[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"container-10":3,"container-children-10":999},{"@id":4,"@type":5,"id":6,"path":7,"signature":8,"parent":9,"level":10,"children":11,"institution":46,"type":56,"fullSignature":57,"formerSignatures":58,"title":62,"coverPhoto":9,"description":63,"createdAt":61,"modifiedAt":61,"isPublished":64,"rootSignature":50,"signaturePrefix":9,"signatureSuffix":9,"items":65,"isPrivate":68,"locationOfOrigins":69,"locationOfCopies":70,"possession":71,"safekeepingAgreement":54,"dateOfCreationStart":72,"dateOfCreationStop":73,"dateOfCreationDescription":54,"collections":54,"exhibitions":54,"publications":54,"archivalHistory":54,"sourceOfAcquisition":54,"administrativeHistory":54,"appraisalDestructionAndSchedulingInformation":54,"rulesOrConventions":54,"dateOfDescription":9,"archivistNote":54,"authorsOfDescription":54,"accessConditions":74,"useConditions":54,"copyrights":75,"languageOfMaterials":54,"notesForAccessAndUse":54,"createdBy":76,"modifiedBy":76,"childrenCount":9,"navigation":77,"editlock":9,"revisionId":998},"/api/v1/containers/10","Container",10,"10/",13,null,1,[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45],"/api/v1/containers/293","/api/v1/containers/116","/api/v1/containers/118","/api/v1/containers/119","/api/v1/containers/112","/api/v1/containers/113","/api/v1/containers/111","/api/v1/containers/114","/api/v1/containers/120","/api/v1/containers/121","/api/v1/containers/122","/api/v1/containers/123","/api/v1/containers/125","/api/v1/containers/140","/api/v1/containers/147","/api/v1/containers/148","/api/v1/containers/149","/api/v1/containers/150","/api/v1/containers/151","/api/v1/containers/142","/api/v1/containers/143","/api/v1/containers/144","/api/v1/containers/145","/api/v1/containers/162","/api/v1/containers/163","/api/v1/containers/164","/api/v1/containers/170","/api/v1/containers/236","/api/v1/containers/235","/api/v1/containers/262","/api/v1/containers/152","/api/v1/containers/292","/api/v1/containers/115","/api/v1/containers/117",{"@id":47,"@type":48,"id":10,"name":49,"shortName":50,"slug":51,"address":52,"contact":53,"coverPhoto":54,"description":54,"url":55,"signature":50},"/api/v1/institutions/1","Institution","Fundacja Archeologia Fotografii","FAF","inst-1",[],[],"","http://faf.org.pl/","fond","FAF-13",[59],{"signature":60,"fullSignature":60,"rootSignature":54,"changedAt":61},"13","2026-08-05T21:25:57+00:00","Archiwum Antoniego Zdebiaka","Antoni Zdebiak (30.05.1951-29.06.1991)\r\nFotograf, aktor i performer. Zajmował się fotografią reportażową, reklamową, teatralną i fotografią mody. Autor zdjęć na okładki płyt czołowych polskich zespołów lat 80., m.in. Budki Suflera, Republiki, Siekiery i Urszuli. Wieloletni współpracownik tygodnika „Perspektywy”. Najważniejsza jednak była dla niego własna twórczość — większość projektów artystycznych powstała w latach 80.\r\n\r\nAntoni Zdebiak urodził się w Puławach. Tam skończył liceum. W latach 1969-1970 był aktorem Teatru Wizji i Ruchu Jerzego Leszczyńskiego. Teatr ten „stał się jednym z najciekawszych zjawisk w zakresie teatru eksperymentalnego; teatru, w którym podstawowym środkiem wyrazu jest ludzkie ciało (źródło http://teatrnn.pl/leksykon/node/2394/teatr_wizji_i_ruchu). Tam Zdebiak poznał podstawy pantomimy i pracy z ciałem, które rozwijał m.in. podczas warsztatów z Jerzym Grotowskim. W tym samym czasie, wspólnie z aktorami m.in. Piotrem Cieślakiem i Jadwigą Jankowską założył w Puławach eksperymentalną grupę, gdzie wspólnie pracowali według metod opracowanych przez Grotowskiego.\r\n\r\nTeatr, ruch i ciało pozostały dla niego jedną z najważniejszych inspiracji i sposobów wyrazu, także w twórczości fotograficznej. Fotografią zaczął interesować się na początku lat 70. Był samoukiem. Pierwsze prace reporterskie opublikował w 1971 r. w prasie lubelskiej („Kamera”, „Kurier”). W tym samym roku przyjechał do Warszawy, gdzie szybko otrzymał pracę fotoreportera w tygodniku „Perspektywy”, z którym związany był w latach 1973-77.\r\n\r\nW 1978 r. wyjechał do Paryża, gdzie zajmował się przede wszystkim fotografią mody, uczył się i współpracował z Krzysztofem Pruszkowskim. W latach 1979-81 współpracował z miesięcznikami „Scena”, „Teatr” oraz tygodnikami „ITD” i „Razem”, w 1982 r. z włoską Agencją Prasową ANSA. Dwa lata później otrzymał dwie nagrody w Ogólnopolskim Konkursie Fotografii Prasowej. W tym samym roku został członkiem Związku Polskich Artystów Fotografików.\r\n\r\nW latach 80. zajmował się przede wszystkim fotografią reklamową, mody i teatralną (portrety aktorów, dokumentacje spektakli, zdjęcia plakatowe). Fotografował dla Teatru Wielkiego w Warszawie i Warszawskiej Opery Kameralnej. Był też stałym współpracownikiem m.in Budki Suflera, Urszuli, Republiki, Siekiery, Osjana, Majki Jeżowskiej. Robił zdjęcia na okładki płyt, do folderów, sesje, dokumentacje koncertów i zdjęcia na plakaty. Jest autorem zdjęć na okładki płyt m.in. Siekiery: „Jest Bezpiecznie / Misiowie Puszyści” (1985), „Nowa Aleksandria” (1986); Urszuli: „Urszula” (1983) „Malinowy król” (1984); Budki Suflera: „Czas Czekania, Czas Olśnienia” (1984), „Ratujmy co się da” (1989), „Giganci tańczą” (1986); Republiki: „I-Ching\" (1983), „Nieustanne tango” (1984), „Świnie” (1986).\r\n\r\nNajważniejszy okres twórczości artystycznej rozpoczął się w 1984 roku. Wiele z jego projektów miała charakter performensu — jednak były to zawsze działania, które powstały wyłącznie na użytek fotografii. Celem powołania tych wydarzeń był obraz lub seria obrazów. Antoni Zdebiak był reżyserem i choreografem tego procesu, zwykle także aktorem. Większość prac powstawała w domu artysty lub w Męćmierzu — niewielkiej wiosce nad Wisłą tuż obok Kazimierza Dolnego. Z 1984 roku pochodzi projekt, znikającego mężczyzny sfotografowanego na białym tle, jeden z niewielu przykładów męskiego aktu w polskiej fotografii. Zdjęcia z tego projektu były wykorzystane na okładce płyty Budki Suflera „Czas Czekania, Czas Olśnienia”. Stworzył kilkanaście projektów artystycznych, tylko kilka z nich było wystawianych za jego życia.\r\n\r\nW archiwum Antoniego Zdebiaka znajdują się setki autoportretów, wykonywanych w różnych sytuacjach i momentach życiowych. Większość to witkacowskie sesje, podczas których odgrywał emocje i wcielał się w różne postaci. Wybrane z autoportetów zgromadził w „Księdze Twarzy”— autorskiej książce, przygotowanej ręcznie w trzech egzemplarzach.\r\n\r\nW 1989 roku wyjechał do Londynu. Tam fotografował, projektował i przygotowywał scenografię dla Teatru Małych Form. Przede wszystkim jednak uczył się w szkole filmowej. Studiował Media Production Services in Advanced Television/Video Post-Production Techniques and Television / Video Cameras Operation and Lighting System. Podczas studiów zrealizował dwa filmy dokumentalne, jeden o rozpoczynającym karierę bokserską Jemeńczyku nazywanym Prince, drugi o wytwórni whisky w Glenfiddich. W Londynie mieszkał, z przerwami, do połowy 1991 r. Zginął w Polsce, w wypadku samochodowym w 1991 r.",true,[66,67],"/api/v1/items/39729","/api/v1/items/39730",false,"Archiwum Fundacji Archeologia Fotografii na Chłodnej 20 oraz mieszkanie spadkobierców w Warszawie","Cyfrowe kopie przechowywane w siedzibie Fundacji Archeologia Fotografii, ul. Chłodna 20. Kopia zapasowa poza siedzibą Fundacji.","J., D., E. Zdebiak","1970-01-01T00:00:00+00:00","1991-01-01T00:00:00+00:00","W celu otrzymania informacji o zasadach udostępniania prosimy o kontakt: fundacja@faf.org.pl","© J., D., E. Zdebiak / FAF","/api/v1/users/1",{"@context":78,"@type":86,"@id":87,"previous":88,"next":936},{"@vocab":79,"hydra":80,"previous":81,"next":84},"http://wm.faf.org.pl/api/v1/docs.jsonld#","http://www.w3.org/ns/hydra/core#",{"@id":82,"@type":83},"NavigationDTO/previous","@id",{"@id":85,"@type":83},"NavigationDTO/next","NavigationDTO","/api/v1/.well-known/genid/18c4fca232e4130d83e4",{"@context":89,"@id":90,"@type":5,"id":91,"path":92,"signature":93,"parent":9,"level":10,"children":94,"institution":98,"type":56,"fullSignature":103,"formerSignatures":104,"title":107,"coverPhoto":9,"coverPhotoFormatsUrls":9,"description":108,"createdAt":61,"modifiedAt":61,"isPublished":64,"rootSignature":50,"signaturePrefix":9,"signatureSuffix":9,"items":109,"isPrivate":68,"locationOfOrigins":929,"locationOfCopies":70,"possession":930,"safekeepingAgreement":54,"dateOfCreationStart":931,"dateOfCreationStop":932,"dateOfCreationDescription":54,"descriptionNotes":54,"collections":54,"exhibitions":54,"publications":54,"archivalHistory":54,"sourceOfAcquisition":54,"administrativeHistory":54,"appraisalDestructionAndSchedulingInformation":54,"rulesOrConventions":54,"dateOfDescription":9,"archivistNote":54,"authorsOfDescription":54,"accessConditions":74,"useConditions":54,"copyrights":933,"languageOfMaterials":54,"notesForAccessAndUse":54,"createdBy":76,"modifiedBy":76,"childrenCount":9,"navigation":9,"authors":934,"editlock":9,"revisionId":935},"/api/v1/contexts/Container","/api/v1/public/containers/9",9,"9/",12,[95,96,97],"/api/v1/containers/154","/api/v1/containers/221","/api/v1/containers/222",{"@id":47,"@type":48,"id":10,"name":49,"shortName":50,"slug":51,"address":99,"contact":100,"coverPhoto":54,"description":54,"url":55,"createdAt":101,"modifiedAt":101,"signature":50,"isOrganization":64,"createdBy":76,"modifiedBy":102,"editlock":9,"revisionId":9},[],[],"2026-08-05T21:25:13+00:00","/api/v1/users/2","FAF-12",[105],{"signature":106,"fullSignature":106,"signaturePrefix":54,"signatureSuffix":54,"rootSignature":54,"changedAt":61},"12","Archiwum Jana Jastrzębskiego","Jan Jastrzębski (ur. 22.06.1925 – zm. 2001)\r\nUrodził się w Warszawie, gdzie ukończył szkołę powszechną i gimnazjum ogólnokształcące (w 1943 zdał maturę). Od 1943 do końca wojny pracował jako robotnik rolny. W 1947 roku, zaczął studia w Szkole Głównej Planowania i Statystyki w Warszawie (obecnie Szkole Głównej Handlowej). Po kilku latach pracy w handlu zagranicznym całkowicie zajął się fotografią.\u003Cbr>\r\nW latach 1955-1975 pracował jako fotoreporter. Współpracował m.in. z Tygodnikiem Ilustrowanym “Kraj” i „Miesięcznikiem Polskim” („The Polish Review”/ „La Revue Polonaise”). Fotografował polską prowincję, przemysł. Należał do Związku Polskich Artystów Fotografików (od 1960 roku).\r\nW późniejszych latach zajmował się głównie dokumentacją dzieł sztuki, fotografią krajobrazową. \u003Cbr>\r\n\r\nW latach 80. kilkakrotnie pracował jako rzeczoznawca do spraw fotografii artystycznej przy Ministerstwie Kultury i Sztuki. W latach 80. dokumentował jako wolontariusz zbiory Muzeum Archidiecezji Warszawskiej przy kościele na Solcu.\r\n\r\nW latach 1985-1990 powstał jego cykl dokumentujący przebudowę Mostu Poniatowskiego. Interesujące formalnie, wywołujące niepokój fotografie, przywołujące na myśl zdjęcia teatralnej dekoracji powstały w momencie przełomu ustrojowego w Polsce. Zdjęcia z tego cyklu były prezentowane na słynnej wystawie Looking East w Galleri Image w Aarhus w Danii.\u003Cbr>\r\nJastrzębski brał udział w wielu wystawach zbiorowych w Polsce i zagranicą. Prezentował prace m.in. w ramach festiwalu Fotofest w Houston w 1988 roku (wraz z Edwardem Hartwigiem), czy wystawie Landscape of Poland w Nowym Jorku w 1986 roku. Długotrwała choroba serca i poważne niedomaganie nogi spowodowały mniejszą aktywność fotografa w ostatniej dekadzie życia. \u003Cbr>\r\nPrzez większość życia mieszkał na Powiślu. Jego żoną jest Maria Łuszczkiewicz-Jastrzębska, graficzka i rysowniczka (ur. 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Fundacji Archeologia Fotografii na Chłodnej 20 oraz mieszkanie spadkobierczyni w Warszawie","Maria Łuszczkiewicz-Jastrzębska","1950-01-01T00:00:00+00:00","1990-01-01T00:00:00+00:00","© Maria Łuszczkiewicz-Jastrzębska / FAF",[],"019fd3d1-9d04-731f-bc85-c9303ed3cde7",{"@context":89,"@id":937,"@type":5,"id":938,"path":939,"signature":940,"parent":9,"level":10,"children":941,"institution":962,"type":56,"fullSignature":965,"formerSignatures":966,"title":970,"coverPhoto":9,"coverPhotoFormatsUrls":9,"description":971,"createdAt":969,"modifiedAt":972,"isPublished":64,"rootSignature":50,"signaturePrefix":54,"signatureSuffix":9,"items":973,"isPrivate":68,"locationOfOrigins":54,"locationOfCopies":54,"possession":991,"safekeepingAgreement":54,"dateOfCreationStart":992,"dateOfCreationStop":9,"dateOfCreationDescription":993,"descriptionNotes":54,"collections":54,"exhibitions":54,"publications":54,"archivalHistory":54,"sourceOfAcquisition":54,"administrativeHistory":54,"appraisalDestructionAndSchedulingInformation":54,"rulesOrConventions":54,"dateOfDescription":994,"archivistNote":54,"authorsOfDescription":54,"accessConditions":54,"useConditions":54,"copyrights":995,"languageOfMaterials":54,"notesForAccessAndUse":54,"createdBy":76,"modifiedBy":102,"childrenCount":9,"navigation":9,"authors":996,"editlock":9,"revisionId":997},"/api/v1/public/containers/267",267,"267/",21,[942,943,944,945,946,947,948,949,950,951,952,953,954,955,956,957,958,959,960,961],"/api/v1/containers/295","/api/v1/containers/296","/api/v1/containers/297","/api/v1/containers/298","/api/v1/containers/299","/api/v1/containers/268","/api/v1/containers/269","/api/v1/containers/270","/api/v1/containers/271","/api/v1/containers/272","/api/v1/containers/273","/api/v1/containers/274","/api/v1/containers/275","/api/v1/containers/277","/api/v1/containers/278","/api/v1/containers/279","/api/v1/containers/280","/api/v1/containers/281","/api/v1/containers/282","/api/v1/containers/283",{"@id":47,"@type":48,"id":10,"name":49,"shortName":50,"slug":51,"address":963,"contact":964,"coverPhoto":54,"description":54,"url":55,"createdAt":101,"modifiedAt":101,"signature":50,"isOrganization":64,"createdBy":76,"modifiedBy":102,"editlock":9,"revisionId":9},[],[],"FAF-21",[967],{"signature":968,"fullSignature":968,"signaturePrefix":54,"signatureSuffix":54,"rootSignature":54,"changedAt":969},"21","2026-08-05T21:26:24+00:00","Archiwum Lucjana Demidowskiego","Lucjan Demidowski (ur. 1946) - fotograf konceptualny, jest jednym z pionierów kreatywnej i inscenizowanej fotografii na gruncie polskim. Od 1971 roku członek Związku Polskich Artystów Fotografików (nr legitymacji: 383). Jego prace wyróżniają się zręcznym wykorzystaniem różnorodnych obiektów, rekwizytów oraz budowaniem minimalistycznych aranżacji dla stworzenia surrealistycznych planów fotograficznych i zgeometryzowanych kompozycji. Stanowią ilustrację refleksji nad samą naturą obrazu fotograficznego. Uczestnictwo w przełomowej wystawie „Fotografowie poszukujący” oraz ekspozycji w 1971 roku w Kolonii umocniło jego pozycję w historii polskiej fotografii, podkreślając jego unikalne spojrzenie na medium. W kolejnych latach prezentował swoje prace na wystawach indywidualnych w najważniejszych galeriach w Polsce. Były to między innymi: wystawa „Autoportret” w Biurze Wystaw Artystycznych w Lublinie w 1972 roku, wystawa „Ogród” w Galerii Labirynt w Lublinie w 1973 roku, wystawa „Rzeczywiste – pozorne” w Galerii Remont w Warszawie w 1973 roku, wystawa „Transfiguracje w Galerii Labirynt w 1975 roku, wystawa „Lustra” w Małej Galerii w Warszawie w 1990 roku. Demidowski chętnie eksperymentował i przełamywał racjonalizm medium fotograficznego, sięgając po poetycką ironię i siłę niedopowiedzeń za sprawą często występującego u niego motywu lustra. Jego twórczość, pełna napięcia między abstrakcyjną formą a elementami naturalnymi, odznacza się wyjątkowym podejściem do fotografii konceptualnej, czyniąc go ważnym głosem w polskim środowisku artystycznym lat 70. XX w. Odnajdywał się również w fotografii reporterskiej, fotografii użytkowej (okładki płyt muzycznych), a także dokumentował życie artystyczne Lublina – portretował plastyków, muzyków, artystów teatralnych.","2026-08-25T10:13:45+00:00",[974,975,976,977,978,979,980,981,982,983,984,985,986,987,988,989,990],"/api/v1/items/91074","/api/v1/items/90764","/api/v1/items/90765","/api/v1/items/90845","/api/v1/items/90844","/api/v1/items/90848","/api/v1/items/91024","/api/v1/items/91025","/api/v1/items/91066","/api/v1/items/91067","/api/v1/items/91073","/api/v1/items/91068","/api/v1/items/91070","/api/v1/items/91069","/api/v1/items/91071","/api/v1/items/91072","/api/v1/items/91075","L. Demidowski","1960-01-01T00:00:00+00:00","od lat 60. XX wieku","2026-08-25T00:00:00+00:00","L. Demidowski / FAF",[],"01a03869-611b-749d-a3b8-938c03e13569","019fd3d1-9d69-7b4a-bad7-c4749a66d0da",[]]