LITHO-KIELCE 2015 catalog

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY THE INTERNATIONAL LITHOGRAPHY COMPETITION

ielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / 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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY THE INTERNATIONAL LITHOGRAPHY COMPETITION KURATOR / CURATOR Stanisława Zacharko-Łagowska

BIURO WYSTAW ARTYSTYCZNYCH W KIELCACH ART EXHIBITION BUREAU IN KIELCE STOWARZYSZENIE MIĘDZYNARODOWE TRIENNALE GRAFIKI W KRAKOWIE INTERNATIONAL PRINT TRIENNIAL SOCIETY IN KRAKOW KOORDYNATOR SMTG / COORDINATOR SMTG Leonard Pędziałek

Kielce 2016

BAKHAREV ANDREI - FI BANAŚ ALEKSANDRA - PL BOCHENEK MARCIN - PL BORKOWSKA AGATA - PL BROUWER ARDI - NL BUDKA JÓZEF - PL BULATOVIC GABRIJELA - XS BUTOWSKI ŁUKASZ - PL CHWILCZYŃSKI BARTŁOMIEJ - PL CREIGHTON ROBERT - CA CZECH ADAM - PL CZERKO MICHAŁ - PL DECAEN ANDREW - USA DOMALEWSKA MARIA - PL ENDO SUSUMU - JP FIEDLER BIRGIT - DE FRANKE RUDIGER - DE FRODYMA TERESA - PL GEWARTOWSKA AGNIESZKA - PL GIL RAFAEL - AR GLASGOW ROBERT - USA GORLAK ZBIGNIEW - PL HA JEWSKI MARCIN - PL HAUCKE PHILIPP - DE HIKOSAKA NOBORU - JP HONDA EIKO - JP HOSHINO MICHIKO - JP IKAVALKO KATRI - FI JAKUBCZAK ALEKSANDRA - PL JANCOVIC ROBERT - SK JAROSZCZUK MACIEJ - PL JÓZEFOWICZ MAŁGORZATA - PL JUCHNOWICZ ANNA - PL KASAI NAOMI - JP KASPERCZYK-GORLAK BARBARA - PL KAZAHAYA KOYUKI - JP KUBIELA JAGODA - PL KURCZYŃSKA RENATA - PL LECH PIOTR - PL LEDENT INGRID - BE LEIER HEATHER - CA LESNIEWSKI SYLVIA - PL

MAŁYSA EWELINA - PL MATTSSON NILS-ERIK - SE MATWIJOW MICHAŁ - PL MILCZAREK MICHAŁ - PL MUMMERY ERIC - CA NAKATOH FUMIHIKO - JP NINOV IVAN - BG NISHIKAWA YOICHIRO - JP NOORDERMEER HERMAN - NL OATWAY MARTHA - USA OBIDOWICZ KATARZYNA - PL PANASEWICZ PIOTR - PL PEEVA DARINA - BG PHIRANGI PRASHANT - IN PRZYBYLSKA AGATA - PL RAFALSKI MATEUSZ - PL RETARSKA DOROTA - PL RODRIGUEZ RAFAEL - BE RUKASZ KRZYSZTOF - PL SATO FUKO - JP SMITH SERENA - UK SOJKA MONIKA - PL SOSIŃSKI SŁAWOMIR - PL SURIYAPATARAPUN PURITIP - TH SYPOSZ MONIKA - PL SYPOSZ VALERIE - CA SZWA JKOWSKA KAROLINA - PL ŚWIĘTEK KRZYSZTOF - PL TROJANOWSKA ANNA - PL TURCHENKO ULYANA - PL UCHMAN MAGDALENA - PL VASILAKOU ARGYRI - GR VELASCO FRANCISCO - ES WALENCIEJCZYK MONIKA - PL WILKOSZ DOMINIKA - PL WILLERUP JOERGEN - DK WINTERS MARIE - CA YASUI YOSHIHISA - JP YOSHIDA YU - JP ZABORSKI JACEK - PL ZHANG MINJIE - CN

Kiedy w 2012 roku, wraz z prof. Markiem Sakiem, formułowaliśmy ideę Przeglądu Współczesnej Litografii Polskiej, najbardziej interesowało nas zdiagnozowanie aktualnej kondycji tej trudnej graficznej dyscypliny. Nie napawało optymizmem wpisanie jej przez UNESCO na listę zamierających zawodów... Skomplikowana technologia, wymagająca nie tylko profesjonalnych: wiedzy, pracowni, narzędzi i kosztownych kamiennych matryc; także sprawności i siły fizycznej, eliminowała wielu, nawet poważnie nią zainteresowanych grafików. Poznawana i uprawiana głównie w trakcie akademickiego kształcenia, często zarzucana była – i nadal jest – dla technik łatwiejszych i tych nowocześniejszych – cyfrowych, nie wymagających długotrwałych technologicznie procesów, styczności z chemikaliami i tak wytężonego wysiłku.

When in 2012, together with professor Marek Sak, we were formulating the idea of the Contemporary Polish Lithography Review, first of all we wanted to diagnose the present situation of this difficult graphic discipline.

The fact it is on the UNESCO list of vanishing professions didn’t make us optimistic… Complex technology demanding really professional: knowledge and skills, well equipped studio, expensive stone matrices, as well as simple physical strength, eliminated many an artist seriously interested in it. Studied and applied mainly during academic courses, often has been replaced with easier and more modern techniques, lately digital ones, which don’t need long technological processes, getting in touch with chemicals and arduous efforts.

Z tego, podstawowego wówczas dla nas założenia, wynikała otwarta formuła Przeglądu – zawierająca ryzyko akceptacji wszystkich zgłoszonych prac niewiadomego poziomu artystycznego wystawy. Zgłoszonych przez 69 artystów 187 litografii (regulamin ograniczał ilość zgłaszanych prac do trzech), złożyło się na prezentację pełni różnorodności, odzwierciedlającej ogromne możliwości obrazowania tej wyjątkowej techniki. Wystawa, prezentowana w dniach 18.10 – 17.11.2013 r. ( jako ostatnia w starej galerii BWA przy ul. Leśnej 7) pomimo uprzednich obaw, okazała się także sukcesem na miarę wydarzenia artystycznego. Został on dopełniony, jeszcze bardziej satysfakcjonującym, gorącym entuzjazmem 23 uczestników, przybyłych na wernisaż (You Tube, Przegląd Współczesnej Litografii Polskiej, Kielce 2013), oraz pozytywnymi reakcjami środowisk plastycznych i akademickich. W tekście zamieszczonym w katalogu wystawy prof. Paweł Frąckiewicz, autor książki Pamięć przyszłości. Perspektywy rozwoju litografii wobec digitalizacji (Wrocław 2012), doprecyzował sens promowania tego typu zjawisk: Oceny wartości sztuki i tak nie dokonuje się wyłącznie poprzez pryzmat narzędzi czy technologii użytych do jej wytworzenia. Najistotniejsza jest kreatywność, autentyzm i oryginalność przekazu. Ale kiedy na rzecz hegemonistycznej technologii cyfrowej znika jakaś inna, ważna część arsenału środków możliwych do budowania artystycznych wizji, to w efekcie te wizje również ubożeją.

To wszystko skłoniło nas – BWA w Kielcach – nie tylko do kontynuowania: także do rozwinięcia imprezy do formatu Międzynarodowego Konkursu Litograficznego LITHO-KIELCE 2015. W jego regulaminie skrótowo określiliśmy nasze cele, również te, związane z promocją naszej Małej Ojczyzny:

This basic assumption was the source of the open format of the Review – there was a big risk of accepting all submitted works of unknown artistic level of the exhibition. 69 artists submitted 187 prints (one participant could submit up to three works); these 187 works resulted in the presentation of great variety showing clearly enormous potential of this unique technique. This was the last exhibition that took place in the old venue of Art Exhibition Bureau in Kielce at 7 Leśna Street. Shown in October and November 2013 was a great artistic success in spite of many doubts and concerns. The success was supplemented by enthusiasm of 23 artist gathered at the opening ceremony (see Przegląd Współczesnej Litografii Polskiej, Kielce 2013 in You Tube) and really positive reactions of art circles and academies (what a satisfaction to us it was!). Professor Paweł Frąckiewicz, the author of the book titled Memory of the Future. The Perspectives of Lithography in View of Digitalization (Wrocław 2012) defined clearly in the exhibition catalogue the sense of promoting such phenomena: Value of art can not be judged only through the tools or technology used to produce this art. Creativity, authenticity, uniqueness of message are are its essence. But when the hegemony of digital technology causes the disappearance of some other, very important means to build artistic visions, than those visions become impoverished.

This is why we – BWA in Kielce – decided not to continue the project, but to transform the simple review into an International Lithography Competition LITHO-KIELCE 2015. Its goals, dealing also with the promotion of our Little Fatherland have been briefly described in the regulations:

Nawiązując do regionalnych, kamieniarskich tradycji województwa świętokrzyskiego oraz niegdysiejszego pozyskiwania w regionie świętokrzyskim kamienia litograficznego, Biuro Wystaw Artystycznych w Kielcach, we współpracy ze Stowarzyszeniem Międzynarodowe Triennale Grafiki organizuje międzynarodowy konkurs i wystawę pokonkursową litografii i wszelkich technik łączonych z litografią, LITHO-KIELCE 2015.

Celem obecnej wystawy jest sprawdzenie kondycji współczesnej międzynarodowej litografii poprzez prezentację prac artystów posługujących się tą techniką, oraz ukazanie możliwości kreacji artystycznej, jaką daje grafikowi praca z kamieniem. Ważną częścią projektu jest promocja – coraz bardziej unikatowych – technik litograficznych oraz nowych sposobów ich stosowania i łączenia z innymi technikami.

Referring to the local stonecraft tradition and lithographic stone mined in the past in this region the Art Exhibition Bureau in Kielce together with the International Print Triennial Association organises an international, LITHO-KIELCE 2015 competition with post-competition exhibition of lithography and of lithography mixed with any other techniques.

The aim of the present exhibition is to examine the condition of contemporary international lithography through presentation of works made by the artists applying this technique, as well as to show the potential of creativity that can be experienced by graphic artists working with a stone. Promotion of these more and more unique lithographic techniques, and of new ways of combining them with other technologies is an important part of the project.

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

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W tym miejscu chciałabym wyrazić głęboką wdzięczność i podziękować Zarządowi Stowarzyszenia Międzynarodowe Triennale Grafiki w Krakowie, na czele z Panią Prezes Martą Anną Raczek-Karcz, za wsparcie SMTG przy promocji i organizacji LITHO-KIELCE 2015, oraz nadanie naszemu konkursowi wysokiej rangi imprezy towarzyszącej MIĘDZYNARODOWEMU TRIENNALE GRAFIKI KRAKÓW 2015. Rekomendacja w międzynarodowym środowisku artystów grafików, poprzez udzielenie naszemu konkursowi marki tej najstarszej i najbardziej szanowanej w świecie polskiej imprezy plastycznej, jest dla nas wyjątkowo cennym gestem. Cenna była również dla nas merytoryczna pomoc Koordynatora z ramienia SMTG, Pana Leonarda Pędziałka, któremu także bardzo serdecznie dziękuję.

Dzięki współpracy z SMTG, prace wykonane w technice litografii oraz w technikach mieszanych z dominującymi elementami litografii, które zgłoszone zostały do konkursu Triennale, mogły wziąć dodatkowo udział w konkursie LITHO-KIELCE 2015. Skorzystało z tej możliwości 62 autorów i 188 prac.

Dopełniły tę ilość 164 grafiki wysłane bezpośrednio do Kielc przez 54 artystów z różnych stron świata, co razem dało obszerny zbiór 352 dzieł, autorstwa 116 litografów.

Międzynarodowe Jury, na czele z prof. Pawłem Frąckiewiczem, przyjęło podwójne kryterium ich oceny: oryginalność i perfekcjonizm techniczny oraz wysokie wartości artystyczne.

Rygorowi surowych ocen sprostało 128 prac 83 autorów. Jurorzy dokonali również selekcji wewnątrz autorskich zestawów, redukując je z myślą o kształcie ekspozycji, dlatego też większość artystów reprezentowania jest jedną tylko pracą.

Określiło to także charakter wystawy, jako zbiór osobnych, wysoce indywidualnych dzieł, które konkurują ze sobą oryginalnością rozwiązań, również w ramach jednego tematu, czy podejścia do problemu plastycznego. Pochodząc z różnych stron świata, wyjęte z kontekstów kultur, środowisk, a nawet szerszej panoramy twórczości ich autorów, są w zasadzie nieporównywalne. Zostało to zaznaczone również w wyborze prac nagrodzonych i wyróżnionych.

GRAND PRIX uhonorowane zostały jedyne w swoim rodzaju, emanujące wzmożoną ekspresją, dynamicznie i w dużej mierze spontanicznie kształtowane, dwa cykle emocjonalnych „portretów” RAFAELA RODRIGUEZA. Niewątpliwie zwracają na siebie uwagę mocą skondensowanej energii gestu i ostrych kontrastów pomiędzy czernią i bielą. Tematem i ruchem – choć bardziej estetycznym i „ugładzonym”, zbliżają się do nich tylko Countenances Renaty Kuczyńskiej, a intensywnością ekspresji – Poza Scyllą a Charybdą Adama Czecha. Ale już nagrodzone nagrodą Biura Wystaw Artystycznych w Kielcach prace MAGDALENY UCHMAN znajdują analogię w sporej grupie dzieł, w których subtelna i delikatna kreska wyraźnie przyjmuje formę zapisu. Nie tylko tekstowego – tak jak we fragmentach prac nagrodzonej artystki. To szczególny zapis emocji, przenoszony w rysunek każdym drgnieniem ręki, mocniejszym czy słabszym naciskiem narzędzia, często bez udziału świadomości, skupionej w tym samym czasie na kontrolowaniu klarowności zamierzonego przekazu i zdyscyplinowanej kompozycji. Ich przykładem są znakomite, subtelne prace Philippa Haucke, Bartłomieja Chwilczyńskiego, Susumu Endo i Marcina Hajewskiego, a także

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

I hereby would like to express my deepest gratitude to the Board of International Print Triennial Association in Kraków, and to the Chair, Marta Anna Raczek-Karcz, for your support and help in promoting and organising LITHOKIELCE 2015, and for granting our competition the high rank of the event accompanying the INTERNATIONAL PRINT TRIENNIAL KRAKÓW 2015. We really do appreciate such a recommendation – having a label of the oldest Polish art competition, and the most estimated in the world, is something very special for us. The help of Leonard Pędziałek, the Association project coordinator, was also something very special and we would like to thank him very much indeed.

Due to cooperation with the IPTA all lithographs and works made as mixed media with dominant element of lithography submitted to Kraków could additionally take part in the LITHO-KIELCE 2015 competition. 62 artists took this opportunity and sent 188 works to Kielce. 54 other artists form all over the world (who didn’t take part in Kraków Triennial) sent 164 prints directly to Kielce. Altogether we had 352 works made by 116 lithographers.

The international Jury headed by professor Paweł Frąckiewicz defined the double criteria of judgement: original, perfect technique and high artistic value. Only 122 works by 80 artists were qualified. The jury selected also works within the authors sets, thus most of the artists are represented by one work only. Such decision defined also the character of the final exhibition making it a kind of collection of highly individual, personal works which compete with each other through their originality and uniqueness, also within the same theme, or artistic issue. Coming from different parts of the world, torn away from their cultural context, even from the panorama of their authors’ work, they are incomparable.

This has been done on purpose and emphasized also in the selection of awarded works.

Grand Prix went to two cycles of very emotional “portraits”

by RAFAEL RODRIGUEZ, one of a kind, emanating high expressiveness, formed dynamically and to large extent spontaneously. With no doubt they attract our attention with the power of condensed energy of gestures and sharp contrasts between white and black. Close to them are Countenances by Renata Kuczyńska through the theme and move, though more aesthetic and “softened”, while Beyond Scylla and Charybdis by Adam Czech almost equals them with intensity of expressiveness. The works by MAGDALENA UCHMAN awarded by the Art Exhibition Bureau in Kielce can find their analogues in quite large group of works where subtle and delicate lines and strokes are a kind of record, however not a text as it is in case of the awarded work. This is a special record of emotions transferred to a drawing by every tremble of the artist’s hand, stronger or weaker touch of a tool, often without consciousness which in the same time concentrates to control the clarity of intended message and rigorous composition. Among such works are those excellent and exquisite ones by Philipp Haucke, Bartłomiej Chwilczyński, Susumu Endo, Marcin Hajewski, Serena Smith and Piotr Lech who introduced delicately floral motifs into their works. The print by DARINA PEEVA (honorary

Sereny Smith i Piotra Lecha, którzy wprowadzają w obszar swoich prac delikatne motywy roślinne. Wyróżniona praca DARINY PEEVA, gęsta od krzyżujących się czarnych linii, spod których prześwitują rozświetlone enigmatyczne kształty, formalnie zbliża się do dzieł Joergena Willerupa, Fuko Sato i Argyri Vasiliakou. Bardziej malarskim w charakterze zapisem posługują się z kolei Katarzyna Obidowicz, Aleksander Banaś i Prashant Phirangi, wzmacniający wyraz swojej kompozycji rytmem jasnych trójkątów, z zawartymi w nich oczami.

Mistrzostwo perfekcyjnego i precyzyjnego, iluzyjnego rysunku i uzyskana nim niezwykła siła wyrazu przyniosły wyróżnienie wielkoformatowym, subtelnym, „znikającym” twarzom HERMANA NOORDERMEER. Podobną im warsztatową maestrią zachwycają, drobnymi punktami „kropkowane”, prace Naomi Kasai i Gabrijeli Bulatovic, oraz metaforyczne kompozycje Puritipa Suriyapatarapun, Ulyany Turchenko, Zhanga Minjie i Sławomira Sosińskiego. Wyróżniona książeczka MONIKI SYPOSZ zachwyciła z kolei jurorów zawartymi w niej litograficznymi ilustracjami do Baśni braci Grimm.

Spontaniczne, lekkie – i surrealizujące, otwierają całą grupę emanujących podobną poetyką dzieł autorstwa: Hoshino Michico, Michała Mielczarka, Sylvii Lesniewski, wzbogaconych kolorem i budowanych plątaniną linii prac Jagody Kubieli i Michała Matwijowa, zwartych i dekoracyjnych Roberta Jancovica, oraz najbardziej organicznych z nich, Heather Leier i Katri Ikavalko. Pięknem plastycznej, poezji bliskiej metafory, dopełniają ten zestaw trzy doskonałe, perfekcyjne formalnie dzieła Eiko Honda. Laureatka kolejnego równorzędnego wyróżnienia, ANNA TROJANOWSKA, przy pomocy skromnych środków wyrazu i jednocześnie ogromnej kultury plastycznej, uzyskuje wyrafinowany efekt iluzji trzeciego wymiaru i doskonałą harmonię swoich wysmakowanych kompozycji. Pomimo braku dosłowności i konsekwencji rozwiązań czysto geometrycznych, zbliżają się one formalnie do innych prac o podobnej, wewnętrznej równowadze, autorstwa: Ingrid Ledent, Rudigera Franke, Krzysztofa Rukasza, Aleksandry Jakubczak, Macieja Jaroszczuka, lekko tylko naznaczonych geometrycznymi podziałami prac Anny Przybylskiej i Anny Juchnowicz, oraz efektownych, przestrzennych dzieł Francisco Velasco. Nieco futurystyczny, charakter mają trzy znakomite, częściowo oparte kompozycyjnie na symetrii lustrzanego odbicia, wyróżnione abstrakcje JACKA ZABORSKIEGO. Podobne skojarzenia budzi – choć zupełnie inny w formie – barwny Bój Marcina Bochenka.

Kilkoro artystów wykorzystało możliwości litograficznego kopiowania fotografii lub ich elementów. To Koyuki Kazahaya, z dwoma znakomitymi cyklami, Yoichiro Nishikawa, kreujący fantastyczne, barwne przestrzenie, Nils-Erik Mattsson, Andrei Bakharev, Birgit Fiedler, Michał Czerko, Zbigniew Gorlak (w efektownej kompozycji z zegarami pt. Hamburg hora melancholica) oraz Barbara Kasperczyk-Gorlak.

Dosłowność fotografii posłużyła również Yoshidzie Yu do uzyskania efektu niepokojącej cielesności w pracy Proof – those that have been hurt. Niezwykle efektowną grupę prac stanowią te, w których równorzędną do formy rolę pełni literacka treść, a obie razem tworzą rodzaj graficznej a nawet malarskiej ilustracji. Wszystkie znakomicie rysowane i skomponowane, w większości dopełnione są barwami, wzmagającymi emocjonalną warstwę przekazu. Należą do nich monochromatyczna Moniki Walenciejczyk, oraz barwne litografie

mention), thicket of criss-crossing lines with some enigmatic shapes shining from behind, as a form is similar to the works

by Joergen Willerup, Fuko Sato and Argyri Vasiliakou.

A more painting-like record is used by Katarzyna Obidowicz, Aleksander Banaś and Prashant Phirangi – the latter amplified the expression of his composition with the rhythm of light triangles containing eyes. HERMAN NOORDERMEER, master of perfection and precision in illusive drawing, won the honorary award for his big size and extremely powerful Vanishing faces. The “dotted” works by Naomi Kasai and Gabrijela Bulatovic ravish with similar skilfulness, so do metaphoric compositions by Puritip Suriyapatarapun, Ulyana Turchenko, Zhang Minjie and Sławomir Sosiński.

The jury were delighted by a book made by MONICA SYPOSZ. Her lithographic illustrations for the Grimms’ fairy tales, light and a bit surrealistic, evoke the group of works of similar imagery: Hoshina Michico, Michał Mielczarek, Sylvia Lesniewski, more colourful and tangled works by Jagoda Kubiela and Michał Matwijow, compact and decorative prints by Robert Jancovic, and the ones by Heather Leier and Katri Ikavalko most organic of them.

This set of works is completed by three excellent prints by Eiko Honda, with perfect composition and beautiful poetical metaphors. ANNA TROJANOWSKA is the next artist awarded with honorary mention. Using modest means of expression and great sensitivity she obtains the sophisticated effect of the third dimension, and superb harmony of her exquisite compositions. In spite of lack of literalness and consistency in purely geometrical solutions they are close to some other works of similar internal balance made by Ingrid Ledent, Rudiger Franke, Krzysztof Rukasz, Aleksandra Jakubczak, Maciej Jaroszczuk, and to slightly geometrical prints by Anna Przybylska and Anna Juchnowicz, and to stunning spatial works by Francisco Velasco. JACEK ZABORSKI won a honorary mention for his three abstract compositions of a bit futuristic character and partially based on mirror reflection. The Combat by Marcin Bochenek has similar associations, although it is quite different as a form.

A few artists used the possibility to copy lithographically pictures or parts of them. These are Koyuki Kazahaya with his two excellent cycles, Yoichiro Nishikawa creating fantastic colourful spaces, Nils Erik Mattson, Andrei Bakharev, Brigit Fiedler, Michał Czerko, Zbigniez Gorlak (in his spectacular composition with clocks titled Hamburg hora melancolica) and Barbara Kasperczyk-Gorlak. Literalness of photography was used also by Yoshida Yu to obtain the effect of alarming corporeality in Proof – those that have been hurt.

A very interesting group consists of works with literary content which is of the same importance as the art form, and they together create a kind of graphic, even painterly illustration. All are excellently drawn and composed, most of them complemented with colours emphasizing the emotional stratum of the message. To this group belong the monochromatic print by Monika Walenciejczyk, and colour lithographs by Małgorzata Józefowicz (the biggest work at the exhibition, nine part work measuring 210 x 300 cm), Andrew Decaena, Eric Mummery, Piotr Panasewicz, Marie Winters, Monika Sojka, Mateusz Rafalski (poster-like, very expressive works), and Ardi Brouver (landscapes). The works

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

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Małgorzaty Józefowicz (największa, dziewięcioczęściowa, praca na wystawie – 210 x 300 cm), Andrew Decaena, Erica Mummery, Piotra Panasewicza, Marie Winters, Moniki Sojki, plakatowo płaskie, ekspresyjne Mateusza Rafalskiego oraz pejzaże Ardi Brouvera. Dźwięczna, mocna gama kolorystyczna i na niej oparta ekspresja, abstrakcyjnych w większości prac, cechuje te, niezwykle sugestywne, stworzone przez Teresę Frodymę, Krzysztofa Świętka, Hikosaka Noboru, Ewelinę Małysę, oraz, najbardziej malarskie, autorstwa Marthy Oatway i Roberta Glasgow. Jakkolwiek motywy figuratywne czy animalistyczne funkcjonują w wielu dziełach prezentowanych na wystawie, w części z nich są one elementem wiodącym. Pojedyncza postać ludzka, ciało człowieka, jego sylwetka – ale i problemy jego egzystencji – dominują w grafikach Roberta Creightona, Karoliny Szwajkowskiej, Łukasza Butowskiego, Doroty Reterskiej, i w nieco bajkowej konwencji utrzymanej, pracy Marii Domalewskiej. Z kolei na tematach – i motywach – zwierzęcych skupili się: Agata Borkowska (Scalone szczypawy), Dominika Wilkosz (Pies), Agnieszka Gewartowska (Multiplication.The claw cat’s 1/9) i Fumihiko Nakatoh (inspiracje odnalezione w skamielinach prehistorycznych ryb odciśniętych w skałach). Wyraźnie w przestrzeni wystawy zarysował się także klasyczny temat martwej natury. W twórczy i indywidualny sposób zmierzyli się z nim: najbardziej tradycyjnie i malarsko – Józef Budka, rysunkowo – Valerie Syposz, oraz Rafael Gil (Topography of walls IV), Ivan Ninov (Natura XIV), a także Yasui Yoshihisa (motywy kwiatowe).

by Teresa Frodyma, Krzysztof Świętek, Hikosaka Noboru, Ewelina Małysa are mostly abstract, their expression is based on strong, vivid colours, while those made by Matrha Oatway and Robert Glasgow are much more painting-like.

Although the figurative and animal motifs are present in many works, for some of them they are essential. A single human figure, a body, a silhouette – but also the problems of human existence – dominate the prints by Robert Creighton, Karolina Szwajkowska, Łukasz Butowski, Dorota Reterska, and the work by Maria Domalewska made in a bit idyllic, fairy-tale-like convention. While Agata Borkowska (Circling Earwigs), Dominika Wilkosz (Dog), Agnieszka Gewartowska (Multiplication. The Cat’s Claw 1/9) focused on animals. So did Fumihiko Nakatoh inspired by the fossils of prehistoric fish. The classic motif of still life can be easily noticed at the exhibition. More creative and individual approach is presented by Rafael Gil (Topography of Walls IV), Ivan Ninov (Nature XIV) and Yasui Yoshihisa (flower motifs), while Józef Budka and Valerie Syposz treated it in more traditional, painterly way.

Bogactwo i różnorodność wystawy pokonkursowej LITHO-KIELCE 2015 dopełnia prezentacja prac jurorów: PAWŁA FRĄCKIEWICZA (litografia, algrafia), LEONARDA PĘDZIAŁKA (litografia), ENDIEGO POSKOVIC’A (litografia), MARKA SIBINSKY’EGO (serigrafia) i STANISŁAWY ZACHARKO-ŁAGOWSKIEJ (fotografia).

LITHO-KIELCE 2015 showing the works from different parts of the world, from Japan (represented by numerous and excellent artists), through India, China, Europe, up to the USA and Canada, works applying the same technique of lithography, so unique, give us an insight into the space of art of each country and a chance to compare them. We can also evaluate the possibilities of artistic imagery within this difficult technique – but first of all the range of diversity of works created during such complex process. The meaning of artistic effort, of overcoming the physical resistance of the matter, of the dialogue with it which results in emotional, sensual, deeply individual records, makes lithography ceaselessly attractive for artists. I do hope the next editions of LITHO-KIELCE will confirm this fact.

LITHO-KIELCE 2015, pokazując prace z różnych stron świata: od Japonii (reprezentowanej wyjątkowo licznie i przez znakomitych artystów), przez Indie, Chiny, Europę, po Stany Zjednoczone i Kanadę, połączone wspólnym mianownikiem unikatowej techniki litografii, pozwala „punktowo” wejrzeć w przestrzenie sztuki ich środowisk artystycznych i porównać je ze sobą. Pozwala również docenić skalę możliwości plastycznego obrazowania w tej trudnej technice – ale przede wszystkim skalę różnorodności kreacji twórczych, jakie powstały w wyniku zmagania się artystów z tak trudnym i skomplikowanym procesem technologicznym. Twórcze znaczenie tego zmagania – przełamywania fizycznego oporu materii, dialogu z nią i powstający w jego wyniku emocjonalny i sensualny, głęboko zindywidualizowany zapis, sprawiają, że litografia jest techniką dla artystów nieustannie atrakcyjną. Mam nadzieję, że w kolejnych edycjach LITHO-KIELCE będziemy mieć możliwość systematycznego potwierdzania tego faktu.

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The richness and abundance of the LITHO-KIELCE 2015 post-competition exhibition is complemented by the presentation of works made by the members of the jury: PAWEŁ FRĄCKIEWICZ (lithography, algraphy), LEONARD PĘDZIAŁEK (lithography), ENDI POSKOVIC (lithography), MAREK SIBINSK Ý (serigraphy) and STANISŁAWA ZACHARKO-ŁAGOWSKA (photography).

Stanisława Zacharko-Łagowska

Stanisława Zacharko-Łagowska

Kurator wystawy Dyrektor Biura Wystaw Artystycznych w Kielcach

Curator of the exhibition Director of the Art Exhibition Bureau (BWA) in Kielce

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

Spokój przed burzą Zapewne w swojej istocie litografia nie jest ani konserwatywna, ani nie konserwatywna. Na przekór wątpliwościom wypada zaznaczyć, że litografia trwa w stanie ontologicznego zawieszenia. Odpowiada jej ten stan bycia pomiędzy, bez konieczności kategorycznego umocowania, przynależności. Nie stawia materialnych ograniczeń własnej idei. Ceni żywiołowość i dosadność. Jest nie tyle formą poszukującą, co sama w sobie jest poszukiwaniem. Zawsze zaczyna coś od nowa. Nie jest zniewolona nakazami stylistycznymi. Nie mając żadnego stałego modelu, sama sobie potrafi wypowiedzieć posłuszeństwo. Litografia to doskonały konglomerat intelektu i zmysłów. Nie przygniata powagą. Ma w sobie przyrodzoną lekkość. Pobrzmiewają w niej echa istotnych artystycznych doświadczeń. Jest świadkiem i strażnikiem ciągłości. Nie pędzi na oślep za modą. A moda? Moda wymyślana na potrzebę chwili przeważnie jest byle jaka, zaś nowoczesność bywa często prozaiczna i boleśnie rozczarowująca. Przywiązywanie wagi do tradycji nie musi oznaczać nudnego naśladownictwa.

Tradycjonalista patrzący w przyszłość, widzi ją poprzez przeszłość i na tym polega sens nieodżegnywania się od korzeni.

Litografia jest dość pojemna, by obrastać nowymi znaczeniami, by wyznaczać wystarczająco obszerne pole, na którym organizuje się z powodzeniem każda nowa, drukowana cywilizacja. Litografia wciąż ewoluuje i mutuje. W jej obrębie możliwe są różne wykładnie i oblicza. W niej spotyka się cała sztuka, wszystkie gatunki. Tworzy poczucie wspólnoty.

W analizowaniu obecnego statusu litografii, podobnie jak to ma miejsce w przypadku innych klasycznych technik druku artystycznego, nie można już abstrahować od zapisu cyfrowego i konsekwencji, jakie on wywołuje. Porównywanie doświadczeń wynikających z posługiwania się warsztatem technik klasycznych i cyfrowych ma kluczowe znaczenie w uchwyceniu istoty przemian zachodzących we współczesnej grafice artystycznej. Obecność zapisu cyfrowego, używanego w dowolnie wybranej fazie powstawania litografii, doprowadziła do maksymalnego uelastycznienia jej możliwości intermedialnych. Wywołała także poważny kryzys tożsamości klasycznej, nie cyfrowej grafiki warsztatowej w ogóle – w tradycyjnym jej rozumieniu. Kryteria służące niegdyś ocenie doskonałości druku, jakości nakładu, wyrafinowanych technik tworzenia matryc, straciły znaczenie. Z płaskiego monitora, świecącego migoczącym, sztucznym światłem pochodzi obecnie cała wiedza i wrażliwość tych, którzy grafikę tworzą i tych, do których jest adresowana. Połączenie z siecią internetową wyznacza normy zachowania i obowiązujące postrzeganie otaczającej rzeczywistości. W przeciwieństwie do tradycyjnej litografii, cyfrowa technologia tworzenia obrazu nie ogranicza formatu druku, ani podłoża, na jakim się drukuje.

Może nim być papier, tworzywo sztuczne, tkanina, drewno, metal, cokolwiek... Matryca cyfrowa pozwala na zmianę definicji obrazu w dowolnym momencie pracy nad dziełem.

Kryteria, jakie służą ocenie zjawisk związanych z szeroko pojmowaną grafiką, formowaną za pomocą zapisu cyfrowego, biorą pod uwagę siłę oddziaływania na widza, widowiskowość, zawłaszczanie przestrzeni ekspozycyjnej – maksymalną ekspansywność, głównie poprzez ogromne rozmiary, ale też śmiałe próby wplatania w nieruchome przedstawienia elementów animowanych, projekcji 2 i 3D oraz wielu innych środków warsztatowych. A jaka jest litografia ? Czy drepcze

The calm before the storm Probably lithography, by its nature, is neither conservative nor not conservative. In spite of all doubts it should be emphasized that lithography is in a kind of ontological suspension. It seems to like to be in between, with no need to define precisely its affiliation. Does not limit materially its own idea. Does appreciate spontaneity and bluntness.

Rather is not a searching form – it itself is a searching. Has always been beginning something anew. It is not captivated by stylistic conventions. Having no steady form, it can rebel against itself. Lithography is an excellent conglomerate of intellect and senses. Does not crush with seriousness. Has natural lightness. Is full of echoes of artistic experiences. Is both a witness and guardian of continuity. Doesn’t follow fashion blindly. And fashion? Fashion invented for a while is usually is lousy, while modernity is often banal and deeply disappointing. Respecting tradition not necessarily means boring imitation. A traditionalist looking ahead can see the future through the past and this is what respecting the roots means. Lithography is capacious enough to be covered with new meanings, to indicate a new vast area where any new printed civilisation can successfully set up itself. Lithography keeps evolving and mutating. Various countenances and interpretations are possible within it. All arts meet in it. It gives a feeling of community.

When analysing the present status of lithography, as well as in the case of other classic graphic techniques, we can not neglect the existence of digital printing and its consequences. Comparing the experiences resulting from applying the classic techniques with the digital ones is crucial to define the nature of changes taking places in the contemporary graphic art. The presence of digital record used in any phase of making a lithograph pushed to maximum the flexibility of its intermedia possibilities. It has caused a deep crisis of identity of classic, non-digital graphic art. Criteria once used to evaluate the excellence of print, quality of edition, sophisticated techniques of producing matrices lost their significance. A flat monitor shining with artificial, shimmering light is now the source of whole knowledge and sensitivity of those ones who make prints and those who see them.

Being connected to the Internet defines our behaviours and perception of the surrounding reality. Unlike in the case of lithography the digital technology limits neither the format of print, nor material we print on. It can be paper, plastic, textile, wood, metal, anything… A digital matrix makes any changes in any stage of production possible. The criteria used nowadays to evaluate the phenomena related with graphic art shaped digitally pay attention to the impact on the audience, spectacularity, taking an exhibition space into possession – extreme expansiveness mainly due to huge measures, but also to combining it with animated 2D and 3D elements and other techniques. And what is lithography like? Does it get nowhere – as some people say? Or maybe it is unwaveringly universal – as the other maintain? If lithography is neither modern nor old-fashioned than what it is like? Has it got the gift of adapting, of getting rid of the chitinous exoskeleton of restricting routine that used to regenerate over and over again? Who knows today, in the time of solving constantly issues of postmodernity, what is anachronic and what is modern? Lithography is lively, vivid, impulsive, spontaneous,

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

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obecnie w miejscu – jak oceniają niektórzy? A może cechuje ją niezachwiana uniwersalność – jak twierdzą inni? Bo jeśli litografia nie jest ani nowoczesna, ani staroświecka – to jaka? Czy posiadła dar przystosowania, dar samoistnego pozbywania się schematów, którymi przesiąka oraz umiejętność zrzucania chitynowego pancerza krępującej rutyny, którym jak wszystko, co odwieczne obrasta? Kto dzisiaj, w epoce ciągłego rozstrzygania ponowoczesnych dylematów, wie co jest anachroniczne, a co nowoczesne? Litografia jest przecież bezpośrednia, impulsywna, żywa, chętnie podąża za wyobraźnią. Tak, jak rysunek jest pierwsza. Z litografii, podobnie jak z rysunku, się nie wyrasta i choćby przez to nie przestaje być potrzebna. Świat bierze często swój początek z ołówka i kartki papieru.

Takie myśli towarzyszyły nieustannie mojej wędrówce pośród prac nadesłanych na konkurs do Kielc. Pojawiły się nagle, lecz nie przypadkowo. Swoje uzasadnienie znajdowały w miarę oglądania kolejnych grafik, których forma i tematyka wiązała się z przekonaniem, że znalazłem się pomiędzy dziesiątkami komunikatów, które – choć nie posługują się wyłącznie językiem figuratywnym – najwięcej mówią o człowieku, zwłaszcza o samym twórcy. Patrzyły na mnie najróżniejsze obrazy. Cechował je wysoki stopień indywidualizmu. Lata spędzone w świecie grafiki nauczyły mnie konieczności skupienia nad oglądaną odbitką. Odbiór litografii to proces powolny, wymagający czasu, śledzenia drobnych śladów, które mogą ujawnić istotę dzieła. Z drobnych, ledwo uchwytnych tropów pozostawionych tu i tam, wyłaniają się intymne opowieści. Z plątaniny znaków, linii, plam wyrastają formy, niedostrzeżone na pierwszy rzut oka. Tworzenie litografii to proces niespieszny, często trwający całymi tygodniami, a nawet miesiącami.

Każda napotkana odbitka to również karta z pamiętnika artysty. Czasem jest to krótka notatka, zarys problemu, niekiedy jest to pogłębiony, sążnisty elaborat, ilustrujący złożony problem. Tworzenie grafiki jest także sztuką gromadzenia, porządkowania i dzielenia się myślami, emocjami. Śledzenie kolejnych aktów procesu twórczego staje się fascynującą przygodą. Urok litografii polega na nieustannej grze toczącej się pomiędzy litografem – kamieniem – odbitką – widzem. Można się zatracić w kolejnych warstwach grafik, można zaginąć w ich labiryntach. Litografia jest to wymagające medium – stawia wyzwania zarówno artystom, jak i odbiorcom, jak dowodzą prace zgłoszone na tegoroczny Międzynarodowy Konkurs Litografii LITHO – KIELCE 2015.

Na wystawie prezentującej ostateczną selekcję jury znalazły się niezwykle różnorodne grafiki, zarówno pod względem przekazu, jak i zastosowanych technik tworzenia litograficznej matrycy. W powodzi rozmaitości zwraca uwagę pewien nurt – transformacja cielesna, jej fragmentaryzacja, hybrydyzacja. Sygnalizuje to o niepewny status ciała na początku XXI wieku. Poprzez stałe podważanie całościowej koncepcji ciała zostaje ukazany postmodernistyczny charakter nadesłanych druków. W litografiach Rafaela Rodrigueza, laureata Grand Prix, ujawniają się kolejne stadia tego procesu, zanikanie, rozpraszanie, przekształcanie, wtapianie w nieskończoną głębię otaczającej przestrzeni. Optyczne iluzje, kompozycje obrazujące nieustanny przepływ, krążenie wizualnych danych rozpadających się na drobne elementy, charakteryzują wyróżnione litografie Anny Trojanowskiej. Podróż do krainy współczesnej litografii w kieleckim BWA to doświadczenie, które dostarcza wrażeń estetycznych, a co ważniejsze, służy także poznawaniu świata i nas samych.

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

willingly follows the imagination. In the beginning there is lithography, like drawing is. One never grows out of lithography, like one never grows out of drawing, and due to this it has always been needed. Very often a pencil and a piece of paper are the beginning of the world.

This is what I was thinking wandering among the works submitted to the competition in Kielce. These thoughts appeared suddenly, however not unexpectedly, not surprisingly. They were more and more grounded as I keep watching more and more prints convincing me, by their forms and themes, that I found myself among tens of messages which, though they don’t use exclusively the figurative language, tell first of all about a human, especially of an artist. Various pictures and images were looking at me. Highly individual. Years spent in the world of graphics taught me to concentrate on a print. Perceiving a lithograph is a slowly process, it needs time, it demands to track tiny details that can reveal the essence of the work. Subtle, fine, hardly noticeable traces left here and there compose themselves in intimate tales. Forms not seen at the first glance emerge from tangled lines, signs, patches. Making a lithograph is a slowly process, sometimes it lasts weeks, even months. Every print is a page from the artist’s diary. Sometimes it is a short note, sketch of a problem, sometimes it is a bulky essay on a complex issue. Making a print is also an art of gathering, assembling, tidying up, putting in order, sharing thoughts and emotions.

Tracking the successive stages of creative process becomes a fascinating adventure. The charm of lithography consists in the constant play between a lithographer – stone – print – perceiver. One can get lost in the labyrinth of different strata.

Lithography is a demanding medium, both for artists and perceivers, and this has been proved by the works submitted to the International Lithography Competition LITHO-KIELCE 2015.

The exhibition presenting the ultimate selection made by the jury is composed of really various prints, regarding both their message and techniques of producing a lithographic matrix. However a trend can be noticed in the flood of diversity: bodily transformation, fragmentisation, hybridisation. This is a signal of an uncertain status of a body in the beginning of the 21st century. The constant undermining of the concept of the body wholeness show the post-modern character of the submitted prints. The lithographs made by Rafael Rodrigues, the winner of Grand Prix, reveal the successive stages of the process, disappearing, dispersing, transforming, merging into infinite abyss of surrounding space. Optic illusions, compositions displaying constant flow, circulation of visual data dispersing into tiny parts are the main features of the honorary mentioned prints by Anna Trojanowska. The journey to the land of contemporary lithography in the Art Exhibition Bureau in Kielce is an aesthetic experience, no doubt, but first of all it is a chance to learn something about the world and about ourselves.

Paweł Frąckiewicz Artysta grafik. Profesor sztuk plastycznych od 2003 w Akademii Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu.

A graphic artist. Full professor - since 2003 The Eugeniusz Geppert Academy of Fine Art and Design in Wroclaw.

Litografia to „malarstwo w grafice”, czy też „malarstwo na kamieniu”, określenie to jest banalne i wielokrotnie przytaczane, ale jest w nim wiele prawdy. Z tą techniką jestem związany od kilkudziesięciu lat, a wyszedłem z pracowni litografii profesora Włodzimierza Kunza, w krakowskiej ASP i zwłaszcza jemu zawdzięczam moje nią zainteresowanie. Od kilkunastu lat prowadzę Pracownię Graficzną (w założeniu litograficzną) działającą przy ZPAP w Krakowie i widzę na co dzień, kto i jak zajmuje się litografią i jak nas z roku na rok ubywa.

W dzisiejszych czasach można zauważyć postępujący odwrót młodych grafików od klasycznych technik, głównie w stronę wszelkiego rodzaju zapisów grafiki cyfrowej, toteż bardzo ucieszył mnie fakt zaistnienia specjalnej międzynarodowej wystawy litograficznej, w dodatku połączonej z konkursem – czego jesteśmy świadkami w Kieleckim BWA, w tym roku.

Dlatego należą się wielkie podziękowania dla Pani Stanisławy Zacharko-Łagowskiej, Dyrektor BWA w Kielcach, która pomimo wielu problemów, doprowadziła ją do szczęśliwego finału. Ważna jest też, przy tej edycji wystawy, współpraca z Międzynarodowym Triennale Grafiki w Krakowie, dzięki której zgłoszone do Krakowa litografie były automatycznie zgłaszane także i do Kielc. Mam też nadzieję, że ta pierwsza impreza będzie kontynuowana już jako cykliczne wydarzenie w formie Biennale czy Triennale Litografii w Kielcach.

W tej edycji wystawy wszystkie prace prezentują wysoki poziom artystyczny, bogactwo tematyki i profesjonalny warsztat, na co zwracało uwagę nasze Jury, przy wyborze nagrodzonych grafik. Cieszy różnorodność technik pokazywanych w ramach litografii, poszukiwanie przez artystów innego spojrzenia na litograficzny warsztat, częstsze stosowanie wszelkiego rodzaju mix’ów, czyli łączenia litografii z innymi technikami, a także stosowania bardzo ostatnio popularnego mokulito czy druków szablonowych z kamienia litograficznego.

Nie miałem też wątpliwości podczas wyboru i typowaniu prac do Grand Prix tegorocznej wystawy i bardzo ucieszył mnie fakt, że tym razem wszyscy jurorzy byli „prawie” jednomyślni. Wyróżnione prace prezentują różnorodność spojrzenia artystów na technikę i właśnie tę różnorodność Jury postanowiło nagrodzić. Oczekując na następne II Międzynarodowe Triennale Litografii Kielce/2019, mam nadzieję na jeszcze większy odzew ze strony artystów litografów z całego świata, na rozwój tej szlachetnej techniki i udowodnienie wszystkim, że litografia wcale nie jest techniką zapomnianą.

Lithography is „a painting within printmaking” or lithography is „a painting on stone” – these phrases are banal and repeated so often, yet there is a lot of truth in both of them. I have been using this technique for dozens of years. Professor Włodzimierz Kunza was my teacher at the Academy of Fine Arts in Kraków and he was the one who triggered my fascination with it. For more than ten years I have been running a Graphic Studio (assumed to be a lithography) at the Polish Artists Union in Kraków, and every day I can see who and how uses lithography, and that the number of lithographers is smaller each year.

Nowadays we can see young graphic artists replace the classic techniques with digital graphic arts of all kinds, which is why the fact of setting up an international lithography exhibition and competition in Kielce made me really happy.

Stanisława Zacharko-Łagowska, the head of BWA Gallery in Kielce deserves a very big thank you, because in spite of all issues and obstacles her efforts took this project to final success. The cooperation with International Print Triennial in Kraków is very important, for all lithographs submitted to Kraków were automatically submitted to Kielce. I do hope this very first edition will be continued as a Lithography Biennial or Triennial in Kielce.

Making its choice the jury emphasized the high professional and artistic level of all submitted works, as well as the great abundance of themes. The variety of techniques within lithography is welcomed with joy – the artists are trying to enrich and enlarge the scope of lithographic possibilities, often mixing it with other techniques, for example mokulito, so popular lately, or stencil printing from lithographic stone.

I had no doubts choosing the work for this year Grand Prix, and I am satisfied that the jury voted “almost” unanimously.

The awarded prints represent the variety of approaches to lithography, and this is what the jury wanted to honour.

Waiting for the second edition of International Lithography Triennial Kielce/2019 I do hope for even greater response of artists lithographers form all over the world, as well as for the development of this noble technique thus giving the audience the evidence lithography has not been forgotten yet.

Leonard Pędziałek

Leonard Pędziałek

Koordynator Międzynarodowego Triennale Grafiki w Krakowie 2015

Coordinator International Print Triennial Society in Krakow 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

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LITHO-KIELCE 2015 – spektrum współczesnej litografii Litografia jest stosunkowo nowym zjawiskiem zważywszy bardzo długą tradycję reprodukowania przy użyciu druku. Wymyślona w 1796 roku przez Aloisa Senefeldera, niemieckiego autora i dramatopisarza, okazała się wyjątkowo czuła na przemiany technologiczne i łatwo dopasowywała się do eklektycznych gustów wielu kultur i społecznych potrzeb.

Pomyślmy, na przykład, o tym jak różni się litograficzne obrazowanie w ogłoszeniu rekrutacyjnym Paula J. Verreesa „Join the Air Service and Serve in France” od naklejek na puszkach East India Tea Company, jak inny jest filmowy plakat robiony przez braci Władimira i Grigorija Stenbergów w latach 1920. w Związku Radzieckim od zapałczanych pudełek produkowanych przez Vulcan Tandstickors w Tidaholm w Szwecji pod koniec dziewiętnastego stulecia. Artyści i graficy zawsze uważali, że litografia ma zdolności do wymyślania się na nowo, że to jest coś więcej niż tylko sposób powielania, reprodukowania – każde pokolenie wzbogacało ją o swój konceptualno-techniczny wymiar. Dzisiaj wiele przestarzałych litograficznych technik, jak sztychowanie w kamieniu, maniere moire, touché wash, rozkwitają w rękach współczesnych artystów, grafików, projektantów na równi z nowymi, nie-analogowymi technikami bardzo odległymi od tych tradycyjnych.

Lithography printmaking is relatively new considering the long tradition of reproductive print media. Invented in 1796 by German author and playwright Alois Senefelder, lithography, as an art medium, has proven to be exceptionally responsive to changing technologies and adaptable to the eclectic taste of a great many cultural and societal needs.

Think, for example, of how diverse the lithographic imagery is in the 1917 political recruitment advertisement of Paul J. Verrees “Join the Air Service and Serve in France” from the canned goods labels for the East India Tea Company, and film lithographic posters of the brothers Vladimir & Gyorgy Stenberg in the 1920s Soviet Union from the matchstick boxes produced by Vulcan Tandstickors in Tidaholm, Sweden in the late 19th-century. Artists and printmakers have always understood lithography as being capable of reinventing itself, something more than a reproductive medium-each generation adding their own technical and conceptual dimension. Today, many otherwise obsolete lithographic methods such as stone engraving, maniere noire, touché wash on lime stone are thriving in the hands of contemporary artists, printmakers and designers along side new, non-analog print processes that are far removed from tradition.

W obszarze litografii mają miejsce interesujące paradoksy, które z czasem stają się wspaniałą mitologią. Jeden z najbardziej płodnych i wpływowych amerykańskich artystów 20. wieku, Robert Rauschenberg, początkowo uważał litografię za staromodną i nie był zainteresowany jej stosowaniem. Na początku lat 60. uparcie powtarzał, że: druga połowa dwudziestego wieku to nie czas, żeby zaczynać pisać na skałach.

Jak na ironię, to właśnie on stał się największym orędownikiem odrodzenia amerykańskiej litografii, jakie miało miejsce w latach sześćdziesiątych i siedemdziesiątych ubiegłego stulecia. Jego słynna praca Booster and 7 Studies z 1967 roku, o wymiarach 183,4 x 90,4 cm, jest największą litografią jaka wtedy powstała i jedną z największych w ogóle. Później Rauschenberg współpracował z wieloma czołowymi pracowniami graficznymi, w tym z Gemini G.E.L w Los Angeles i z Graphicstudio na Uniwersytecie Południowej Florydy, by stworzyć ponad osiemset grafik. Ostatecznie litografia, grafika w ogóle, okazała się doskonale pasować do twórczej metody Rauschenberga, polegającej na nakładaniu znalezionych i zawłaszczonych obrazów. Litografia dała Rauschenbergowi całkowitą kontrolę nad procesem manewrowania rozmiarem i skalą każdego składnika odbitki. Przez litografie Rauschenberg był w stanie zatrzeć granicę między wydrukiem a dziełem sztuki, rysunkiem, malarstwem, wydarzeniem, po duchampowsku, w sposób nie zostawiający śladów, scalił znalezione fotografie z własnymi znakami. I proszę sobie wyobrazić, że ten najbardziej wpływowy litograf wszech czasów nigdy nie studiował tej techniki ani nie zamierzał robić litograficznych odbitek!

The field of lithography is one that has provided interesting paradoxes, which, with time, have grown into delightful mythologies. One of the most prolific and influential American artists of the 20th-century, Robert Rauschenberg, initially thought lithography printmaking was old-fashioned and was not interested in pursuing it. In the early 1960s, he notoriously proclaimed that ‘the second half of the twentieth century is no time to start writing on rocks’. Ironically, it is Robert Rauschenberg who became one of the greatest proponents in the resurrection of American lithography that began to unfold in the 1960s and 1970s. His now famous 1967 “Booster and 7 Studies”, measures 183.4 x 90.4 cm in size, making it, at the time, and still, one of the largest stone lithographs ever made. Rauschenberg subsequently went on to work with many leading print workshops, including Gemini G.E.L. in Los Angeles and the University of South Florida Graphicstudio, to create more than 800 published print editions. In the end, lithography, and printmaking in general, turned out to be perfectly suited to Rauschenberg’s creative methodology of layering found and appropriated imagery. Lithography provided Rauschenberg with complete control over the process of maneuvering both the size and the scale of each component of making a print. Through lithography, Rauschenberg was able to blur the distinctions between print media and art making, drawing and performance and seamlessly unify his Duchampian ready-made approach of integrating found photographic images and mark making.

In retrospect, one of the most influential artists-lithographers of all times never studied the medium or intended to make lithographic prints. Go figure!

Dwieście lat po wynalazku Senefeldera litografie są tworzone i pokazywane zarówno w sposób usankcjonowany tradycją, jak i poza konwencją galerii i muzeów, co obejmuje instalacje, ręcznie robione książki artystyczne, naścienne szablony, naklejki, ziny wydawane własnym nakładem i inne rozwijające

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LITHO-KIELCE 2015 – A Spectrum of Contemporary Lithography

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

Some two centuries after Senefelder’s invention, lithographs are made and displayed in ways that both engage the established paths of the medium, but also break away from the conventional gallery and museum setting to include

się formy sztuki. Prace graficzne pokazywane na wystawie Lith-Kielce 2015 reprezentują szeroki zakres współczesnej litografii tworzonej przez artystów i projektantów z różnych krajów, których idee i twórcza praktyka są określone przez dzisiejszą techniczną i konceptualną normę. Artyści obecni na kieleckiej wystawie wykorzystują cały wachlarz technik, od tradycyjnych do bardzo nowatorskich.

Wystawa wyraźnie pokazuje jak szeroko interpretują oni litografię. Niektórzy celebrują tradycyjne aspekty tego medium jako sposób zaangażowania się we współczesne tematy. Inni używają litografii jako punktu wyjścia do podążania ścieżkami prowadzącymi daleko poza proces tworzenia odbitki.

U wszystkich, w takiej lub innej formie „druk” i „strategia graficzna” są integralnymi aspektami ich pracy: od ekspresyjnych kamiennych litografii Rafaela Rodrigueza i enigmatycznych wielkowymiarowych prac Magdaleny Uchman, do wyrafinowanej technicznie książki artystycznej Moniki Syposz i ambitnymi, przerysowanymi pracami Jacka Zborowskiego, by wymienić tylko kilka.

To była wielka przyjemność zobaczyć tak wiele wspaniałych litografii stworzonych zarówno przez uznanych jak i nowych artystów z całego świata. Jestem wdzięczny Stanisławie Zacharko, dyrektorce Biura Wystaw Artystycznych za udostępnienie tej ważnej międzynarodowej wystawy kieleckiej publiczności, jak również moim kolegom, członkom jury, Pawłowi Frąckiewiczowi, Leonardowi Pędziałkowi i Markowi Sibinsky’mu za tak żywe i ekscytujące obrady. Gratuluję wszystkim artystom, których prace znalazły się na wystawie.

installations, hand made and printed artist books, stenciled paste-ups on street walls, stickers, self-published zines, and other evolving art forms. The graphic works on display in the Litho-Kielce 2015 Exhibition represent a spectrum of contemporary lithography created and drawn from an international arena, from artists and designers whose ideas and creative practice are significantly informed by the technical and conceptual spectrum that is the norm today.

The artists presented in the Litho-Kielce exhibition work along the range of traditional to expanded concepts of print practices.

As seen in the works on display, their interpretation of lithography is indeed very broad. Some lithographs celebrate traditional aspects of the medium as a way to engage with present themes. Others use lithography only as a point of departure to engage along other paths and themes that transcend the print and the process.

They all, in some form or other justify the “print” and “graphic strategy” aspect as an integral aspect of their work, from expressively rendered on stone lithographs of Rafael Rodriguez, and enigmatical large scale pieces of Magdalena Uchman, to exquisitely crafted Brothers Grimm artist book

by Monika Syposz and ambitious, larger-then-life pieces of Jacek Zborowski, to name just a few.

It was a pleasure to have this opportunity to see many great lithographs produced by established and new artists from around the world. I am grateful to Biuro Wystaw Artystycznych director Stanisława Zacharko for facilitating this important international exhibition and presenting it to the Kielce audience, and to my colleagues, jury members, Paul Frąckiewicz, Leonard Pedziałek, and Marek Sibinsky for a lively and exciting deliberation process. Congratulations to all artists included in the exhibition.

Endi Poskovic

Endi Poskovic

Artysta. Grafik. Profesor w Szkole Sztuki i Wzornictwa Uniwersytetu Michigan, USA. W latach 2015-2016 starszy pracownik naukowy Fulbrighta w Polsce.

Artist and Professor, Penny W. Stamps School of Art and Design, University of Michigan 2015-2016 U.S.A. Senior Fulbright Scholar to Poland

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

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LITHO-KIELCE 2015 Litografia wniosła do obszaru języka wizualnego grafiki nowe możliwości i środki wyrazu już przed ponad 200 laty. Jej wynalazca A. Senefelder umożliwił powstanie zapisu wizualnego z matrycy skonstruowanej na powierzchni płaskiej, która była dotychczas realizowana na zasadach druku wypukłego albo druku wklęsłego. Niniejsza technologia przeniesienia obrazu na bazie procesu chemicznego otworzyła nowy rozdział w historii grafiki. Technika litografii, poza nową zasadą druku, przyniosła również nową jakość a co za tym idzie rozwijające się metody i techniki druku płaskiego, które na polu twórczości artystycznej przemówiły do wielu autorów. Pozwolę sobie wymienić chociażby: F. Goya, E. Delacroix, H. Daumier, E. Manet, Henri de Toulouse-Lautrec, P. Picasso, J. Beuys i wielu innych. Dla szeregu artystów kamień, jako matryca, stał się nie tylko techniką graficzną oraz możliwością powielania obrazu końcowego, ale zarazem przestrzenią dla środków wizualnych, niosących ze sobą określoną jakość i strategie ideowe, które umożliwia właśnie litografia.

Projekt międzynarodowego konkursu poświęconego litografii LITHO-KIELCE 2015, organizowany przez Biuro Wystaw Artystycznych w Kielcach we współpracy ze Stowarzyszeniem Międzynarodowe Triennale Grafiki Kraków, postrzegam jako prezentację a zarazem wsparcie autorów, którzy pracują z techniką litografii i rozwijają ją w swoich projektach, wykazując jej możliwości, aktualność i przestrzeń do eksperymentowania. Tego też dowiodła ocena prac przesłanych na konkurs – spektrum podejść twórczych, łączących w sobie szeroką skalę pomysłów a następnie ich realizacji, zarówno metodami klasycznymi w litografii, jak formami innowacyjnymi a także w dużym stopniu przez łączenie technik. Rzecz jasna, w kontekście danego tematu i materiałów drukowanych, także formaty grafik były rozmaite. Wszystkie te aspekty jednoznacznie wskazują na fakt, iż zasada druku płaskiego, a zatem litografia, jest we współczesnym świecie sztuki niezmiennie aktualnym medium i to w kontekście międzynarodowym. Bowiem zakres krajów, reprezentowanych przez poszczególnych autorów, był doprawdy szeroki i wykraczał poza obszar europejski.

Jestem niezmiernie wdzięczny za zaproszenie do międzynarodowego jury LITHO-KIELCE 2015. Było to dla mnie owocne spotkanie z kolegami – grafikami, członkami jury oraz z pracownikami BWA w Kielcach, którzy czuwali nad przebiegiem konkursu w sposób profesjonalny i na wysokim poziomie, a wszystko to pod wspaniałym kierownictwem pani dyrektor BWA w Kielcach Stanisławy Zacharko-Łagowskiej. W kilku etapach konkursu komisja w sposób odpowiedzialny przyglądała się oraz dokonywała oceny poszczególnych odbitek.

Muszę przyznać, że czasem, aby naprawdę odpowiedzialnie dokonać wyboru grafik najwyższej jakości, spośród wszystkich prac nadesłanych na LITHO-KIELCE 2015, odbywało się to po burzliwej dyskusji. Uważam jednak, że efekt został osiągnięty, albowiem przebiegające w jury obrady były konstruktywne i dochodziły do konsensusu oraz porozumienia, co do nagrodzonych. Fakt ten zwiedzający mogą ocenić na wystawie prezentującej dzieła wybranych nagrodzonych autorów, która odbywa się w pomieszczeniach BWA w Kielcach – miejscu doprawdy wysokiej klasy i odpowiadającemu współczesnym parametrom nowoczesnej galerii. Życzę temu projektowi

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

LITHO-KIELCE 2015 Lithography introduced new possibilities and means of expression to the visual language of graphic art more than 200 years ago. The invention of A. Senefelder enabled the visual record from a matrix made on a flat surface thus replacing intaglio and relief printing. This technology based on chemical process opened the entirely new chapter in the history of graphic arts. Besides new technology, lithography brought also a new quality, new methods and techniques of flat printing which attracted many artists. Let me mention at least F. Goya, E. Delacroix, H. Daumier, E. Manet, H. de Toulouse-Lautrec, P. Picasso, J. Beuys. For many artists a stone matrix became not only a graphic technique and possibility to copy the final picture, but a space for visual means which brought a new quality and new artistic strategies.

LITHO-KIELCE 2015, a lithography competition organised by Art Exhibition Bureau in Kielce in cooperation with the International Print Triennial in Kraków Association is a project which I consider both a presentation of this graphic art and support for those artists who apply it, show its possibilities, topicality and space for experimenting. This was proved by the evaluation of the works submitted to the competition – the range of creative approaches encompassing wide scale of ideas and how they were realised applying both classic lithography and innovative forms being combinations of different techniques.

Of course, in the context of a theme and materials the formats of prints were various, too. All these aspects show clearly that flat printing, meaning also lithography, has been still internationally topical medium in the contemporary world. The range of represented countries was really impressive and reached far beyond Europe.

I am very grateful for inviting me to the international Jury.

It was really a fruitful encounter with my colleagues artists members of the Jury, with the staff of Art Exhibition Bureau who took care of the competition in a highly professional way; and, last but not least, everything was superbly supervised by the AEB head, Stanisława Zacharko-Łagowska. In several stages of the competition the jury reviewed and evaluated the prints in absolutely reliable way. I must admit sometimes our decisions were preceded by really stormy discussions to choose the prints of the highest quality from those submitted to the competition. However I think we did our job well for our discussions were constructive and resulted in a consensus as for who was to be awarded. Our choice can be judged by the audience of the exhibition taking place in the AEB venue which is an art gallery of high standard. I wish this project next editions as successful as the first one because projects of this kind give a chance to present not only one a selected area of contemporary art, but also artists themselves supporting them significantly.

My big thank you for invitation and cooperation is addressed to the AEB head Stanisława Zacharko-Łagowska, the jury members Paweł Frąckiewicz, Leonard Pędziałek, Endi Poskovic, the EAB staff, to all who made LITHO-KIELCE 2015 competition possible.

kolejnej serii tak udanych i wartościowych edycji, ponieważ tego typu projekty dają szansę na zaprezentowanie nie tylko jednego z obszarów sztuki współczesnej, ale również samych jej autorów oraz stanowią dla nich istotne wsparcie.

Chciałbym podziękować za zaproszenie do jury LITHO-KIELCE 2015 oraz za współpracę pani dyrektor BWA w Kielcach Stanisławie Zacharko-Łagowskiej, członkom komisji Pawłowi Frąckiewiczowi, Leonardowi Pędziałkowi, Endiemu Poskovicowi i wreszcie wszystkim współpracownikom BWA w Kielcach, którzy przyczynili się do realizacji LITHO-KIELCE 2015.

Ostrawa, 22.02.2016

Marek Sibinský Artysta grafik, profesor Wydziału Artystycznego Uniwersytetu Ostrawskiego (Czechy).

Graphic artist. Professor Department of the Ostrava Art University (Czech Republic).

Tłumaczenie: Radosław Nowakowski / Translation: Radosław Nowakowski

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

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NAGRODY / AWARDS

GRAND PRIX - NAGRODA PREZYDENTA MIASTA KIELCE THE PRESIDENT OF KIELCE CITY AWARD RAFAEL RODRIGUEZ - Belgia / Belgium za zestaw prac: „Głowy” / a set of works: „Heads”

NAGRODA BIURA WYSTAW ARTYSTYCZNYCH W KIELCACH THE ART EXHIBITION BUREAU IN KIELCE AWARD MAGDALENA UCHMAN Polska / Poland za pracę pt. „Notes” / for his work under the title „Notebook”

WYRÓŻNIENIE HONOROWE HONOURABLE MENTION HERMAN NOORDERMER Holandia / Netherlands DARINA PEEVA Bułgaria / Bulgaria MONIKA SYPOSZ Polska / Poland ANNA TROJANOWSKA Polska / Poland JACEK ZABORSKI Polska / Poland

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

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LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce /

NAGRODY AWARDS

GRAND PRIX - NAGRODA PREZYDENTA MIASTA KIELCE / GRAND PRIX – THE PRESIDENT OF KIELCE CITY AWARD

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

GRAND PRIX - NAGRODA PREZYDENTA MIASTA KIELCE / GRAND PRIX – THE PRESIDENT OF KIELCE CITY AWARD

RAFAEL RODRIGUEZ BE (Belgium / Belgia) GŁOWY / HEADS litografia, 6 części, lithography, 6 parts 75x54 cm, 2014/2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

21

MAGDALENA UCHMAN PL (Poland / Polska) WYKAZ STUDIÓW / LIST OF STUDIES, litografia, algrafia, lithography, algraphy, 100x70 cm, 2015

22

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

NAGRODA BIURA WYSTAW ARTYSTYCZNYCH W KIELCACH / THE ART EXHIBITION BUREAU IN KIELCE AWARD

MAGDALENA UCHMAN PL (Poland / Polska) NOTES / NOTEBOOK, litografia, algrafia, lithography, algraphy, 100x70 cm, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

23

WYRÓŻNIENIE HONOROWE / HONOURABLE MENTION

HERMAN NOORDERMEER NL (Netherlands / Holandia) ZNIKAJĄCA TWARZ / DISAPPEARING FACE, litografia, lithography, 100x140 cm, 2014 GRUDZIEŃ 2014 / DECEMBER 2014, litografia, lithography, 100x140 cm, 2014

24

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

WYRÓŻNIENIE HONOROWE / HONOURABLE MENTION

DARINA PEEVA BG (Bulgaria / Bułgaria) ZNISZCZENIE / DESTRUCTION, litografia, lithography, 120x140 cm, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

25

WYRÓŻNIENIE HONOROWE / HONOURABLE MENTION

MONIKA SYPOSZ PL (Poland / Polska) BAŚNIE BRACI GRIMM – KSIĄŻKA / GRIMMS’ FAIRY TALES – ART BOOK, litografia, lithography, 130x175 cm, 2015

26

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

WYRÓŻNIENIE HONOROWE / HONOURABLE MENTION

ANNA TROJANOWSKA PL (Poland / Polska) CIENIE 8 / SHADES 8, litografia, marmur, lithography, marble, 35x50 cm, 2014 CIENIE 4 / SHADES 4, litografia, marmur, lithography, marble, 35x50 cm, 2014 CIENIE 6 / SHADES 6, litografia, marmur, lithography, marble, 35x50 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

27

WYRÓŻNIENIE HONOROWE / HONOURABLE MENTION

JACEK ZABORSKI PL (Poland / Polska) CYKOR / SISSY, litografia, lithography, 70x200 cm, 2015 PROCESOR / PROCESSOR, litografia, lithography, 100x140 cm, 2015 REAKTOR / REACTOR, litografia, lithography, 70x200 cm, 2013

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / 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LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / THO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHOielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce /

/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce /

UCZESTNICY WYSTAWY PARTICIPANTS OF THE EXHIBITION

ANDREI BAKHAREV FI (Finland / Finlandia) KOMIN FABRYCZNY / FACTORY PIPE, litografia, lithography, 100x75, 70x75, 35x75 cm, 2014

32

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ALEKSANDRA BANAŚ PL (Poland / Polska) z serii z serii: KONFIGURACJE / from the series: CONFIGURATIONS, litografia, lithography, mokulito, 2 x 55x95 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

33

MARCIN BOCHENEK PL (Poland / Polska) BÓJ / COMBAT, litografia, lithography, 75x104 cm, 2015

34

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

AGATA BORKOWSKA PL (Poland / Polska) SCALONE SZCZYPAWY / CIRCLING EARWIGS, litografia, lithography, 147x124 cm, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

35

ARDI BROUWER NL (Netherlands / Holandia) SUEZ I CONRADQUAI / SUEZ AND CONRADQUAI, litografia, lithography, 56x78 cm, 2012 POD MOSTEM / UNDER THE BRIDGE, litografia, lithography, 56x76 cm, 2013

36

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

JÓZEF BUDKA PL (Poland / Polska) DLA EL LABRADOR / FOR EL LABRADOR, litografia, lithography 80,5x58,5 cm, 2014 DLA VELASQUEZ’A / FOR VELASQUEZ’A, litografia, lithography, 80x58,5 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

37

GABRIJELA BULATOVIC XS (Serbia / Serbia) CZĘŚĆ I / PART I, litografia, lithography, 50x70 cm, 2014

38

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ŁUKASZ BUTOWSKI PL (Poland / Polska) UTRATA DZIEWICTWA / LOSS OF VIRGINITY, litografia, lithography, 76x224 cm, 2012

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

39

BARTŁOMIEJ CHWILCZYŃSKI PL (Poland / Polska) SKOMPLIKOWANA ZAGADKA / COMPLEX PUZZLE, litografia, lithography, 70x100 cm, 2014 DŁUGI SPACER / LONG WALK, litografia, lithography, 70x100 cm, 2014

40

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ROBERT CREIGHTON CA (Canada / Kanada) DZIEWCZYNA NA WROTKACH / DERBY GIRL, litografia, lithography, 117x91 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

41

ADAM CZECH PL (Poland / Polska) POZA SCYLLĄ A CHARYBDĄ 2 / BEYOND SCYLLA AND CHARYBDIS 2, litografia, lithography, 100x70 cm, 2014

42

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

MICHAŁ CZERKO PL (Poland / Polska) KATOWICE, litografia, lithography, 90x81 cm, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

43

ANDREW DECAEN USA MIERZONE, MIELONE, MIESZANE / MEASURED, MINCED, MIXED, litografia, lithography, 38x51 cm, 2013 PRZYIMKOWY POSIŁEK / PREPOSITIONAL MEAL, zrzut ekranu, litografia, screenprint, lithography, 32x75 cm, 2015

44

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

MARIA DOMALEWSKA PL (Poland / Polska) MARGOT, litografia, lithography, 100x70 cm, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

45

SUSUMU ENDO JP (Japan / Japonia) PRZESTRZEŃ I PRZESTRZEŃ N1414 / SPACE&SPACE N1414, litografia, lithography, offset, 55x75 cm, 2014 PRZESTRZEŃ I PRZESTRZEŃ N1416 / SPACE&SPACE N1416, litografia, lithography, 55x75 cm, 2014

46

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

BIRGIT FIEDLER DE (Germany / Niemcy) REFUGIUM, litografia, lithography, 108x61 cm, 2013 UPADKI / THE FALLS, litografia, lithography, 108x61 cm, 2013

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

47

RUDIGER FRANKE DE (Germany / Niemcy) MARSZCZENIE / RIPPLES, litografia, cynkografia, lithography, zincography, 60x80 cm, 2014 ZMIANA / CHANGE, litografia, cynkografia, lithography, zincography, 60x80 cm, 2014 OBSZAR / AREA, litografia, cynkografia, lithography, zincography, 60x80 cm, 2014 48

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

TERESA FRODYMA PL (Poland / Polska) ZERO – OREZ, litografia, lithograph, 104×74 cm, 2013 MOJA PAMIĘĆ – TWOJA II / MY MEMORY – YOURS II, litografia, lithograph, 104×70 cm, 2013 MOJA PAMIĘĆ – TWOJA III / MY MEMORY – YOURS III, litografia, lithograph, 104×70 cm, 2013 LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

49

AGNIESZKA GEWARTOWSKA PL (Poland / Polska) cykl: MULTIPLIKACJA. KOCIE PAZURY 1/9 / cycle: MULTIPLICATION. THE CLAW CAT’S 1/9 litografia, rysunek, lithography, drawing, 144x112 cm, 2014

50

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

RAFAEL GIL AR (Argentina / Argentyna) TOPOGRAFIA ŚCIAN IV / TOPOGRAPHY OF WALLS IV, litografia, sucha igła, lithography, drypoint, relief, 76x56 cm, 2013

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

51

ROBERT GLASGOW USA WIDOKI Z POWIETRZA: SPORNE TERYTORIA / AERIALS: DISPUTED TERRITORIES litografia, technika mieszna, lithography, mixed media, 56,5x76,2 cm, 2014

52

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ZBIGNIEW GORLAK PL (Poland / Polska) HAMBURG HORA MELANCHOLICA, litografia, lithography, 56x73 cm, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

53

MARCIN HAJEWSKI PL (Poland / Polska) SPOD UNIESIONYCH POWIEK, DOSTRZEŻESZ KOLORY WODY I FROM UNDER THE RAISED EYELIDS, YOU WILL SEE THE COLOUR OF WATER I litografia, lithography, 68,5x197 cm, 2015

54

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

PHILIPP HAUCKE DE (Germany / Niemcy) BABEL, litografia, lithography, 26x20 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

55

HIKOSAKA NOBORU JP (Japan / Japonia) HARMONIJNE MIASTO – 26 / HARMONIOUS TOWN – 26, litografia, lithography, 63x91 cm, 2014

56

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

EIKO HONDA JP (Japan / Japonia) TRANS – (R15-1), litografia, lithography, 80x120 cm, 2014 TRANS – (R15-2), litografia, lithography, 80x120 cm, 2014 TRANS – (R15-3), litografia, lithography, 80x120 cm, 2014 LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

57

HOSHINO MICHIKO JP (Japan / Japonia) ANCHIRENA 166 (CORNER OF F.S.L. BORGES), litografia, lithography, 110x76 cm, 2013

58

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

KATRI IKAVALKO FI (Finland / Finlandia) REMINISCENCJA / REMINISCENCE, litografia, lithography, 132,5x165,5 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

59

ALEKSANDRA JAKUBCZAK PL (Poland / Polska) KOD OBRAZU 002 / PICTURE’S CODE 002, litografia, lithography, 53x68,5 cm, 2015

60

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ROBERT JANCOVIC SK (Slovakia / Słowacja) AZYLE / ASYLUMS, litografia, lithography, 95x34 cm HONG KONG, litografia, lithography, 89x27 cm

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

61

62

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

MAŁGORZATA JÓZEFOWICZ PL (Poland / Polska) TO NIE MY TO NIE TU / IT’S NOT US IT’S NOT HERE, litografia, lithography, 210x300 cm, 2011/2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

63

MACIEJ JAROSZCZUK PL (Poland / Polska) POPIELEC / ASH WEDNESDAY, litografia, lithography, 60x60 cm, 2015 POPIELEC II / ASH WEDNESDAY, litografia, lithography, 60x60 cm, 2015

64

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ANNA JUCHNOWICZ PL (Poland / Polska) HORYZONT / HORIZON, litografia, lithography, 23X31 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

65

NAOMI KASAI JP (Japan / Japonia) ŻNIWA 1 / HARVEST 1, litografia, lithography, 92x61 cm, 2014

66

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

BARBARA KASPERCZYK - GORLAK PL (Poland / Polska) PRZESTRZEŃ W GRAFICE – KAWIARNIA / SPACE IN THE GRAPHICS – CAFE technika własna, algrafia, druk cyfrowy, dyptyk, own technique, algraphy, digital printing, diptych, 100x350, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

67

KOYUKI KAZAHAYA JP (Japan / Japonia) ZAPOMNIANE MIASTO | FUKUSHIMA I DOEL (ANTWERPIA) / FORGOTTEN CITY | FUKUSHIMA AND DOEL (ANTWERP) litografia, lithography, 3x65,5x87,5 cm, 2014

68

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

KOYUKI KAZAHAYA JP (Japan / Japonia) ZNIKAJĄC JAK ŚNIEG | FUKUSHIMA I ANTWERPIA / VANISHING LIKE SNOW | FUKUSHIMA AND ANTWERP druk cyfrowy, litografia, digital printing, lithography, 4x65,5x87,5 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

69

JAGODA KUBIELA PL (Poland / Polska) NIEOCZYWISTE / UNOBVIOUS, dyptyk, litografia, diptych, lithography, 100x84 cm, 2015

70

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

RENATA KURCZYŃSKA PL (Poland / Polska) OBLICZE / COUNTENANCE, litografia, lithography, 78x53 cm, 2015 OBLICZE 9 / COUNTENANCE 9, litografia, lithography, 78,3x53,7 cm, 2015 OBLICZE 10 / COUNTENANCE 10, litografia, lithography, 78,8x58 cm, 2015 LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

71

PIOTR LECH PL (Poland / Polska) POŻEGNANIE JESIENI / FAREWELL TO AUTUMN, litografia, lithography, 60,5x42,5 cm, 2015

72

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

INGRID LEDENT BE (Belgium / Belgia) W Uﾅ、MKU III / IN A FRACTION III, litografia, lithography, 100x150 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

73

HEATHER LEIER CA (Canada / Kanada) CZYSTOŚĆ JEST ZARAZ PO BOSKOŚCI / CLEANLINESS IS NEXT TO GODINES chine-collé, fotolitografia, kredki, chine colle, fotolithography, colored pencils, 81x122 cm, 2014 BIEDA LUBI TOWARZYSTWO / MISERY LOVES COMPANY chine-collé, fotolitografia, kredki, chine colle, fotolithography, colored pencils, 81x122 cm, 2014 74

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

SYLVIA LESNIEWSKI PL (Poland / Polska) POMIDORY TEŻ MOGĄ BYĆ ANIOŁEM! / TOMATOES CAN BE ANGEL TOO! litografia, lithography, 70x92 cm, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

75

EWELINA MAŁYSA PL (Poland / Polska) WIBRACJA / VIBE, litografia, lithography, 100x140 cm

76

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

NILS ERIK MATTSSON SE (Sweden / Szwecja) WIDOK NA SOSNY / OVERLOOKING THE PINES, litografia, lithography, 75x109 cm, 2012 BIAﾅ、 CHMURA / THE WHITE CLOUD, litografia, lithography, 75x109 cm 2012

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

77

MICHAŁ MATWIJOW PL (Poland / Polska) IMAGINACJA VIII / IMAGE VIII, litografia, lithography, 100x70 cm, 2013 IMAGINACJA XI / IMAGE XI, litografia, lithography, 70x100 cm, 2013

78

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

MICHAŁ MILCZAREK PL (Poland / Polska) PODRÓŻ / TRAVEL, litografia, lithography, 29,5x41 cm

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

79

ERIC MUMMERY CA (Canada / Kanada) JAKWYŻEJ I JAKNIŻEJ / ASABOVE AND SOBELOW, litografia, lithography, 49x64 cm, 2014 PIES WIATRU I DESZCZU / DOG OF WIND AND RAIN, litografia, lithography, 49x64 cm, 2014 MORSKI PIES / SEE DOG, litografia, lithography, 49x64 cm, 2013 80

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

FUMIHIKO NAKATOH JP (Japan / Japonia) RYBI CIEŃ / FISH SHADOW – J, drzeworyt litografia, woodcut, lithography, 79x95 cm, 2012 RYBI CIEŃ / FISH SHADOW – K, drzeworyt litografia, woodcut, lithography, 79x95 cm, 2012

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

81

IVAN NINOV BG (Bulgaria / Bułgaria) NATURA XIV / NATURE XIV, litografia, lithography, 56x76 cm, 2014

82

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

YOICHIRO NISHIKAWA JP (Japan / Japonia) CHWILE 1 / MOMENTS OF TIME 1, druk cyfrowy, litografia, digital printing, lithography, 60x100 cm, 2015 NIEBIESKA STREFA 1 / BLUE ZONE 1, druk cyfrowy, litografia, digital printing, lithography, 60x100 cm, 2015 NIEBIESKA STREFA 2 / BLUE ZONE 2, druk cyfrowy, litografia, digital printing, lithography, 60x100 cm, 2015 LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

83

MARTHA OATWAY USA TEREN 1 / TERRAIN 12, kolagrafia, litografia, monotypia, collagraph, lithography, monoprint, 56x76 cm, 2013

84

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

KATARZYNA OBIDOWICZ PL (Poland / Polska) CIĘCIE / CUT, litografia, lithography, 52x209 cm, 2013/2015 BEZ TYTUŁU / UNTITLED, litografia, lithography, 78x58 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

85

PIOTR PANASEWICZ PL (Poland / Polska) 1/8 DESERTO ROSSO, litografia, lithography, 70x100 cm, 2015 E/A 24/12, litografia, lithography, 57x79 cm, 2015 2/11 DZIAŁA NAVARONY / 2/11 GUNS OF NAVARONE, litografia, lithography, 70x100 cm, 2015 86

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

PRASHANT PHIRANGI IN (India / Indie) BEZ TYTUŁU 2 / UNTITLED 2, litografia, lithography, 51x71 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

87

AGATA PRZYBYLSKA PL (Poland / Polska) EWOLUCJA 1 / EVOLUTION 1, litografia, dyptyk, lithography, diptych, 2x49x49 cm, 2015

88

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

MATEUSZ RAFALSKI PL (Poland / Polska) DO ŚMIECI Z NIĄ / THE TRASH WITH HER, litografia, lithography, 77x54 cm, 2014 RÓŻOWA RZEŹ / PINK MASSACRE litografia, lithography, 70x100 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

89

DOROTA RETERSKA PL (Poland / Polska) ŻÓŁTA WSTĄŻKA III / YELLOW RIBBON III, litografia, lithography, 34x67 cm, 2012

90

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

KRZYSZTOF RUKASZ PL (Poland / Polska) NAPIĘCIE I NATĘŻENIE / TENSION AND INTENSITY, litografia, lithography, 140x100 cm, 2015

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

91

FUKO SATO JP (Japan / Japonia) AKT / ACT, litografia, lithography, 52x62,3 cm, 2014

92

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

SERENA SMITH GB (United Kingdom / Wielka Brytania) HODEGETA I litografia, lithography

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

93

MONIKA SOJKA PL (Poland / Polska) z cyklu: JAŚ I MAŁGOSIA / from the series: HANSEL AND GRETEL, litografia, lithography, 29x21 cm, 2014 z cyklu: PSIE MANOWCE / from the series: THE DOG WAYSIDE, litografia, lithography, 29x21 cm, 2014

94

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

VALERIE SYPOSZ CA (Canada / Kanada) SENS SPEŁNIENIA / SENSE OF ACCOMPLISHMENT, litografia, lithography, 76x56 cm, 2012 OSTATECZNY UPADEK / ULTIMATE FAILURE, litografia, lithography, 76x56 cm, 2012

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

95

SŁAWOMIR SOSIŃSKI PL (Poland / Polska) MISTYFIKACJA / MYSTIFICATION, litografia, lithography, 95x200 cm

96

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

PURITIP SURIYAPATARAPUN

TH (Thailand / Tajlandia)

PORZUCONE MARZENIA / ABANDONED DREAMS, litografia, lithography, 71x99 cm, 2014 ROSNĄCE DRZEWO / THE GROWING TREE, litografia, lithography, 93x71 cm, 2014 NAJWIĘKSZA MOC / THE STRONGEST POWER, litografia, lithography, 99x65 cm, 2014 LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

97

KAROLINA SZWAJKOWSKA

PL (Poland / Polska)

BEZ TYTUŁU / UNTITLED, litografia, lithography, 84,5x63 cm, 2015

98

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

KRZYSZTOF ŚWIĘTEK PL (Poland / Polska) E/A – DEGUSTATORZY CHCĄCY ZACHOWAĆ ANONIMOWOŚĆ / E/A – TASTERS WANT TO BE ANONYMOUS litografia, lithography, 100x70 cm, 2015 E/A – LIZANKO, RUCHANKO - SYNDROM TRÓJKĄTA / E/A – SUCKING, FUCKING - TRIANGLE SYNDROME litografia, lithography, 107x78 cm, 2015 LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

99

ULYANA TURCHENKO

PL (Poland / Polska)

PAN, litografia, lithography, 48x37 cm, 2015

100

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ARGYRI VASILAKOU GR (Greece / Grecja) DIPOL – RUCHOMY DŹWIĘK / DIPOLE – MOVING SOUND, litografia, lithography, 70x100 cm, 2013

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

101

FRNACISCO VELASCO

ES (Spain / Hiszpania)

L – 293 – T, litografia, lithography, 76x168 cm, 2014 L – 295 – T, litografia, lithography, 76x168 cm, 2014

102

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

MONIKA WALENCIEJCZYK PL (Poland / Polska) SYTUACJE PRZELANE / SPILT SITUATION, litografia, lithography, 69,5x97 cm

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

103

DOMINIKA WILKOSZ

PL (Poland / Polska)

PIES / A DOG, litografia, lithography, 50x70 cm, 2015

104

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

JOERGEN WILLERUP DK (Denmark / Dania) NIEBIESKI TRYPTYKON / TRIPTYKON BLUE, litografia, lithography, 71,5x64,5 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

105

MARIE WINTERS

CA (Canada / Kanada)

ŚLEPY WIEDZIE ŚLEPEGO / BLIND LEADING THE BLIND, litografia, lithography, 61,5x71,5 cm, 2014 JAK MOGLIŚMY ZABRNĄĆ Z TYM TAK DALEKO / HOW DID WE LET IT GET THIS FAR, litografia, lithography, 66x56 cm, 2014 SZKODA, ŻE TO NIE NIEDZIELA / I WISH IT WAS SUNDAY, litografia, lithography, 66x76 cm, 2014 106

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

YOSHIHISA YASUI JP (Japan / Japonia) MOMENT 14-7, litografia, lithography, 87x62,5 cm, 2014 MOMENT 14-9, litografia, lithography, 87x62,5 cm, 2014

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

107

YU YOSHIDA JP (Japan / Japonia) DOWÓD – CI, KTÓRZY ZOSTALI RANNI / PROOF – THOSE THAT HAVE BEEN HURT, litografia, lithography, 55,6x70 cm, 2015

108

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

MINJIE ZHANG CN (China/ Chiny) SERIA SCENA NR 1 / THE STAGE SERIES NO. 1, litografia, lithography, 76×104 cm, 2012

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

109

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LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce /

/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - 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LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO/ -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / - 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JURY JURY

JURY Góra od lewej / From the top left: Stanisława Zacharko-Łagowska, Leonard Pędziałek, Endi Poskovic, Paweł Frąckiewicz, Marek Sibinský 5.12.2015

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

PAWEŁ FRĄCKIEWICZ Artysta grafik, urodzony w 1958. Studia w PWSP (obecnie Akademia Sztuk Pięknych we Wrocławiu). Dyplom w 1982. Od 2003 r. profesor w macierzystej uczelni. Visiting professor w wielu zagranicznych uczelniach. Dorobek artystyczny w dziedzinie litografii i rysunku prezentował na wielu wystawach indywidualnych i zbiorowych. Laureat licznych nagród artystycznych. Kurator i organizator wielu projektów w kraju i za granicą, warsztatów, wystaw i konkursów m. in. Międzynarodowego Konkursu Rysunku we Wrocławiu latach 1999-2013. Autor książki Pamięć przyszłości. Perspektywy rozwoju litografii wobec digitalizacji (Wrocław 2012).

LEONARD PĘDZIAŁEK Artysta grafik, urodzony w 1949 roku w Krakowie, dyplom w krakowskiej Akademii Sztuk Pięknych w 1973 r. w pracowni litografii prof. Włodzimierza Kunza. 2-krotny stypendysta Ministerstwa Kultury i Sztuki, stypendysta królestwa Belgii.

Od 1973 roku uczestnik wielu wystaw krajowych i międzynarodowych. Od 2003 roku prowadzi Pracownię Graficzną Związku Polskich Artystów Plastyków w Krakowie. Członek ZPAP (od 1973 roku), członek SMTG (od 2014 roku członek Zarządu). Uprawia do dziś litografię, techniki metalowe a także grafikę cyfrową.

ENDI POSKOVIC Artysta. Grafik. Profesor w Szkole Sztuki i Wzornictwa Uniwersytetu Michigan, USA. Urodził się w 1969. Kształcił się w Jugosławii (Akademia Sztuk Pięknych, Uniwersytet Sarajewski, dyplom w 1990), Norwegii (studia podyplomowe w Minne Fondent, 1991) i w Stanach Zjednoczonych (Stanowy Uniwersytet Nowego Jorku, dyplom w 1993). Stypendysta, między innymi, Fundacji Guggenheima, Fundacji Rockefellera, Fundacji Pollocka-Krasnera, Flamandzkiego Ministra Kultury, Rządu Norwegii, Rady Artystycznej Stanu Nowy Jork.

Prace w kolekcjach na całym świecie: w tym w Muzeum Sztuki im.

Fogga na Uniwersytecie Harvarda, Instytucie Sztuk w Detroit, Królewskim Muzeum Sztuk Pięknych w Antwerpii, Filadelfijskim Muzeum Sztuki. W 2015-16 starszy pracownik naukowy Fulbrighta w Polsce.

MAREK SIBINSKÝ Artysta grafik, profesor Wydziału Artystycznego Uniwersytetu Ostrawskiego (Czechy). Urodził się w 1974. Studia na Wydziale Pedagogicznym Uniwersytetu Ostrawskiego (dyplom w 1997), studium doktoranckie w Uniwersytecie Śląskim w Katowicach, filii w Cieszynie (dyplom 2006). W roku 2015 uzyskał tytuł doktora habilitowanego w dziedzinie sztuk plastycznych w Uniwersytecie Śląskim w Katowicach. Pracuje od 1998 roku w Katedrze Grafiki i Rysunku Wydziału Artystycznego Uniwersytetu Ostrawskiego.

STANISŁAWA ZACHARKO-ŁAGOWSKA Historyk sztuki, krytyk sztuki, artysta fotografik, dyrektor Biura Wystaw Artystycznych w Kielcach. Urodziła się w 1958 r. Studia: historia sztuki (1977-85) i podyplomowe „zarządzanie kulturą” (2003/4) w Uniwersytecie Jagiellońskim w Krakowie. Matka trzech synów. Od 1985 roku pracuje w Biurze Wystaw Artystycznych w Kielcach – od 2012 r. jako dyrektor. Należy do Stowarzyszenia Artystów „Wiklina”, Związku Polskich Artystów Fotografików, Stowarzyszenia Historyków Sztuki i Polskiego Związku Działkowców.

PAWEŁ FRĄCKIEWICZ A graphic artist. Born in 1958. Studied at the Academy of Fine Arts in Wrocław. Graduated in 1982. Since 2003 a professor at his alma mater. A visiting professor at many foreign universities.

Showed his prints and drawings at many group exhibitions and one-man shows. Winner of numerous awards. Curator and organiser of many art projects in Poland and abroad, for example of the International Drawing Competition in Wrocław (1999-2013). Author of the book titled Memory of the Future. The Perspectives of Lithography in View of Digitalization (Wrocław 2012).

LEONARD PĘDZIAŁEK A graphic artist born in 1949 in Kraków.

Studied lithography in the class of professor Włodzimierz Kunz at the Academy of Fine Arts in Kraków. Graduated in 1973.

Grant holder from the Ministry of Culture and Art (twice), and from the Kingdom of Belgium. Since 1973 a participant of numerous national and international exhibition in Poland and abroad.

Since 2003 has been running the Graphic Studio of Polish Artists Union in Kraków. A member of Polish Artists Union (since 1973), and of International Print Triennial Association (since 2014 member of the board). Makes lithography, etching and digital graphics.

ENDI POSKOVIC Artist and Full Professor, University of Michigan Penny W. Stamps School of Art & Design, USA, and 2015-2016 U.S.A. Senior Fulbright Fellow to Poland. Born in 1969 and educated in Yugoslavia (B.F.A., University of Sarajevo Academy of Fine Arts, 1990), Norway (Minne Fondent post-graduate diploma, 1991), and the United States (M.F.A., State University of New York, 1993). The recipient of fellowships and grants from the Guggenheim Foundation, Rockefeller Foundation, Pollock-Krasner Foundation, Flemish Ministry of Culture, Norwegian Government, New York State Arts Council, and others. Works in public collections worldwide, including Harvard University Fogg Art Museum, Detroit Institute of the Arts, Royal Antwerp Museum of Fine Arts, and Philadelphia Museum of Art.

MAREK SIBINSKÝ Graphic artist. Professor Department of the Ostrava Art University (Czech Republic). Born on January 1, 1974. Studied at the Ostrava University, Department of Pedagogy (graduated in 1997).

PhD course at the Silesian University in Katowice (Cieszyn branch) (graduated in 2006). In 2015 got his postdoctoral degree in fine arts from the Silesian University. Since 1998 a lecturer at the Ostrava University, Department of Art (Faculty of Drawing and Print).

STANISŁAWA ZACHARKO-ŁAGOWSKA Historian of art, an art critic, art photographer, head of Art Exhibition Bureau (BWA) In Kielce. Born on 1958. Studied history of art (1977-1985) and postgraduate studies (culture management – 2003/2004) at the Jagiellonian University in Cracow. Mother of three sons. Since 1985 has been working at the Art Exhibition Bureau (BWA) In Kielce – since 2012 as an director.

A member of the “Wicker” Artist Association, Polish Art Photographers Union, the Association of Art Historians in Poland, Polish Association of Allotment.

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PAWEŁ FRĄCKIEWICZ PL (Poland / Polska) KSIĘŻYC W PEŁNI / HIGH MOON 1, litografia, algrafia, lithography, algraphy, 70x100, 2014 KSIĘŻYC W PEŁNI / HIGH MOON 2, litografia, algrafia, lithography, algraphy, 70x100, 2014 KSIĘŻYC W PEŁNI / HIGH MOON 3, litografia, algrafia, lithography, algraphy, 70x100, 2014 LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

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LEONARD PĘDZIAŁEK PL (Poland / Polska) BEBOOP (DLA KEITH’A) / BEBOOP (FOR KEITH), litografia, lithography, 56x76cm, 2016 BEBOOP (DLA RANDY’EGO) / BEBOOP (FOR RANDY), litografia, lithography, 56x76cm, 2016

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

ENDI POSKOVIC USA MOKRONOGE, litografia, lithography, 42x58,5 cm PLETIKOSA, litografia, lithography, 38,5x54 cm

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MAREK SIBINSKÝ CZ (Czech Republic / Republika Czeska) LATAĆ / FLY, serigrafia, serigraphy, 80x120 cm, 2015 KOBIETA / WOMAN, serigrafia, serigraphy, 80x120 cm, 2015

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

STANISŁAWA ZACHARKO-ŁAGOWSKA

PL (Poland / Polska)

z cyklu: ANIOŁY Z PERFOPOLU / from the series: ANGELS FROM PERFOPOL, fotografia, photography, 100x70 cm, 2011

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LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce 121/ LITHO-Kielce LITHO-KIELCE 2015 /THE INTERNATIONAL LITHOGRAPHY COMPETITION LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO -Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce / LITHO-Kielce 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ORGANIZATORZY / ORGANIZERS

BIURO WYSTAW ARTYSTYCZNYCH W KIELCACH / ART EXHIBITION BUREAU IN KIELCE 25-011 Kielce, ul. Kapitulna 2 FILIA: GALERIA ZIELONA / BRANCH: GALLERY GREEN 28-100 Busko-Zdrój Al. Mickiewicza 7 Dyrektor / Director: Stanisława Zacharko-Łagowska tel. +48 41 367 64 47, fax +48 41 367 69 83 e-mail: sekretariat@bwakielce.art.pl www.bwakielce.art.pl

STOWARZYSZENIE MIĘDZYNARODOWE TRIENNALE GRAFIKI W KRAKOWIE / INTERNATIONAL PRINT TRIENNIAL SOCIETY IN KRAKOW 31-010 Kraków, Rynek Główny 29, 1 p.

Prezes / President: Marta Raczek-Karcz tel/fax: +48 12 422 19 03, +48 12 421 71 23 email: smtg@triennial.cracow.pl http://www.triennial.cracow.pl

LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY / THE INTERNATIONAL LITHOGRAPHY COMPETITION Wydarzenie towarzyszące / Event accompanying the: MIĘDZYNARODOWEMU TRIENNALE GRAFIKI W KRAKOWIE 2015 / INTERNATIONAL PRINT TRIENNIAL IN KRAKOW 2015 WYSTAWA POKONKURSOWA: 11 marca - 8 kwietnia 2016 / THE POST COMPETITION EXHIBITION: 11 March - 8 April 2016 Kurator i aranżacja wystawy / Curator and design of the exhibition: Stanisława Zacharko-Łagowska

KATALOG / CATALOGUE © Wydawca / Publisher: Biuro Wystaw Artystycznych w Kielcach / www.bwakielce.art.pl ISBN 978-83-943318-4-9 Teksty / Texts: Paweł Frąckiewicz, Leonard Pędziałek, Endi Poskovic, Marek Sibinský, Stanisława Zacharko-Łagowska Tłumaczenie / Translation: Radosław Nowakowski Zdjęcia / Photography: Stanisława Zacharko-Łagowska, Bogdan Ptak Opracowanie graficzne, skład / Design and layout: Monika Cybulska Druk / Printed by: Oficyna Poligraficzna APLA / www.apla.net.pl

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LITHO-KIELCE 2015 MIĘDZYNARODOWY KONKURS LITOGRAFICZNY

LITHO-KIELCE 2015 THE INTERNATIONAL LITHOGRAPHY COMPETITION

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