Palermo (2024-2025)
A landscape of destruction is, after all, a landscape. Ruins can be beautiful. Seeing beauty in photos of the ruins of the World Trade Center in the months immediately after the attack had a hint of indecency, sacrilege. Most people dared only to say that the photos were ‘surreal.’ A wild euphemism, behind which lurked the dethroned notion of beauty.
Susan Sontag
Infraordinaire (2017-2022)
How should we take account of, question, describe what happens every day and recurs every day: the banal, the quotidian, the obvious, the common, the ordinary, the infra-ordinary, the background noise, the habitual?
Infraordinaire N.2. PhD series (2024)
Purposeful play of meanings, emerging between the image, which is given, and the awareness that reality is not behind it, but at most its fragmented pieces, is the fundamental intention of the cycle. It is in the play, or in the movement, that a sequence of meanings is born, transitioning from the sense of the scene’s reality to the complete negation of that reality. Despite being entirely manipulated, these photographs, since they are constructed from real registrations, can reflect one of the possible versions of reality. They are, in a sense, suspended in the space of potentiality and combinatorics.
City Landscapes (1993-2020)
City Landscapes is an ongoing project, situated between social documentary photography and street photography
City Landscapes/1 (1993-2020)
City Landscapes is an ongoing project, situated between social documentary photography and street photography
Objects (2021)
White still life (2019)
Empty (2014-2019)
Emptiness often presents itself as a certain lack. Emptiness is then perceived as a deficiency in filling the empty spaces stretching over certain distances. However, emptiness is presumably related precisely to what is proper to its place, and therefore it is not a lack but a manifestation. In a plastic embodiment, emptiness manifests itself in the manner of a seeking, projecting establishment of places.
Anxiety / in the Field of View (2022)
Anxiety / in the Field of View by Andrzej Pilichowski-Ragno is a photographic essay based on the tension between image and word – between the indefiniteness and elusiveness of moments captured in “non-discursive” images and the theoretical and literary attempts to grasp the phenomenon of photography.
In these photograph the world freezes in a flash, revealing a face that is usually invisible. But that doesn’t mean it isn’t there. Pilichowski-Ragno has an eye for surreal juxtapositions, strange combinations, and surprising arrangements of elements. As a result: with his vigilant gaze he peeks under the lining of the visible one and tells it to take a closer look.
Black (2021-2022)
One day there comes the darkness. It takes the shape of figures, pictures and objects. It absorbs light, brings confusion and anxiety. It is hard to name it and even harder to see. Darkness is emerging from the inside and overflowing into reality.
RED (2004)
Corrupted portraits (2023)
Italiani (2000-2020)
Grounded in sociological perspectives, each image becomes a narrative, weaving together the threads of culture, community, and individual experiences. Photography becomes a powerful tool for understanding the social fabric of Italy.
Extinction (2021)
Magnificent 40-years old (2012)
“Magnificent 40-years old” is an idea to show the creators of the Krakow milieu: artists, journalists, poets and writers, culture managers. In addition to the broadly understood participation in culture, they are also linked by age – those born in the 60’s are now between 40 and 50 years old. They belong to the generation sometimes referred to as the lost. They began their adult life on the threshold of political transformation.
Body (1995-2000)
Kazimierz / Krakow Jewish quarter (1999-2017)