Aleksander Minorski: Photography, Social Intervention, and Warsaw's Urban History Exhibition

This monographic exhibition celebrates the 90th anniversary of the Museum of Warsaw and the 120th anniversary of Aleksander Minorski's birth. It explores Minorski's work as a photographer, filmmaker, and activist, focusing on his social engagement through photography and his documentation of poverty and marginalized communities in Warsaw from the 1930s to the 1970s.

Marking the 90th anniversary of the Museum of Warsaw and the 120th anniversary of Aleksander Minorski's birth, this exhibition delves into the impactful work of Minorski (1906–1982), a photographer, filmmaker, and writer who viewed photography as a tool for social change. The exhibition showcases his commitment to advocating for those living in poverty and on the margins of society, presenting photographs, films, and texts that highlight the lives of the excluded. It revisits Minorski's oeuvre, offering a chance to re-examine his contributions without the ideological prejudices that may have previously influenced their reception. The exhibition also illuminates a lesser-seen side of Warsaw, from the working-class and impoverished districts of the 1930s to the post-war reconstruction and new housing estates of the 1960s and 1970s. It traces Minorski's journey, beginning with his early associations and a significant commission to document the harsh living conditions of workers in the early 1930s, revealing a pre-war Warsaw marked by profound social inequalities. The display features images of dilapidated worker housing, unemployed individuals, children playing in the streets, and the labor of sand-diggers by the Vistula River, as well as efforts towards building better lives, such as the construction of a new housing estate in Kole. A significant theme is the political dimension of Minorski's work, particularly his 1938 publication 'Dola i niedola naszych dzieci' ('The Lot and Misfortune of Our Children'), a powerful critique of the authorities that led to its near-total destruction. Post-war films and photographs by Minorski, created after his time abroad during the occupation and initial reconstruction of Poland, continue this visual narrative. He documented May Day parades and revisited previously photographed areas, observing new housing estates and presenting them as evidence of photography's interventionist power in improving living conditions. The exhibition, while historical, engages with contemporary issues of housing, labor, children's rights, and the role of photography in public discourse, featuring nearly 300 objects primarily from the Museum of Warsaw's collection, supplemented by loans from other institutions. It also includes contemporary artistic responses, such as musical compositions by the band Hańba! and a panoramic film by Magdalena Hueckel and Tomasz Śliwiński, inspired by Minorski's work and unfulfilled cinematic dreams.

Standard ticket: 20 PLN, Reduced ticket: 15 PLN. On Thursdays, admission is 1 PLN. Visitors can purchase tickets online via the provided link or at the museum. Specific details regarding exhibition-related ticketing are available on the museum's website. Special programs and educational activities may have separate pricing or booking requirements, as indicated in the event listings. Opening hours: Tuesday, Wednesday, Friday, Saturday 11 AM - 7 PM, Thursday 11 AM - 8 PM, Sunday 11 AM - 6 PM. Closed on Mondays and public holidays. Please note the warning about strong sensory stimuli including rapidly moving images and loud, unsettling music within the exhibition space. Tactile aids are available for visitors with visual impairments, and children's task cards are provided for self-guided exploration with older children and youth, available in Polish and English. The exhibition is designed with accessibility in mind, offering tactile aids based on Minorski's photographs to help convey photographic concepts like light, frame, perspective, and movement to visitors with visual impairments. This feature also addresses the significance of photography, particularly in the year marking the 200th anniversary of the first photograph. Accompanying events include expert meetings, creative workshops, senior events, walks, author and curator tours, and a special musical tour with the band HAŃBA! A detailed program of accompanying events is available on the museum's website, including specific activities for families, schools, and individuals over 60, as well as an audio guide and guided tours. This exhibition is a historical presentation that raises many contemporary questions about housing, overwork, children's rights, and the role of photography in public debate. It features nearly 300 objects, mainly from the Museum of Warsaw's collection, with loans from institutions such as the National Museum and the Documentary and Feature Film Studio. Contemporary artists are also involved in a dialogue with Minorski's work, including the band Hańba! who recorded music inspired by the politically charged atmosphere of the 1930s based on poetry from that era, and a panoramic production by Magdalena Hueckel and Tomasz Śliwiński, inspired by Minorski's photographs and his unrealized pre-war dream of creating his own film. The exhibition includes an AI animation and compositing by Anna Skoczeń, music by Stefan Wesołowski, and sound design by Michał Korzeniowski. Additionally, a soundscape is provided by the band Hańba! featuring Andrzej Zamenhof (Andrzej Zagajewski), Tadeusz Król (Wojciech Wędzicha), Antoni Skwarło (Sebastian Kaszyca), and Ignacy Woland (Jakub Lewicki). Multimedia presentations are by Wojciech Zahaczewski, Ludwika Białkowska, Rafał Starościński (Modeon), Radek Pater, and Paweł Wolski (Eidotech). Tactile aids were developed by Adrianna Lau and Jan Godzimirski (Wielozmysły). The project manager and collection organization assistant was Katarzyna Adamska. Piotr Głogowski was responsible for identifying locations and developing iconography. Ewa Kiedio handled language editing and proofreading. Aleksandra Szymczyk provided the English translation. Inventory and re-inventory of the collection were managed by Aneta Matuszewska, Sebastian Pierścieniak, and Katarzyna Reszka (coordination). Conservation of prints was done by Julia Kłosińska, negatives by Julia Kłosińska and Katarzyna Szymczuk, and archival materials by Igor Nowak. Digitization was performed by Adrian Czechowski, Michał Matyjaszewski, and Anna Sulej, with coordination by Mikołaj Kalina. Eliza Kowalska-Małek handled post-production. Maciej Chodziński prepared photos for printing. Janusz Kurczak managed external loans, while Tomasz Lewandowski, Dorota Parszewska, and Zuzanna Sieroszewska-Rolewicz handled internal loans. Mounting was provided by Marta Bulińska (IDoArt), Zofia Cur, Ksenia Góreczna, Ewa Lenczewska, Katarzyna Radecka, Piotr Popławski, and Katarzyna Szymczuk (conservation mounting). Implementation was carried out by Michał Bogumił, Marta Galewska, Paweł Grochowalski, Krzysztof Kwiatkowski, Piotr Lipiński, Monika Mazurek, Artur Miniewicz, Ewa Nowak-Mitura, Katarzyna Radecka, Tomasz Raubo, Leszek Sokołowski, Michał Tański, Filip Wielechowski-Olszak, Adam Wrzosek, and Aleksandra Złotowska. The Tryktrak studio, with Jakub Kamiński, was involved in its operation. Public program coordination was managed by Dorota Stolarska-Kultys, and the educational program by Anna Lorek-Maciejuk, Krystyna Stroynowska, and Marta Zdanowska. Accessibility coordination and audio description preparation were handled by Karolina Sawicka, with accessibility consultations by Kamila Albin. Communications were managed by Anna Dobrowolska-Balcerzak, Anna Ładna, Olga Gaertner, Magdalena Nazimek, Nela Sobieszczańska, Martyna Sowińska Pasek vel Paszkowska, and Maria Alicja Włodarska. Joanna Bębenek designed the visual identity for promotional materials. Anna Światłowska developed the typography system for the Museum of Warsaw exhibitions. Marketing was handled by Małgorzata Czajkowska, Karina Dąbska, Agata Fijałkowska, Agata Fronczyk, Dagmara Jędrzejewska, and Jowita Purzycka. External funding acquisition was managed by Marzena Michałek-Dąbrowska. External loans were sourced from the National Museum in Warsaw, the Museum of the Independence in Warsaw, WFDiF/FINA, the University of Warsaw Library, the University of Warsaw Archives, and private individuals. Internal loans were managed by the relevant departments. There are links to purchase tickets, subscribe to the newsletter, view accessibility information, explore events, family activities, programs for seniors and schools, and access an audio guide and guided tours. The exhibition also carries a warning about strong sensory stimuli, including rapidly moving images and loud, unsettling music. Tactile aids are available for visitors with visual impairments, and task cards for children are offered in Polish and English for self-guided exploration. Further details on specific ticket prices, hours, and event schedules are available through the provided links and on the museum's website, as this section offers a general overview of visitor information and exhibition context.