Online exhibitions

“For Solidarność. Behind the Wall” represents just a snapshot of what happened in the divided Berlin, and this snapshot is often poorly lit, out of focus and incomplete.

Haren, a town located on the River Ems in the northwest of Germany, became a centre of Polish life in Germany after the end of the Second World War. Initially the town was renamed Lwów, but later this was changed to Maczków.

Helena Bohle-Szacki was once a fashion designer, then a graphic artist and last not least a sought-after contemporary witness of forced labour.

Since the middle of the 19th century, the so-called "Ruhr Poles" have been taking up industrial activities in the west of Germany, organizing themselves in the initial phase as a national team. Over time, a rich cultural and social Polish life emerged.

The German/Polish sculptor has been living in Hamburg since 1981.

Marcel Reich-Ranicki once said about himself: “I am 50% Polish, 50% German and 100% Jewish”. In Germany he has gone down in history as the “Pope of German Literature”: an equally entertaining and erudite literary critic and television star. In Poland he is also known as the man with a secretive background who “went to the West illegally” in 1958 and made himself a career there (once again). In both countries he is known as a contemporary witness of the Warsaw ghetto, from which he fled with his wife into hiding with a Polish family by the name of Gawin and was thus saved from the Holocaust. All his life “MRR” had a close love-hate relationship to Poland and its literature.

Polish poster art in the post-war period was regarded as the best of its kind in the world and and enjoyed a cult status in Germany.

The V2 rocket, Hitler’s miracle weapon, was intended to decide the outcome of the Second World War. It was also thanks to Poles that Hitler’s missile centre was bombed.

With the opening of his Munich studio in 1875 Józef Brandt (1841-1915) became the leading figure in the Polish artists' colony in Munich.

Karol Broniatowski’s gouache paintings: In search of the substance of the figurative.

Born into a Polish magnate family in 1499, Jan Łaski, Latin name Johannes à Lasco, anglicised form John à Lasco, was predestined for a distinguished political and theological career. His uncle was the Grand Chancellor of Poland and Archbishop of Gniezon, Primate of the Polish church. Later a Dean and Royal Secretary himself, à Lasco was in close contact with the most prominent humanists of his time and occupied himself with the writings of the Reformers. His family’s political problems but also his interest in the Reformation saw him travelling to Wittenberg, and then to Leuven, where he joined the Reformist theologians. Following a marriage that constituted a transgression of the celibacy of the Catholic church, he had to flee Leuven and went to Emden in East Frisia, where, as Superintendent, he laid the foundations for the structures of the Reformed Church that still apply today.

The photographer Monika Czosnowska (*1977 Szczecin/Stettin) lives in Berlin.

The painter of portraits, children and interiors (*1865 Kraków, †1940 Paris) studied and worked in Munich from 1886 to 1898.

Ausstellung „Literarische Bilder des Holocaust. ‚Die Passagierin‘ von Zofia Posmysz“, 28.01.2017–06.03.2017, Zentrum für verfolgte Künste im Kunstmuseum Solingen, Kuratorin: Magdalena Mazik (Muzeum Sztuki Współczesnej w Krakowie MOCAK [Museum für Gegenwartskunst in Krakau MOCAK])

Adam Szymczyk is the artistic head of documenta 14 in Athens and Kassel 2017

Jeremias Falck, engraver from Danzig (ca. 1610/19-1671)

Alfred Wierusz-Kowalski (1849-1915) - an important representative of the Munich circle of Polish artists.

Stefan Szczygieł (1961-2011) studied photography and free art at the Düsseldorf Academy of Art. He was an innovative artist whose contemporary digital photography moved between the real, the digital and the virtual worlds.

Materialien zur Geschichte des DP-Lagers Schierholzstr. 41 in Hannover-Buchholz 1945 - 1964

The life of the outstanding artist, Janina Kłopocka, the creator of the graphic emblem of the Union of Poles in Germany, the so-called „Rodło“ sign, is a typical example of the knotty fate of Poles in the 20th century.