Mark Osterman and France Scully Osterman have twenty four prints on exhibit at the Photography Biennial: “Stan Rzeczy/The State of Matters” in Poznan, Poland.

The exhibition includes work by 8 Polish & American artists working with 19th century photographic methods in a 21st century context. Included is work by:

Dan Estabrook
Jesseca Ferguson
Alan Greene
Jarosław Klupś
Paweł Kula
Marek Noniewicz


Centrum Kultury Zamek
ul. Św. Marcin 80/82
61-809 Poznań, Poland

The exhibit will run from November 15 to December 15, 2013.




artists: Dan Estabrook, Jesseca Ferguson, Alan Greene, Jarosław Klupś, Paweł Kula, Marek Noniewicz, France Scully Osterman, Mark Osterman

curators: Jaroslaw Klupś, Marek Noniewicz

venue: Zamek Cultural Centre in Poznań (Święty Marcin 80/82, Poznań)

date: 15.11-15.12.2013

opening night: 15.11.2013, 8 pm

curator’s tours (admission free):

22.11.2013, 7 pm

6.12.2013, 1 pm

The world of images feeds on digitalization, which is able not only to almost invisibly manipulate, but also generate new images of the world, providing an illusion of reality. Searching for evidence of the pencil of nature or looking once again into a mirror with memory, we not only enter into a dialogue with the history of imaging technology, we slow the progress of time in order to carefully examine it. The tools we choose are perfectly suited to the task, and there are a number of methods we can use: re-reading signs of the past in objects, recording places steeped in history, finding modern-day contexts for the negative – the initial level of abstraction in the medium of photography, and discovering the magic of the darkroom. The irreversibility of the processes that accompany the formation of the image no longer frightens us – we know that a rose burned in an alembic will not come back to life, but the ash that remains has weight and is real. The choice to use nineteenth-century photographic techniques, now freed of the ballast of their utility, does not merely represent an attempt to experience a mystery or revive a myth: amateur practitioners of old-fashioned photographic imaging methods delight in the problems they present to those exploring them. Processes during which reality slowly permeates photosensitive surfaces, providing time to reflect and achieve a proper view of the state of things. Most of the artists taking part in the exhibition use methods based on nineteenth-century photographic imaging processes. Their works are unique objects that are in dialogue with the history of photography, as well as the results of conceptually grounded research and experimentation. Above all, the photographs, objects and installations presented in the exhibition combine an extraordinary vision of involvement in the process of producing images and a contemplation on its very essence.