Wiktoria Michałkiewicz
Wiktoria Michałkiewicz is a multidisciplinary expert with global experience in storytelling, talent management, creative strategy and photography. She holds five degrees, including a PhD in Sociology and MAs in Social Anthropology and Cultural Studies, from top institutions like Stockholm University and Jagiellonian University. A contributing editor for outlets like National Geographic and Vogue, she is also an experienced photography producer, talent agent, and curator.
FotoSlovo was delighted to interview Wiktoria Michałkiewicz, gaining valuable insights into the practice of photography and art curation.
FotoSlovo was delighted to interview Wiktoria Michałkiewicz, gaining valuable insights into the practice of photography and art curation.
Wiktoria Michałkiewicz
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Photographer: Knut Koivisto
FS: Could you tell our readers about your journey into photography and what led you become an agent and create your own talent agency?
WM: My journey into photography was deeply rooted in my academic background in social sciences. As an anthropologist, sociologist, and linguist with studies in cultural anthropology and cultural studies, I was drawn to finding ways to make these complex ideas more accessible. This led me to begin my career as a producer while also collaborating with photographers at various photography festivals. At the time, I was living in Sweden, working on one of my master’s degrees, and my involvement with documentary photography started to grow.
I had the privilege of working with National Geographic and contributing to festivals like the Nordic Light Festival in Norway, where I collaborated with renowned photographers such as Bruce Davidson and Albert Watson. These experiences deepened my interest and passion for the field. Later, I transitioned to working as a commercial agent, eventually developing an art department within the same agency, organizing exhibitions for renowned photographers in cities like Los Angeles, New York, and Paris.
My career also took me to well-known Fotografiska, where I worked as an exhibition producer before moving to the international department during its early phase of global expansion. At Fotografiska I was also focusing on global partnerships and gaining a broader perspective on the business side of art and photography.
By 2020, when I returned to Poland, artists began approaching me, seeking advice on how to conceptualize and promote their projects. So I found myself wondering what needs I could fulfill for them.
That's how in 2022, I began developing the model I use today—a project-based, consultative approach thorough an agency I've created. At REZO I provide guidance, help artists build connections in art world, assist with representation, and match their projects with suitable galleries. While it started informally, this has evolved into a more structured and purposeful way of supporting creative talents.
WM: My journey into photography was deeply rooted in my academic background in social sciences. As an anthropologist, sociologist, and linguist with studies in cultural anthropology and cultural studies, I was drawn to finding ways to make these complex ideas more accessible. This led me to begin my career as a producer while also collaborating with photographers at various photography festivals. At the time, I was living in Sweden, working on one of my master’s degrees, and my involvement with documentary photography started to grow.
I had the privilege of working with National Geographic and contributing to festivals like the Nordic Light Festival in Norway, where I collaborated with renowned photographers such as Bruce Davidson and Albert Watson. These experiences deepened my interest and passion for the field. Later, I transitioned to working as a commercial agent, eventually developing an art department within the same agency, organizing exhibitions for renowned photographers in cities like Los Angeles, New York, and Paris.
My career also took me to well-known Fotografiska, where I worked as an exhibition producer before moving to the international department during its early phase of global expansion. At Fotografiska I was also focusing on global partnerships and gaining a broader perspective on the business side of art and photography.
By 2020, when I returned to Poland, artists began approaching me, seeking advice on how to conceptualize and promote their projects. So I found myself wondering what needs I could fulfill for them.
That's how in 2022, I began developing the model I use today—a project-based, consultative approach thorough an agency I've created. At REZO I provide guidance, help artists build connections in art world, assist with representation, and match their projects with suitable galleries. While it started informally, this has evolved into a more structured and purposeful way of supporting creative talents.
FS: What qualities or styles do you look for in a photographer when choosing to represent them?
WM: My work with artists revolves around career strategy, a skill rooted in my professional background. Many artists create outstanding projects but lack a clear plan for their careers, often feeling stuck or unsure of where to begin. That’s where I step in—helping them strategize, develop their talent, and connect with the right audience. My agency’s mission is to think outside the box and adapt to the rapidly changing art market, focusing on long-term planning for 5 to 10 years ahead. I consider not only the impact of a project but also its potential for reaching the right audience.
I work with three main groups of artists. The first includes mid-career artists who have established themselves through books or exhibitions and seek greater international exposure. These partnerships are collaborative and rewarding, as they understand the industry and are open to reframing their projects. The second group consists of emerging artists at the start of their careers. This is more educational and time-intensive, involving guidance on navigating the art world. Finally, I collaborate with established artists who already have strong ideas and projects but seek new opportunities. Each group requires a tailored approach, whether building exposure, offering insights, or developing new strategies.
I’ve developed a seasonal consulting model, aligning with the art world’s rhythm. I take on a small group of artists for 3 months, focusing exclusively on their needs and implementing strategies. Each season begins with planning sessions to set goals, followed by intensive collaboration. At the end of the season, we review progress and decide on next steps, whether continuing together or transitioning to new projects.
This flexible approach has been effective, with many artists returning for ongoing collaboration. Over time, I’ve built strong, evolving relationships with them, adapting to their changing needs. Ultimately, my role is to map out opportunities and guide artists as they navigate the global art market, helping them find the best path forward.
WM: My work with artists revolves around career strategy, a skill rooted in my professional background. Many artists create outstanding projects but lack a clear plan for their careers, often feeling stuck or unsure of where to begin. That’s where I step in—helping them strategize, develop their talent, and connect with the right audience. My agency’s mission is to think outside the box and adapt to the rapidly changing art market, focusing on long-term planning for 5 to 10 years ahead. I consider not only the impact of a project but also its potential for reaching the right audience.
I work with three main groups of artists. The first includes mid-career artists who have established themselves through books or exhibitions and seek greater international exposure. These partnerships are collaborative and rewarding, as they understand the industry and are open to reframing their projects. The second group consists of emerging artists at the start of their careers. This is more educational and time-intensive, involving guidance on navigating the art world. Finally, I collaborate with established artists who already have strong ideas and projects but seek new opportunities. Each group requires a tailored approach, whether building exposure, offering insights, or developing new strategies.
I’ve developed a seasonal consulting model, aligning with the art world’s rhythm. I take on a small group of artists for 3 months, focusing exclusively on their needs and implementing strategies. Each season begins with planning sessions to set goals, followed by intensive collaboration. At the end of the season, we review progress and decide on next steps, whether continuing together or transitioning to new projects.
This flexible approach has been effective, with many artists returning for ongoing collaboration. Over time, I’ve built strong, evolving relationships with them, adapting to their changing needs. Ultimately, my role is to map out opportunities and guide artists as they navigate the global art market, helping them find the best path forward.
FS: What can artists expect from collaborating with you? Do you offer any specific guarantees for career advancement?
WM: I don’t guarantee specific career outcomes, and I’m upfront about that. What I do guarantee is creating opportunities for artists by connecting them with curators, galleries, and other industry players. My approach isn’t about “selling” the artist—it’s about making the process smoother and more effective for everyone involved, including my industry colleagues and partners.
I help curators and galleries discover relevant artists, matching their profiles with the right venues or audiences. While I can’t control decisions made by others, my knowledge of institutions, curators' tastes, and industry dynamics ensures that things often move much faster than if artists go it alone. I also use my academic and strategic background to enhance the relevance and impact of the artists' work.
Timing and context are crucial. Some projects gain traction quickly, while others might get attention later. Exposure often creates a ripple effect, sparking interest from other curators or venues. My focus is on strategic thinking—analyzing opportunities, leveraging momentum, and extending the artist’s reach to new audiences or territories.
I also emphasize collaboration and continuous evaluation, revisiting strategies to ensure success. My approach goes beyond traditional portfolio reviews by identifying the artist’s strengths and matching their work with the right context. This tailored strategy increases the chances of meaningful connections and impactful results.
WM: I don’t guarantee specific career outcomes, and I’m upfront about that. What I do guarantee is creating opportunities for artists by connecting them with curators, galleries, and other industry players. My approach isn’t about “selling” the artist—it’s about making the process smoother and more effective for everyone involved, including my industry colleagues and partners.
I help curators and galleries discover relevant artists, matching their profiles with the right venues or audiences. While I can’t control decisions made by others, my knowledge of institutions, curators' tastes, and industry dynamics ensures that things often move much faster than if artists go it alone. I also use my academic and strategic background to enhance the relevance and impact of the artists' work.
Timing and context are crucial. Some projects gain traction quickly, while others might get attention later. Exposure often creates a ripple effect, sparking interest from other curators or venues. My focus is on strategic thinking—analyzing opportunities, leveraging momentum, and extending the artist’s reach to new audiences or territories.
I also emphasize collaboration and continuous evaluation, revisiting strategies to ensure success. My approach goes beyond traditional portfolio reviews by identifying the artist’s strengths and matching their work with the right context. This tailored strategy increases the chances of meaningful connections and impactful results.
“Timing and context are crucial when launching the photo project. Some projects gain traction quickly, while others might get attention later.”
FS: Can you share an example of a successful collaboration with a photographer and what factors contributed to its success?
WM: One great example is Maciej Markowicz, a Polish artist based in Berlin. We’ve worked together for two years, starting with a solo exhibition in Poland, followed by shows in Berlin and festival appearances. His participation in festivals led to gallery interest, resulting in an exhibition in Arles, France, this year. Next year looks even busier, with 10–12 projects lined up.
This success is what I call a "domino effect," driven by strategic planning and hard work. Maciej is a fantastic collaborator—professional, independent, and creative, with a strong understanding of the industry. Our smooth working relationship has opened up many exciting opportunities.
FS: What advice would you give to photographers looking to break into the art gallery and festival scene to help them stand out in a competitive market?
WM: Our collaborations often unfold in waves. A common challenge, especially after the first season, is that many artists become anxious. Even if their work is well-liked, deciding to exhibit it involves many factors, such as scheduling and funding. Sometimes I help secure funding or find solutions to make it happen. While it may take time—galleries often plan 2 or 3 years ahead—emerging artists sometimes don’t realize this and get anxious when things don’t move quickly.
The first stage of collaboration is about generating attention and building connections. Exhibitions may take time to materialize, but often, interest grows gradually. I reassure artists during this waiting period, explaining that patience is key. Things are happening behind the scenes, and we’re working as a team. Over time, artists begin to understand how the process works and typically return with a clearer sense of what to expect.
FS: Are there any emerging trends or themes in photography that excite you or that you believe will shape the industry in the coming years?
WM: My personal interest remains rooted in social and environmental issues. I enjoy working with artists engaged in activism, like Ragnar Axelsson, an Icelandic photographer focused on climate change in the Arctic. His archive is a powerful testament to the climate crisis. We’re currently preparing several museum exhibitions, and it’s a pleasure to help find platforms for such important work—whether traditional venues or alternative spaces.
I believe these themes will continue to gain attention, as artists have a unique ability to present these issues in ways that emotionally connect with people. I plan to focus more on giving exposure to artists working on such vital topics.
FS: In your opinion, how can photographers build a portfolio or create projects that attract agents and potential clients?
WM: In today’s image-saturated industry, both emerging and established photographers need to be clear about their goals. My first piece of advice is to define your audience. Who are you trying to reach? It’s crucial to be specific—whether it’s activist work, commercial work, or another niche.
Secondly, do your research. Identify around 10 potential collaborators and be realistic. It’s not just about naming dream venues; it’s about understanding what value you can bring to them. Ask yourself, “What can I contribute to this gallery, agency, or curator?” Your work should add something unique, not just be good in isolation.
Building a successful career means providing value to others, whether it’s a curator, agency, or exhibition. Be strategic in how you approach potential partners, break down your goals into achievable steps, and focus on what works.
FS: Do you have any upcoming projects or goals for the future of your career as a talent agency owner?
WM: I’m excited to work with talented photographers and share my knowledge with those I can’t work with directly. I plan to develop more educational content, as there’s a clear demand for it. I’m also looking to launch art advisory services, especially in the emerging Polish and Portuguese markets, where I see great potential for collaboration with partners and galleries.
I’m thrilled to share that I'm working on an exhibition project at the Capa Center, opening in February 2025, it's a connection with the Polish Presidency of the EU Council. In collaboration with the Adam Mickiewicz Institute and Capa Center, where myself and co-curator Emese Mucsi, the exhibition, European Kinship: Eastern European Perspective, will explore the dialogue between Polish and Hungarian contemporary photographers. Through the exhibition and its accompanying events, we aim to highlight a shared visual language and the emerging creative wave in the region. Although much of my career has been abroad, I feel a personal mission to showcase the incredible talent and energy of artists from Eastern Europe.
Additionally, I’m working on art science programs in universities. Students inspire me, and I believe there’s untapped potential for dialogue between the art and academic worlds, especially around environmental issues. We recently had a discussion about climate change with students that sparked meaningful conversations.
I have more plans in the works, but some are still a bit of a secret—but you're going to see them very soon!
WM: One great example is Maciej Markowicz, a Polish artist based in Berlin. We’ve worked together for two years, starting with a solo exhibition in Poland, followed by shows in Berlin and festival appearances. His participation in festivals led to gallery interest, resulting in an exhibition in Arles, France, this year. Next year looks even busier, with 10–12 projects lined up.
This success is what I call a "domino effect," driven by strategic planning and hard work. Maciej is a fantastic collaborator—professional, independent, and creative, with a strong understanding of the industry. Our smooth working relationship has opened up many exciting opportunities.
FS: What advice would you give to photographers looking to break into the art gallery and festival scene to help them stand out in a competitive market?
WM: Our collaborations often unfold in waves. A common challenge, especially after the first season, is that many artists become anxious. Even if their work is well-liked, deciding to exhibit it involves many factors, such as scheduling and funding. Sometimes I help secure funding or find solutions to make it happen. While it may take time—galleries often plan 2 or 3 years ahead—emerging artists sometimes don’t realize this and get anxious when things don’t move quickly.
The first stage of collaboration is about generating attention and building connections. Exhibitions may take time to materialize, but often, interest grows gradually. I reassure artists during this waiting period, explaining that patience is key. Things are happening behind the scenes, and we’re working as a team. Over time, artists begin to understand how the process works and typically return with a clearer sense of what to expect.
FS: Are there any emerging trends or themes in photography that excite you or that you believe will shape the industry in the coming years?
WM: My personal interest remains rooted in social and environmental issues. I enjoy working with artists engaged in activism, like Ragnar Axelsson, an Icelandic photographer focused on climate change in the Arctic. His archive is a powerful testament to the climate crisis. We’re currently preparing several museum exhibitions, and it’s a pleasure to help find platforms for such important work—whether traditional venues or alternative spaces.
I believe these themes will continue to gain attention, as artists have a unique ability to present these issues in ways that emotionally connect with people. I plan to focus more on giving exposure to artists working on such vital topics.
FS: In your opinion, how can photographers build a portfolio or create projects that attract agents and potential clients?
WM: In today’s image-saturated industry, both emerging and established photographers need to be clear about their goals. My first piece of advice is to define your audience. Who are you trying to reach? It’s crucial to be specific—whether it’s activist work, commercial work, or another niche.
Secondly, do your research. Identify around 10 potential collaborators and be realistic. It’s not just about naming dream venues; it’s about understanding what value you can bring to them. Ask yourself, “What can I contribute to this gallery, agency, or curator?” Your work should add something unique, not just be good in isolation.
Building a successful career means providing value to others, whether it’s a curator, agency, or exhibition. Be strategic in how you approach potential partners, break down your goals into achievable steps, and focus on what works.
FS: Do you have any upcoming projects or goals for the future of your career as a talent agency owner?
WM: I’m excited to work with talented photographers and share my knowledge with those I can’t work with directly. I plan to develop more educational content, as there’s a clear demand for it. I’m also looking to launch art advisory services, especially in the emerging Polish and Portuguese markets, where I see great potential for collaboration with partners and galleries.
I’m thrilled to share that I'm working on an exhibition project at the Capa Center, opening in February 2025, it's a connection with the Polish Presidency of the EU Council. In collaboration with the Adam Mickiewicz Institute and Capa Center, where myself and co-curator Emese Mucsi, the exhibition, European Kinship: Eastern European Perspective, will explore the dialogue between Polish and Hungarian contemporary photographers. Through the exhibition and its accompanying events, we aim to highlight a shared visual language and the emerging creative wave in the region. Although much of my career has been abroad, I feel a personal mission to showcase the incredible talent and energy of artists from Eastern Europe.
Additionally, I’m working on art science programs in universities. Students inspire me, and I believe there’s untapped potential for dialogue between the art and academic worlds, especially around environmental issues. We recently had a discussion about climate change with students that sparked meaningful conversations.
I have more plans in the works, but some are still a bit of a secret—but you're going to see them very soon!