Bohemi z Montparnassa Bohemians from Montparnasse

Jean Cocteau & Veno Pilon Jean Cocteau & Veno Pilon

2016

Sebastião Salgado: Geneza Sebastião Salgado: Genesis

pregledna razstava fotografskega velikana overview exhibition of the notorious photographer

2016

PhotoMagicPhotoMagic

Stane Jagodič, Gábor Kerekes, Branko Lenart Stane Jagodič, Gábor Kerekes, Branko Lenart

2016

Portfolio Review 2016

  Festival Fotonični trenutki – Mesec fotografije 2016 vabi fotografe, da predstavijo svoja dela na Portfolio Review, ki bo potekal […]

2016

Natečaj za Večerne projekcije Open call for Evening Projections

Mednarodni natečaj za sodobne fotografe International contest for contemporary photographers

2016

Barbara Jakše Jeršič & Stane Jeršič – Iz te snovi se tkejo sanje

 
 
 

Jeršič’s aestheticised simulacrums take full advantage of the allegorical potential of the photographic medium, which is characterised by an implicit awareness of the ephemerality of all things and the strive to preserve these under the guise of archetypically conveying eternity. The gazes of the figures in these images do not search for contact with eyes of the spectator; they are introspectively turned towards their own world. No dialogue exists between them; they are turned into themselves. For this reason, the naked bodies are not erotic, but instead evoke a general, depersonalized and deindividualised existence complemented by other objects as a test of sensitive shyness (objects filled with the nostalgia of the past, textiles, flowers, mirrors). Impalpable veils and draperies spread out like cobwebs which both conceal and reveal, thus introducing the feeling of sublime unreality to the image. These stylized compositions photographed with great imagination, using unusual and difficult-to-determine recourses, cause discomfort in which the connotation is always both active and invisible, clear and implicit. The allegorical perception of Jeršič’s mental screens allows the transformation of the photographic naturalism into a surrealist ornamental Baroque. The transcendental weaving of space and time gives the photographs an aura (according to Benjamin) which has been almost entirely eradicted from art by avant-garde postmodernism and multimedia creative procedures.
Marko Košan

Jeršičevi estetizirani simulakri do popolnosti izkoriščajo alegorični potencial fotografskega medija, ki ga določa implicitna zavest o minljivosti vseh stvari in prizadevanje ohraniti jih v pozi arhetipsko zgovorne večnosti. Pogledi figur na teh podobah ne iščejo stika z gledalčevimi očmi, introspektivno so zazrti v svoj svet. Dialoga ni niti med njimi samimi, obrnjeni so vase. Razgaljena telesa zato ne evocirajo erotike, marveč splošnejšo, razkrito, depersonalizirano in deindividualizirano eksistenco, ki so ji v preizkušnjo ranljive sramežljivosti kot pedant zoperstavljena še druga telesa (z nostalgijo preteklosti napolnjeni predmeti, blago, rože, ogledala). Nedoločljive tančice in pajčevinasto razpredene draparije zakrivajo in odstirajo obenem, v podobo pa vnašajo občutje sublimne irealnosti. Stilizirane kompozicije, domišljeno posnete z uporabo nenavadnih in težko določljivih rakurzov, sprožajo nelagodje, v katerem je konotacija venomer hkrati aktivna in nevidna, jasna in implicitna. Alegorična percepcija njunih ekranov omogoča transformacijo fotografskega naturalizma v nadrealistični ornamentalni barok. Transcendentno tkanje prostora in časa fotografijam podeli tisto auratičnost (po Benjaminu), ki so jo avandgardni postmodernizem in multimedijski kreativni postopki devetdesetih domala izgnali iz umetnosti.
Marko Košan