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Ewa Partum was one of the pioneers of the art in the public space in Poland. From the beginning she was interested in the new means of artistic expression, new genres, such as mail art, performance art, photography; also very early she started to create the installations beyond a gallery space. The installation Legalność przestrzeni (Legality of the Space) was constructed in 1971 in the Freedom square in Łódź – the city where the artist was living those days. Partum gathered and put in the one place the collection of dozens of street signs and boards indicating ban of something. The meaning of the gesture was clear: the artist let see the limits of the public spaces and regulations regarding the use of this space in the Polish People’s Republic. The space of the street, at first glance freely accessible and egalitarian, turned out to be severely restricted and under surveillance. The Legality of the Space was an important piece especially in the context of the apparent openness and liberty of the first years of Edward Gierek rules in Poland. The photography of the installation came from the archive of the Artum Foundation.

The photography from the Tomasz Sikorski collection presents Clothes – a piece from the cycle Self-tautologies – Nothing about Myself created by Jerzy Treliński in the 1970s. On the photo, there are two women walking the street in Zielona Góra city in 1975. First of them has the dress, while the second – the vest with prints ‘Treliński’. The prints on the clothes were made from the same typographical pattern.
Treliński as an artist is for the whole his life associated with the Łódź neo-avantgarde milieu. He combined within his works the inspiration form the conceptualism and Russian constructivism. In the Self-tautologies cycle, he created a lot of objects, from books, posters, and postcards, to clothes and flags, to pencil graffiti and everyday-life objects. All of the items were marked by the creator’s surname, always made as the same graphic sign. That way, signaling his presence, Treliński did not reveal anything about himself, while the sign of his individuality became the commentary to the social reality.

Source:
Łukasz Guzek, Najbardziej radykalne postawy w ruchu galerii konceptualnych lat siedemdziesiątych. Galeria 80x140 Jerzego Trelińskiego i Galeria A4 Andrzeja Pierzgalskiego [The Most Radical Attitudes Within The Movement Of 'Conceptual Galleries' In The 70s. Jerzy Trelinski's Gallery 80x140 And Andrzej Pierzgalski's Gallery A4], „Sztuka i Dokumentacja”, nr 4/2011, s. 49-68.

The photo showed Zofia Kulik and Przemysław Kwiek during their presentation on the documentation of the artistic initiatives. The presentation took place in the Student Center for Artistic Communities Dziekanka as a part of the exhibition and theoretical session Dokumentacja i autodokumentacja w sztuce (Documentation and Self-Documentation in Art), March 5-6, 1979. The photographer Tomasz Sikorski was also the organizer of the event as a co-director of the P.O. Box 17 Gallery. The participants of the event, besides Kulik and Kwiek, were Peter van Beveren, Andrzej Jórczak, Tomasz Konart, Jerzy Olek, Jerzy Onuch, Andrzej Partum, Andrzej Paruzel, Józef Robakowski, and Tomasz Sikorski.

The photography took by Tomasz Sikorski presented the space of the exhibition Forma i dźwięk (Form and Sound). The exhibition was displayed at the Mospan Gallery from March 20 to 25, 1978. On the photo, one could see, among others, Dorota Mroczko and Paweł Kwiek. The exposition gathered works made by the students from the sculpture workshop carried on by the professor Jerzy Jarnuszkiewicz at the Fine Arts Academy in Warsaw. The pieces presented at the exhibition were made by Krzysztof Bednarski, Hanna Roszkiewicz, Marek Sarełło, Tomasz Sikorski, Roman Woźniak and Jacek Malicki, musician, writer, philosopher who actually was not Jarnuszkiewicz’s student. The question of relations between spatial form and sound may sound strange in the context of the sculpture workshop. That was the avant-garde musician and composer Andrzej Bieżan who induced students to take up such a topic. The effects of the cooperation between Bieżan and students of sculpture were showed at the Mospan Gallery.