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  • Stefan Szczygieł
    Stefan Szczygieł
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  • Warschau, Brücke
    Warschau, Brücke
  • Warschau, Hala Mirowska
    Warschau, Hala Mirowska
  • Warschau, Złote Tarasy
    Warschau, Złote Tarasy
  • Warschau, Klostermauer
    Warschau, Klostermauer
  • Warschau, Stadion
    Warschau, Stadion
  • Warschau, Dach
    Warschau, Dach
  • Warschau, Saski Park
    Warschau, Saski Park
  • Warschau, Ursynów
    Warschau, Ursynów
  • Warschau, Park
    Warschau, Park
  • Warschau, Łazienkowska
    Warschau, Łazienkowska
  • Warschau, Przystanek tramwajowy
    Warschau, Przystanek tramwajowy
  • Köln, Hohenzollernbrücke
    Köln, Hohenzollernbrücke
  • Köln, Hauptbahnhof
    Köln, Hauptbahnhof
  • Köln, Museum Ludwig
    Köln, Museum Ludwig
  • Paris, Notre Dame
    Paris, Notre Dame
  • Paris, Louvre
    Paris, Louvre
  • Paris, Seine-Ufer
    Paris, Seine-Ufer
  • Warschau, Urban Panorama I
    Warschau, Urban Panorama I
  • Warschau, Urban Panorama II
    Warschau, Urban Panorama II
  • Domek 08
    Domek 08
  • Domek 09
    Domek 09
  • Domek 10
    Domek 10
  • Domek 23
    Domek 23
  • ZEITFLUG - Hamburg

    © all films: Stefan Szczygieł. Courtesy: Claus Friede*Contemporary Art, Hamburg.
  • ZEITFLUG - Warschau

    © all films: Stefan Szczygieł. Courtesy: Claus Friede*Contemporary Art, Hamburg.

Stefan Szczygieł. His photographic and film work

Documentary photos for the Urban Panorama installation in the “Centrum” underground railway station in Warsaw in front of the Palace of Culture and Science. Urban Panorama I, 2007/2008, 5oo x 18oo cm.

Interestingly enough Szczygieł photographs his “Domki” (the plural of “Domek”) in springtime when nature begins to awaken once more. Hence the buds and blossoms on the bushes make an even greater contrast to the abandoned morbid garden huts.

In his Domek too, Szczygieł remains true to his artistic questioning and once more points out relationships between usage, wear and tear, and aesthetics, without commenting in either the one or the other direction. The photos are sufficient unto themselves and scarcely need any “viewing instructions”.

The quality inherent in this series links Szczygieł with other series taken by international photographers. We only have to consider the urban photographs taken by the Americans, William Egglestone and Stephen Shore, or those of a younger generation taken at almost the same time as Szczygieł’s work, like the beach huts o.T. (Gouville) taken by the German photographer, Götz Diergarten. Other parallels can be seen in the Playhouses (plastic garden playhouses for children) made by the Dutch artist Wim Bosch: or in Malte Brandenburg’s Stacked, a series of photos of high-rise blocks in the suburbs of Berlin, and Kevin Bauman’s photo series of 100 Abandoned Houses in Detroit. Within the Polish art scene Szczygieł’s work is uniquely outstanding for its international themes and contexts.


Between 2008 and Szczygieł’s death in 2011 he shot his first art films with a digital camera. He gave all the films a German title, ZEITFLUG, followed by the name of the respective city (like ZEITFLUG – Warsaw for example). The series of films was shot in a number of different major European cities and not only shows urban and architectural features but, once again, how they are used in public spaces. He pointedly called his films “portraits between affinity and difference”.