Bielecki Art Foundation was established to support young artists, creative and passionate but not evading hard work. We do hope in this way the Foundation will contribute to the development of culture and arts, creating, at the same time, the world around us.
The Foundation’s aim is to initiate and support activities for young and talented artists and research workers, in their desires for fulfilment through artistic endeavours and to help in making creative dreams to come true. The Foundation intends to give a chance to those people who, often for financial reasons, are unable to reveal their talents to the world. 
The Foundation wants to offer that chance, by, amongst other things, conferring prizes to the most talented and persevering people, awarding fellowships and grants, and through supporting access to other possible forms of financial assistance.
The Foundation also sees the need for initiating innovative projects, promoting artists through the impacts of their work. Development of broadly understood culture is possible not only through providing financial support, but also through engaging the elites, utilizing their expertise and experience, and enabling access to state-of-the-art technical and technological solutions.
Super Krak S.A. company, which produced and organised the projects Żądze (Desires) and Lustra (Mirrors), entrusted their continuation to the Bielecki Art Foundation.
A major impulse for setting up the Foundation was a very personal wish of Janusz Bielecki, a man of success in business, and privately an artist sensitive to the beauty of the world of sounds. Finding the means of being true to his passion, love of music, through supporting others in similar endeavours, Janusz Bielecki wants to share this desire with them, trusting in the words of Max Ehrmann’s Desiderata, which have become the motto for the Foundation’s activities.
                        "… many persons strive for high ideals and everywhere life is full of heroism.” 
                                                                                                                  Max Ehrmann, 1927.

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