings of photographs by Spanish artists.
Artists participating in the research project and exhibition “Unknown City Beneath the Mist. New Images from Barcelona’s Peripheries”: Laia Abril, Gregori Civera, Gilbert Fastenaekens, Carmen Secanella, and French photographer Patrick Faigenbaum, photographs from the project “Barcelona Seen from the Besòs.”
Barcelona seen from Besòs is the result of an unusual collaboraton between photographer Patrick Faigenbaum and geographer and historian Joan Roca, who came together to create a unique urban portrait. The project bears witness to Barcelona’s last major transformation, when, in the post-Olympic period, urban development spread far beyond the city centre, with the opening of the Diagonal, the development of the 22@district, and plans for the Forum 2004 area, near La Mina and the Besòs.
The first photographs were taken in 1999 and the last in 2008, the year the economic crisis erupted. The project does not seek to describe a particular area of the city or a specific community, but rather to explore the complex representation of an urban process, focusing on the interaction between major urban developments and the neighbourhoods along Barcelona’s waterfront, viewed from the periphery towards the centre. This reversal of the usual perspective reveals a city that is both familiar and strange: it approaches the viewpoint of ordinary residents of these neighbourhoods while also offering, from a specific territory, a significant perspective on the city as a whole.
Patrick Faigenbaum is a major figure in the French contemporary photography scene. His work is held in numerous prominent public and private collections, including those of the Metropolitan Museum of Art in New York (USA), the San Francisco Museum of Modern Art (USA), the Josef Albers Museum Quadrat in Bottrop (Germany), the Museo Nacional Centro de Arte Reina Sofía in Madrid (Spain), the Centre Pompidou in Paris (France), the Fondation Cartier pour l’art contemporain in Paris (France), the MAM – Musée d’Art Moderne de Paris (France), and the MEP – Maison Européenne de la Photographie in Paris (France).
In 2024, La Grande Place – Musée du Cristal Saint-Louis in Saint-Louis-lès-Bitche (France) presented a solo exhibition dedicated to his work. In 2021, another major solo exhibition was held at the Josef Albers Museum Quadrat in Bottrop (Germany).
Among Faigenbaum’s most significant solo exhibitions are Barcelona Besòs View, presented in 2017 at La Virreina Centre de la Imatge in Barcelona (Spain); the 2015 touring exhibition Kolkata/Calcutta, presented at the Fondation Henri Cartier-Bresson in Paris; an exhibition at the Musée des Beaux-Arts de Chambéry (France) in 2014; and monographic exhibitions at the Vancouver Art Gallery (Canada) and the French Academy in Rome – Villa Medici (Italy) in 2013. In 2005, the Musée du Louvre in Paris presented an exhibition dedicated to his work.
In 2013, Patrick Faigenbaum was awarded the prestigious Henri Cartier-Bresson Prize, which is presented every two years to a photographer whose work demonstrates exceptional talent and a distinctive commitment to a documentary approach.
Throughout the 20th century, the Besós River was Barcelona’s quintessential backbone, the line that delimited the poor suburbs of the city. This project consists of a topographical tour along the geographic and administrative border of the Besós, from the sea to the mountain, through several neighbourhoods. Echoing his work from 1989-1990, Fastenaekens returns to the same places thirty years later, joined by Brigitte Van Minnebruggen. Despite the persistence of some of the conditions that make urban life difficult, the tour demonstrates the transformation of an industrial, logistical and marginal territory into an area of new centrality where multiple uses and functions coexist.
Gilbert Fastenaekens was born in Belgium in 1955. His work explores the notion of territory, examining the city, the so-called “natural” landscapes, and their transformations through an approach that is both documentary and artistic.
He gained recognition for his Nocturnes (1980–1987), a series of urban landscapes photographed at night using a large-format camera. He participated in the DATAR Photographic Mission on regional planning in France and was awarded the Kodak Prize for Photographic Criticism in 1986.
He later pursued a number of commissioned projects exploring the notion of territory, continuing his attentive observation of the city and landscape. From 1990 to 1996, he developed a body of work on Brussels, comprising black-and-white photographs that examine the development and transformation of the urban fabric.
The most comprehensive monograph of his work is In Silence. Gilbert Fastenaekens (CFC Editions, Brussels, 2015), published on the occasion of his retrospective exhibition at Le Botanique in Brussels in 2015.
His works are held in numerous collections, including the Maison Européenne de la Photographie (MEP) in Paris, the Fonds National d’Art Contemporain (FNAC) in Paris, the Joan Miró Foundation in Barcelona, and the Museum of Photography in Charleroi.
Harm Reduction, 2023–2024
By observing what is considered to be a dark spot (the CAS Baluard, the venipuncture room in the Raval), this work aims to change how this type of institution is perceived and to combat its stigma.
Although the addiction problem is not exclusive to Raval, here, it mixes with the iconography and the historical legend of the city’s underworld. Laia Abril’s project attempts to intervene in the stereotypes from within. In this sense, it focuses not only on the centres themselves but on the entire environment surrounding them. It examines the social inscription of the institution and the neighbour’s rejections; raising questions about gender within this context; and it reflects on the evolution of the public healthcare services in the post-pandemic era.
Following her degree in Journalism from the Universitat Blanquerna-Ramon Llull, Barcelona, Laia Abril furthered her studies at the International Center of Photography in New York and at the Fabrica, in Catena di Villorba, Treviso. A multidisciplinary artist, she works across photography, video, text and sound, focusing on issues of biopolitics and gender. With a methodology rooted in research and political commitment, she incorporates strategies and counternarratives that question dominant histories and the politics of representation. Structured in thematic trilogies, her work addresses issues related to sexuality, the body, psychology and women’s rights. Abril is the author of essays such as L’epíleg (Dewi Lewis, 2014), Lobismuller (Editorial RM, 2016) and the series A History of Misogyny: On Abortion, On Rape and On Mass Hysteria (Dewi Lewis, 2018-24).
Solo exhibitions include the Musée de l’Elysée, Lausanne (2015); Rencontres d’Arles (2016), Photo Istanbul (2016), Centre de la Photographie, Geneva (2018), Museo Lugar de la Memoria, Lima (2019), Centro de la Imagen, Mexico City (2019), Museum of Sex, New York (2020), FotoArsenal Wien, Vienna (2023), and Le Bal, Paris (2025). Her work is included in the collections of the Centre Pompidou, Paris; Fotomuseum, Winterthur; Museo Nacional Centro de Arte Reina Sofía, Madrid; and Museu Nacional d’Art de Catalunya and MACBA, Barcelona. Among other awards, she is the winner of the Spanish National Photography Award (2023).
“Casas Baratas”, 2023– –2024
Gregori Civera observes life today in the two Casas Baratas developments that have been conserved. These sets of small, single-story structures are an example of the first social housing policies in Barcelona from the turn of the 20th century. Focusing on the opposite cases of Can Peguera and Bon Pastor the project shows both their persistence and their disappearance, the rehousing of the neighbours and the recent creation of the Tenement Museum, a historical testimony of an urban development in the process of disappearing. Civera has also included images of the current places corresponding to the two defunct developments, those of Baró de Viver and Eduard Aunós.
Gregori Civera is a specialist in architectural and editorial photography. Since the early 1990s, he has been following the new architecture that emerged in Barcelona after the 2004 Forum of Cultures. Also in Barcelona, he has documented the new buildings by international architects in the increasingly centralised zones of the city’s metropolitan area. With Thomas Ruff, Thomas Struth and Joel Sternfeld as references, Civera is interested in documenting the urban environment and its inhabitants. In much of his work he uses a large-format camera, which allows him to produce images with meticulous detail and achieve a high and individual plasticity. He has published in Le Monde, Wallpaper, Vogue, El País Semanal, The New York Times, The Financial Times, The Times and The Guardian, among others, and for over two decades he has worked in close collaboration with Bofill Taller d’Arquitectura, documenting their projects around the world. His work is included in the National Photography Collection of the Generalitat de Catalunya.
La Marina, traditionally known as Zona Franca, borders L’Hospitalet, and its position behind Montjuïc has led to its isolation from the rest of the city. This area is currently undergoing a vast redevelopment, characterised by the chaotic coexistence of very diverse activities. Formerly an industrial zone with workshops and warehouses, a new administrative district has been created together with a massive housing project currently under construction, which promises to radically transform the area over the next two decades.
The area’s transformation is the most dynamic and radical urban change happening in Barcelona today. It echoes the transformations of the neighbourhoods of Besòs during the 2004 Forum of Cultures. But, unlike in Besòs, this area is less populated and lacks an organised neighbourhood movement and, as a result, the operation is being carried out without the social dialogue that has characterised Barcelona’s contemporary urban history.
Carmen Secanella has approached the representation of the complex mutation of Barcelona’s last periphery. The images on view are organized through six itineraries, from the backside of Montjuïc to the border with L’Hospitalet and the port. Her walks compose a frustrated search for a locally-rooted community with a critical voice regarding the ongoing transformation and the future of the neighbourbood.
This does not mean that there are no social groups, cooperatives or associations with their interests and struggles, but rather that we are witnessing an extreme fragmentation of the new social subjects. A fragmentation that has not incentivised a collective global vision.
Carmen Secanella was Bborn in Barcelona in 1972.
She began her photography career in the press – first at a weekly newspaper in a rural area of Teruel, and later in Barcelona, where she began a collaboration with the newspaper “El País” that would span nearly 20 years.
She balanced her press work with the production of photo essays. For years, she documented the decline of obsolete industries and the social transformations accompanying the arrival of capitalism across various Eastern European countries. On the island of Fuerteventura, she worked on a project regarding the arrival of migrants in Europe – a subject she had first begun documenting in Melilla two years earlier. She would later continue this work in both Barcelona and Lleida.
She traveled to Iraq on several occasions to photograph the consequences of the embargo imposed by the West prior to the Gulf War. In Palestine, she documented the massive funeral of Palestinian leader Yasser Arafat and traveled across the country photographing the living conditions of Palestinians under Israeli occupation. In China, she produced a photo essay on urban development in towns along the banks of the Yangtze River and traveled through isolated rural areas affected by the construction of major hydraulic infrastructure projects.
Barcelona is the focal point of her work. She carries out projects documenting places that have disappeared or are undergoing transformation. For over three years – from 2017 to 2020 – she photographed the interiors of homes in Barcelona, capturing the social changes taking place in the city’s neighborhoods. In recent years, she has returned to photographing rural life, documenting the impact of renewable energy projects. In 2024 she is exhibiting her work on the La Marina neighborhood at the MACBA – a project created over nearly two years, commissioned by the Barcelona City Council’s Neighborhood Plan.
She is currently working on a commission that will be part of a group exhibition in 2027 at the Bank of Spain in Madrid.
The moat near the Barbican, 15/17 Nowomiejska Street
20:00–23:00 – screening of the films and photographs “Tracing Water. Notes on the Rec Comtal and Barcelona’s Water Footprint” by Jorge Yeregui and “First Impressions” by José Luis Guerin from the exhibition “Unknown City Beneath the Mist: New Images from Barcelona’s Peripheries” (on a loop)
Tracing Water. Notes on the Rec Comtal and Barcelona’s Water Footprint, 2023
This work was made across several neighbourhoods, in particular Vallbona and Trinitat Vella. It follows a route through the historical outline of the Rec Comtal, which to a large extent, is a route that no longer exists; but also through landscaped areas, the Casa de l’Aigua and the Aigües de Montcada gardens. The project combines historical observation with reflections on the sustainability of the current urban planning model. The peripheries have frequently been the location of essential urban infrastructures. By extension, the project addresses the city’s water problems during a time marked by drought.
Jorge Yeregui is an architect, photographer and teacher at the Escuela de Arquitectura de Málaga. His photographic work focuses on questions about landscape and the exploitation of natural resources, as well as urban issues. His more recent works take the form of complex visual essays combining text, video and installation. He has had several individual exhibitions such as Acta de Replanteo at Tabacalera (Madrid, 2016) and Inventario at Gallery Alarcón Criado 223 (Sevilla, 2015). He lives in Sevilla.
First Impressions, 2023
The farming region in Vallbona, known as La Ponderosa, represents the unlikely survival of an agricultural production region within the municipal territory and, in this way, is inserted into the current debates about the conciliation between the countryside and the city and environmental sustainability. Guerin’s film draws on the memories of the people in the neighbourhood, postwar migrants from the south of Spain or new migrants from the Global South, and speaks of everyday life and leisure in the farming region, of strong pastoral resonances. Without losing the air of a small Arcadia, it proposes a reflection on the model of economic growth and food autonomy.
José Luis Guerín (born 1960) is a filmmaker and educator known for Train of Shadows (1997), En construcción [es] (2001), and The Academy of Muses (2015).
Throughout the seventies and eighties, he made several works in 8 and 16 mm formats, and in 1983 he released his first feature film, Los motivos de Berta. He became especially popular after his film En construcción (2001), which was shot during the construction of the Rambla del Raval and is one of the essential documentaries of contemporary Barcelona and was awarded the Goya prize for best documentary film.
The Barbican, where the outdoor screening will take place, will be open from 11:00 to 23:00.
Association of Polish Artists-Photographers [ZPAF], 8 Zamkowy Square
18:00–19:00 – collage workshop for children (ages 7–10)”My Magical Holidays” by Nowak
Space is limited. Free tickets are available for download online or at the ticket counter of the Museum of Warsaw.
18:00–19:00 and 19:00-20:00 – workshop is intended for people aged 15 and up “Inventing my world” by Taida Tarabuła
Space is limited. Free tickets are available for download online or at the ticket counter of the Museum of Warsaw.
Collage Workshop for Children (Ages 7–10)
September is a time of new beginnings and fresh ideas. During this workshop, children will create collages inspired by their holiday memories and their imagination. Using colourful cut-outs, magazines, paper, glue, and scissors, participants will build their own unique worlds and stories.
It is a wonderful opportunity for creative play, developing imagination, and experimenting with the collage technique.
Maximum 8 participants.
Izabela Nowak is a visual artist and photographer, as well as the mother of two children. Her work focuses on themes of time, transience, and memory. Drawing inspiration from science and nature, she explores the fragility of life and the boundaries between the physical and metaphysical worlds. Her practice incorporates experimentation, alternative photographic processes, archives, and collage.
Through her workshops, she encourages children to engage in creative play, develop their imagination, and create their own worlds and stories using collage, drawing, and photography.
The “Inventing my world” workshop is intended for people aged 15 and up. Photography can be a great fun, helping you find a source of inner, unrestricted joy. Instead of recreating the real world, you’ll create your own, sometimes surreal, images. All you need is a digital camera or smartphone. The workshop will include a variety of simple tools and materials, such as mirrors, crystal filters, colored lights, glass tables, foils, and small objects for photography. You’re also welcome to bring something small (e.g., a flower, fruit, a stuffed animal, a figurine, or an ornament). The workshop takes one hour. The first session begins at 6:00 PM, while the second at 7:00 PM at the ZPAF headquarters at Plac Zamkowy 8. The best works will be published in a digital gallery on the ZPAF OW website.
Taida Tarabuła
She is a photographer and educator with many years of experience teaching photography at both university level and in her own photography school, where she runs workshops and courses focused on creativity and visual expression. She has been a guest lecturer at the Institute of Journalism at the University of Warsaw and is a member of the Polish Art Photographers Association (ZPAF).
Her photographic interests range from street, documentary, nature, landscape, and dog photography to experimental, abstract, staged, and conceptual work. She collaborates with the FORUM Polish Agency of Photographers and has received numerous awards, including recognition in the Grand Press Photo Awards 2026.
What excites her most is helping people rediscover the playful, spontaneous creativity they had in childhood. In her workshops, she encourages participants to experiment, trust their intuition, and challenge their habits and assumptions. She believes photography is not only about making images but also about expanding perception and discovering new perspectives on the world within and around them.
20:00–23:00 – exhibitions of works by ZPAF members (on a loop):
- Michał Narojczyk „Warszawa w Berlinie” (Warsaw in Berlin)
- Andrzej Zygmuntowicz „Zanurzony w mieście” (Immersed in the city)
- Fot. J&J Bułhak- 2 × Warszawa w wyborze Wojciecha Walkiewicza (Photo: J&J Bułhak – 2 × Warsaw)
This series of unique photographs was captured in 2001 while working on the documentary footage showcasing the behind-the-scenes creation of “The Pianist,” directed by Roman Polanski—a cinematic masterpiece that earned the Palme d’Or at the Cannes Film Festival, three Academy Awards, and seven César Awards. This acclaimed feature was produced by Polanski’s long-time collaborator Gene Gutowski, along with Robert Benmussa and Alain Sarde.
These frames were captured spontaneously, essentially alongside the demanding tasks of a documentary camera operator on set. As a result, the photographs are completely candid—offering a raw, documentary record of moments shared by the filmmakers. Part of the series was shot at Studio Babelsberg near Berlin, where a pre-war Warsaw street was reconstructed on a monumental scale. The author of this breathtaking, César-winning production design was Academy Award winner Allan Starski. Another key part of the location shooting took place in the authentic spaces of Warsaw’s Praga district, documenting the creative process of the film’s master cinematographer, the Academy Award-nominated Paweł Edelman.
Michał Narojczyk (b. 1972, Warsaw) – has worked for over three decades as a freelance camera operator and photographer. His extensive body of work spans reportage, documentaries, music videos, major television broadcasts, and live events, including festivals, concerts, sporting events, and theatrical adaptations. He has a long-standing collaboration with Poland’s leading broadcasters, such as TVP, Polsat, TVN, and Canal+, as well as numerous independent production companies.
The urban space is filled with extremely different elements. Starting with monuments, telling about the history of the city, through skyscrapers, shopping malls and housing estates, which are signs of modernity. And between them are smaller objects such as speeding cars or standing at traffic lights, trees and bushes, public transport stops or open-air restaurants. All this is quite orderly and natural for the life of the city. But for many years, spontaneous actions of its inhabitants have been an inseparable part of the living urban organism. At times it is considered to be a disturbing of order, to others it is considered to enliven the urban space. One of such activities is applying something called street-art to the surfaces of buildings and other objects. Many such actions are smearing on the walls with anything, in any way, and containing no content. Apart from the ‘scribbling’ spilling on the walls, you can sometimes come across quite interesting projects of an unconventional nature. One of them is the image of a diver, appearing in many places in Warsaw, often definitely surprising. This diver intrigued photographer Andrzej Zygmuntowicz one day. The first meeting with the diver took place at the gate of the tenement house, through which the photographer quite often passed, going to the public transport stop. When, after some time, he met another diver in a completely different place, and a few days later another, he began to look for this citizen who was heavily immersed in the city. This is how a collection of over a hundred urban swimmers was born, emerging in very different places, of different sizes, of different colors and sometimes of different shapes. The author of the photographs records the relationships that arise between the diver and the space in which he immerses. Immersed in the city.
Andrzej Zygmuntowicz is a designer of optical equipment by education, a photographer by passion and profession, a member of the Association of Polish Art Photographers. In his work, conducted since 1973, he has taken up and still takes up many topics of a documentary and creative nature. Author of several individual exhibitions, photographs for advertising campaigns and illustrations for the press. Organizer of various photographic activities, he was the head of the Polish Press Photography Competition Foundation, the chairman of the Artistic Council of the Polish Art Photographers Association, he is a juror in important photography competitions and a curator of exhibitions. He shares his knowledge by writing texts about photography and teaching it, currently at the Faculty of Journalism of the University of Warsaw.
Jan Bułhak – born in 1876, author of the concept of “fotografika” which distinguishes artistic photography from applied photography. He photographed Warsaw throughout the first half of the 20th century. Jan’s son, Janusz Bułhak, born in 1906, photographed Warsaw from 1945. On the 150th anniversary of Jan Bułhak’s birth and the 120th anniversary of Janusz Bułhak’s birth, I want to showcase their photographic works dedicated to Warsaw. For the presentation I chose those photographs of Warsaw that were illustrations of postcards printed in those years. The first page featured a view of the city, executed in accordance with the canon of pictorialism, and the second page contained a short text. After 1945, postcards appeared, featuring the ruins of Warsaw as their “image.”
The presentation will take the form of an evening projection on a large screen set up in the Old Town, on Kanonia Street, between the two ZPAF Photography Galleries. During the “projection in the gate” we will first see Warsaw photographed by Jan Bułhak in photos taken before 1939 and signed “photo by Jan Bułhak”. Afterward, we will see photographs taken in 1945 and the following years, signed “photo by J. Bułhak and Syn.”
Wojciech Walkiewicz is a photographer, screenwriter, director, and documentary cinematographer. He graduated from the Faculty of Radio and Television at the University of Silesia in Katowice (currently the Krzysztof Kieślowski Film School) with a degree in cinematography and TV production. He also completed the Post-Secondary Photography School in Warsaw. He is a member of the Association of Polish Art Photographers (ZPAF), a member of the ZPAF Main Board from 2023 to 2026, and a member of the Warsaw District Board from 2026. He is a member of the Polish Filmmakers Association (SFP). He has received two scholarships from the Minister of Culture and National Heritage (MKiDN). He has also received a scholarship from the Polish Film Institute (PISF).
21:00–21:30 – conversation with the authors of three projects displayed on the “screen in the gate”: Michałem Narojczykiem, Andrzejem Zygmuntowiczem i Wojciechem Walkiewiczem, moderator: Wojciech Sternak
Meeting in Polish.
Dr. Wojciech Sternak is a cultural studies scholar and visual artist.
He is a photography theoretician and visual arts practitioner. He is the author of, among others, the first Polish album about the Chernobyl disaster, “Shadow of Chernobyl” (2006), the album “Seven Roads” (2019), and numerous highly acclaimed exhibitions in Poland and abroad. He works at the Department of Photography and Visual Communication at the University of Warsaw. From 2016 to 2020, he was the Director of the ZPAF Photography School and currently a member of the ZPAF Artistic Council. He is a member of the Board of the Polish Cultural Studies Society.
Obok ZPAF Gallery, 8 Plac Zamkowy
18:00–23:00 – exhibition „City | Nature” Radek Jaworski, curator: Marzena Jaworska
The exhibition “City | Nature” presents a series of black-and-hite photographs dedicated to Warsaw and the relationship between urban space and the natural world. Radek Jaworski observes the city as a dynamic ecosystem in which nature is not merely a backdrop to human activity, but an active participant shaping the contemporary landscape.
The harshness of the city clashes with the delicacy of plants, and nature finds its place – sometimes symbolic, sometimes surprising – within the geometric order of everyday urban life. The photographs capture moments of fragility and permanence, recorded in the details of the urban landscape, where nature remains ever-present.
“City | Nature” is a reflection on the coexistence of two orders that constantly interpenetrate, creating the complex and living fabric of the contemporary city.
Radek Jaworski – photographer, graduate in cultural studies. He graduated from the Warsaw School of Photography, earning his diploma from the Creative Photography atelier under the supervision of Prof. Wojciech Prażmowski. He is Photoreporter of „FORUM” Polish Photography Agency and a member of ZPAF and ZAiKS. He has been involved in photography since the early 1990s. He specializes in artistic, reportage, documentary, and landscape photography: www.radekjaworski.com
Photography: Radek Jaworski
Curator: Marzena Jaworska
Lengrenówka – Museum of Caricature studiom, 6/8A Brzozowa St
20:00–23.00 – projections of works (on a loop):
- by the winners of the “Making the City Your Own” photography competition;
- of photographs by Zofia Rydet from the Warsaw section of “Zapis socjologiczny”;
- of photographs by Rafał Milach from the series “Ba Lan 2005–2025”;
- of contemporary photographs from the Museum of Warsaw’s “Make the City Your Own” collection
Zofia Rydet (1911–1997) – an artist and photographer, recipient of numerous prestigious awards (including the titles of Artiste FIAP in 1969 and Excellence FIAP in 1976).
She made her first attempts at photography as a young person, inspired by her older brother. At the age of forty, her fascination with photography was rekindled. In 1954, she joined the Gliwice Photographic Society, where she developed her skills and formed important friendships with other photographers. From 1963, as a member of the Association of Polish Art Photographers (ZPAF), she taught photography at the Silesian University of Technology.
She was the author of the series „Mały człowiek”, which was also published as an album in 1964; the series „Czas przemijania”; and the series of photomontages and collages „Świat uczuć i wyobraźni”, published as a book in 1979. She also presented these works as slide shows (diaporamas) accompanied by music.
From 1978 onwards, she worked on the monumental series „Zapis socjologiczny”, in which she sought to create a portrait of society, focusing primarily on the inhabitants of the Polish countryside. Further series were created from selected photographs from „Zapis socjologiczny”, including „Obecność” and „Zwykły człowiek”. In the late 1970s, Zofia Rydet created the conceptual series „Nieskończoność dalekich dróg”. Her final major series was „Suita Śląska”, created at the turn of the 1980s and 1990s and incorporating self-references to her earlier photographs.
On 12 May 2025, the Marywilska 44 shopping centre in Warsaw was destroyed by fire. Along with it disappeared the merchandise, savings, and documents of hundreds of traders. Among those affected was Linh, whom I had first met twenty years earlier at Jarmark Europa.
Back in 2005, Jarmark Europa,mthe vast marketplace surrounding Warsaw’s 10th-Anniversary Stadium, was one of the largest open-air bazaars in Europe. This is where I met Linh, one of thousands of Vietnamese migrants who arrived in Poland as part of the so-called New Wave of migration in the early 2000s. Although they were then the country’s largest national minority, they remained largely invisible. Their lives unfolded around the bazaar, work, and a handful of places scattered across the city.
The fire at Marywilska 44 consumed something that could never be replaced: Linh’s family photo archive—a private record of two decades of life.
The photographs from Ba Lan acquired a new meaning. They ceased to be simply a document of Jarmark Europa and Warsaw’s Vietnamese diaspora. They became the only surviving material trace of Linh and his family’s life.
Two decades after our first meeting, we tried to reconstruct the images that had been lost: the birth of his daughters, his wedding to Ha, family gatherings, the geography of the market. Memory returned in fragments.
Rafał Milach is a photographer, artist-activist, and lecturer whose work explores the political and social tensions of the former Eastern Bloc. He is the author of numerous photobooks that critically examine systems of control and strategies of protest.
Milach teaches at the Krzysztof Kieślowski Film School at the University of Silesia in Katowice. He has received fellowships from the Polish Ministry of Culture and National Heritage, the U.S. Department of State, and the European Cultural Foundation.
His work has been recognized with numerous awards, including World Press Photo, the Dr. Erich Salomon Award, and the Author’s Book Award at Les Rencontres d’Arles. He has also been shortlisted for the Deutsche Börse Photography Prize and the Paszport Polityki (Polityka Passport Awards).
Milach is a co-founder of the photography collectives Archive of Public Protests and Sputnik Photos. His works are held in the collections of institutions including the Museum of Modern Art in Warsaw, Museum Folkwang, the National Museum in Warsaw, and the Ujazdowski Castle Centre for Contemporary Art.
Since 2023, he has been a member of Magnum Photos.
Alina Foundation, 31/33 Brzozowa St
20:00–23:00 – exhibition of a photography project by the Zakole collective “A Foot in the Peat: Field Diaries from Zakole Wawerskie, 2020–2026” (on a loop)
Smell of mud saturated with iron. The rustle of reeds and of the highway. A foot immersed in wet peat. A chrysalis, burdock, hemlock. Over six years of shared walks, a relationship with the ecosystem of the urban wetland, a dense and humid habitat, is woven.
Encounters and small interactions do not form a catalog of natural observations; rather, they are a record of presence, where porous bodies interact with the place and its inhabitants, meanings are felt, recognized and mapped. These presences are the basis for the search for a new language and cognitive tools related to the wetland, as well as a pretext for being together on terms other than those permitted by the built-up spaces of the city. As we go, the question remains: how can grassroot forms of care for ecosystems arise, outside of legal framework of nature conservatio?
ZAKOLE is a project rooted in an urban wetland in Warsaw. Zakole Wawerskie (Wawer Bend) encompasses both a picturesque, largely inaccessible wetland and vast meadows. In the process of getting to know this ecosystem and its diverse inhabitants and visitors, we recognize and map its meanings. Working with our collaborators from the fields of natural sciences, art, philosophy, activism, and administration, we seek new ways of experiencing and storytelling about these kinds of spaces – by attuning to different perspectives and scales inhabited by more-than-human beings. We strive to emphasize the importance of such places in cities, especially in context of biodiversity and climate, while also paying attention to the complex relationships and interests involved.
ZAKOLE is co-created by Zuzia Derlacz, Krysia Jędrzejewska-Szmek, Ola Knychalska, Olga Roszkowska and Pola Salicka, however we treat ZAKOLE as an open project – we work within our alliance networks and in cooperation with actors interested in the future of the Wawerski Bend and in developing a new language, embodied practices andgrassroot forms of care.
People in the portrait of the ZAKOLE Group: Zuzia Derlacz, Krysia Jędrzejewska-Szmek, Ola Knychalska, Olga Roszkowska, Pola Salicka
Sto Pociech Foundation, 20/24A Freta St
20:00–23:00 – screening of photography and video projects from the “Night of the Year” program of the 2026 Les Rencontres d’Arles festival (on loop, 80-minute runtime)
A condensed version of the must-see event of the opening week of Les Rencontres d’Arles. A visual journey through photographic projects. Favorites and cartes blanches presentations come together for this great celebration of photography.
Artistic direction: Aurélien Valette, assisted by Joséphine Perez.
Proposed by Cob Gallery
JACK DAVISON
A is for Ant
10 min
An immersive film that explores the alphabet through a surreal blend of live action and animation.
Shortlisted for Photo Folio Review 2025
ALESSANDRO SILVERJ
Presence
2 min
In 1523, Margherita is accused of witchcraft. Tortured and condemned, she is burned alive at the stake. Centuries later, her voice still echoes.
Proposed by Freezer
LUCIANA DEMICHELIS
Limbo
2 min
An exploration of the experience of crossing a border through the artist’s own body, blurring the line between documentary and fiction.
Proposed by Emami Art
SWASTIK PAL
The Republic of Small Things
3 min
A journey into a park in Kolkata, India, after dark, where anonymity, desire, and fleeting gestures transform public space.
Proposed by Longtermhandstand
ÉVA SZOMBAT
Drain Me, And I’ll Burn the Bridges Between Us
1 min
Without healthy defense mechanisms, we leave ourselves vulnerable to being drained. Yet self-defense can be learned.
Proposed by Magnum Foundation
GLORIANNA XIMENDAZ
Peel It Good
3 min
In Sixaola, Costa Rica, many young people leave school to work on banana plantations, facing exploitation and harsh living conditions.
Proposed by African Artist Foundation
ARSÈNE MPIANA
Passport
2 min
In Kinshasa, a mosaic of masked portraits questions the anonymity and social invisibility of essential workers.
Shortlisted for LUMA Rencontres Dummy Book Award 2025
COLLECTIF RITUAL INHABITUAL
Oro Verde
6 min
In Michoacán, Mexico, the story of women who drove a drug cartel out of the town of Cherán.
Shortlisted for LUMA Rencontres Dummy Book Award 2025
ELISE LLINARES
MICHEL PERALDI
Le Nouveau Sauvage (The New Wild)
2 min
From the Étang de Berre to Fos-sur-Mer, this project uncovers the widespread pollution left by industrialization, emblematic of the Anthropocene.
ANNE-CHARLOTTE MOULARD
Stella
3 min
In Stella, a year-round seaside town, this project traces twenty years of transformation between personal memory and collective history.
Proposed by VU’
LOUISE DESNOS
La Mue / Otium
3 min
Between solitude and communal life, children come of age in a natural world that is as disorienting as it is fascinating.
JONAS HÖSCHL
80 Portraits: 73 Men, 7 Women
3 min
A reflection on the visual codes of the far right, exploring propaganda and political image cultures.
RAPHAEL SCHUMACHER
All Numbers End
3 min
Human journeys across the Mediterranean exploring the issues of migration and human dignity.
BARRY IVERSON
Gaza’s Respite
3 min
Images of Palestinians on a beach in Gaza, recontextualized with gold leaf, evoking the memory of a vanished world.
Proposed by Ana B. Garcia Mula
TAYSIR BATNIJI
TAMARA KALO
TANYA TRABOULSI
What Lies in Between
4 min
Three perspectives on conflict, memory, and displacement in Lebanon and Palestine.
ELIOT NASRALLAH
Try Again Later
3 min
Representations of masculinity in contemporary Egypt through photography, video, and performance.
PERRY SHIMON
Filoxenia: Queer Joy in the Mediterranean
3 min
The photographic archives of an Athenian dancer, spanning cabaret, nightlife, cinema, and Mediterranean heritage.
Proposed by Laurent Perreau
MAHKA ESLAMI
Bodega Boys
3 min
In Brooklyn, the Yemeni men behind the counters of the city’s iconic neighborhood grocery stores.
Proposed by Lagos Photo
DIVA
MEMORIA, Lorsque les souvenirs ne suffisent plus (MEMORIA, When Memories Are No Longer Enough)
3 min
Eight years of encounters in New Orleans explore the memories and diasporic experiences of Afro-French and Black American communities.
YANA YATSUK
The Sisters
3 min
In California, a community of women blending spirituality and CBD culture.
Proposed by Authorized Dealer Gallery
JEANO EDWARDS
In the Dark, the Tides Shine Bright – An Excerpt
3 min
Images and sound weave together a quest for memory, Jamaican identity, and belonging.
Proposed by Les Champs Libres
JULIE BOURGES
Makali’i
3 min
Between myth and reality, Hawaiian women navigators pass down the ancestral knowledge of Polynesian navigation.
TAEMIN HA
Süu
3 min
Everyday life in Mongolia through portraits of children and landscapes shaped by the changing seasons.
Proposed by Le Lieu
GWÉNOLÉ LE GAL
Taranis
3 min
Tornado chasing in the United States, driven by a fascination with natural phenomena and the urge to capture them.
Museum of Warsaw, Syrena Cinema, 42 Old Town Market Square
20:30–21:30 – a meeting with Ewa Meissner, Fuji Ambassador „Does the Street Still Speak? Street Photography After the Decisive Moment”
Space is limited. Free tickets are available for download online or at the ticket counter of the Museum of Warsaw.
Meeting in Polish.
What do our everyday behaviors reveal about society? What can a camera see before we ourselves understand what we are looking at? Can the chaos of the street be organized without stripping it of its mystery? And can color reveal truth rather than merely seduce the eye? Does street photography even need the street – and does it need a single definition?
In this lecture, we will explore these questions through the work of both the great masters of the past and some of the most compelling contemporary photographers. We will trace how the language, subjects, and boundaries of street photography have evolved, and consider what it can still seek in a world shaped by smartphones, algorithms, consumer culture, and the constant construction of personal identity.
This is a story about beauty, humor, color, and the unpredictability of the street, but also an attempt to answer a more fundamental question: does contemporary street photography still capture the spirit of our time, or has it simply become better at looking good?
Aleksander Minorski: Photography As Intervention
The exhibition’s final weekend!
The solo exhibition Aleksander Minorski: Photography As Intervention is an intervention dedicated to an artist for whom working on behalf of people living in poverty and on the margins of society was of the utmost importance.
Curator: Karolina Puchała-Rojek
Museum of Warsaw, Old Town Square 32
Friday and Saturday, 11:00 a.m.–7:00 p.m.
Sunday, 11:00 a.m.–6:00 p.m.
Graphic design: Joanna Bębenek
Based on photography: Michał Łuczak, European Roe Deer VI / Capreolus capreolus, from the “Habitat” series, 2024, collection of the Museum of Warsaw
Night of Photography credits
Curator: Julia Staniszewska
Coordination: Ewa Jadacka
Content and organizational support: Photography Center – Katarzyna Adamska, Piotr Głogowski, Monika Michałowicz, Ewa Nowak-Mitura, Karolina Puchała-Rojek
Production: Julia Staniszewska, Karolina Puchała-Rojek, Filip Wielechowski-Olszak
Set Design and Technical Implementation: Logistics and Technical Department, BSCAV
Communications: Anna Dobrowolska-Balcerzak, Olga Gaertner, Julia Głogowska, Anna Ładna, Nela Sobieszczańska, Maria Alicja Włodarska
Projection Edits:
- Anna Koc-Wittels – projections of competition winners and a selection of photographs from the Museum of Warsaw’s “Taming the City” collection;
- Adriana F. Castellanos – projections of photographs and films by Laia Abril, Gregori Civery, Gilbert Fastenaekens, Patrick Faigenbaum, Carmen Secanelli, and Jorge Yereguie;
- Yauheni Attsetski – screenings of photographs by Rafał Milach and Zofia Rydet;
- Trailer / teaser: Julia Klewaniec – concept and direction, Miłosz Kowalewski – music, Maciek Bernaś – editing
Legal services: Aneta Baczkura, Małgorzata Gońda, Elwira Magdziak
Administration: Paulina Biedrzycka-Zajkowska, Beata Borys, Mateusz Owczarski
Marketing, Sponsorship: Karina Dąbska, Agata Fijałkowska
Audience Services: Barbara Rosiak, Małgorzata Iłczyk-Nowak, and the team
Jury for the “Making the City Your Own” competition: Katarzyna Wagner, Rafał Milach, Anna Filipowicz, Sayam Ghosh, Karolina Puchała-Rojek, Marynia Moś, and Julia Staniszewska
Competition coordination: Ruzhana Kruchkova
Volunteer coordination: Karolina Kędzierska
Security: Edward Nowak
