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Sebastião Salgado: Geneza Sebastião Salgado: Genesis

pregledna razstava fotografskega velikana overview exhibition of the notorious photographer

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PhotoMagicPhotoMagic

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

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Portfolio Review 2016

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

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Natečaj za Večerne projekcije Open call for Evening Projections

Mednarodni natečaj za sodobne fotografe International contest for contemporary photographers

2016

ERVIN DEBEUC: Kompozicija foto-slikeERVIN DEBEUC: Composition of Photo-Image

 
 
 

Ervin Debeuc, Šprotnik, 1959

30. maj – 24. junij 2012

Cankarjev dom Ljubljana

Razstava hrvaškega fotografa Ervina Debeuca se osredotoča na njegovo najplodnejše obdobje delovanja med leti 1955 in 1962, ko se avtor posveča predvsem uličnemu dokumentarizmu. Leta 2010 je Debeuc Muzeju grada Rijeke predal sedemdeset fotografij iz omenjenega obdobja, ko je kot mladi avtor v črno-beli tehniki beležil predvsem obrobne motive, polne formalne in tehnične dorečenosti, ki izkazujejo duh specifičnega prostora in časa.

Ervin Debeuc, rojen v Sušaku v bližini Reke leta 1930, je začel svojo plodno fotografsko kariero v povojnih letih znotraj cvetočega lokalnega klubskega zagona, ki je bil del razvitega fotoamaterskega gibanja v tedanji Jugoslaviji. Obrtniške veščine je pridobil od generacije najpomembnejših reških fotografov, ki so delovali v medvojnem obdobju: v prvi vrsti Fernando Soprano, kakor tudi Igor Emilijo in Abdon Smokvina. Prav ta generacija je skupaj z mladimi nasledniki Debeuca afirmirala Reko, tesno ob bok Zagrebu, kot eno najpomembnejših fotografskih središč znotraj nekdanje skupne države.

Kot fotograf se je Debeuc avtorsko razvijal v duhu tedanjega programatskega, ideološkega kolektivizma, medtem ko se je resnični individualizem v reški in hrvaški fotografiji izrazil šele na začetku 70. let. Postulati iz 50. let so narekovali čistost črno-bele fotografske tehnike, čemur je Debeuc zvesto sledil in ustvaril sebi lasten način v doseganju pravilnosti posnete podobe. Vseskozi so nas učili, da mora biti na fotografiji črna zares črna, bela zares bela in siva zares siva. (E. Debeuc) Fotografija ga zanima predvsem kot medij lastne izraznosti z objektivnim vizualnim jezikom, zasnovanim na dveh poglavitnih elementih – kompoziciji in svetlobi. Zame je bila vselej najpomembnejša kompozicija, pravi avtor danes, medtem ko je bil glavni kriterij, po katerem je beležil podobe, prav njihov dekonstrukcijski segment. Slednjega je mogoče zlahka detektirati, saj je ravnotežje Debeučevega kadra najpogosteje v močnem kontrapunktu. To se kaže v zanimivem odnosu do obravnave svetlobe, ki ne izgublja svojih meja niti v najmočnejših odbleskih, sencah na neuravnoteženi podlagi, niti v difuznem izginjanju. Močni črno-beli kontrasti in motivi izrazito spominjajo na poetiko ameriškega gibanja film noir (na primer režiserji F. Lang, J. Huston, R. Walsh, B. Wilder), s čimer se potrjuje prepustnost tedanjih meja znotraj sodobne zahodne umetnosti, pri tem pa Debeuc nikakor ne izključuje vplivnega dogajanja v Sovjetski zvezi.

V začetku 60. let se Debeuc začne izraziteje ukvarjati s filmom, tako eksperimentalnim kot dokumentarnim. Slednji je na koncu prevladal v njegovi profesionalni in amaterski karieri. Kljub zelo kratkemu obdobju ukvarjanja s fotografijo sodi Debeuc med najpomembnejše reške in hrvaške fotografe drugega desetletja po drugi svetovni vojni.

(Sabrina Žigo)

www.cd-cc.si

Ervin Debeuc, Sportsman, 1959

30 May – 24 June 2012

Cankarjev dom Ljubljana

Solo exhibition of Rijeka based photographer Ervin Debeuc is focusing on his most fruitful artistic period between 1955 and 1962 when he was completely devoted to documenting ordinary life on the streets of his hometown. In 2010 Debeuc donated seventy photographs from that period to the City Museum in Rijeka. At that time he was a young photographer devoted to marginal motifs marked by formal and technical elaboration to depict spirit of certain time and place.

Born in Sušak, near Rijeka, in 1930, Ervin Debeuc began his productive career as a photographer following WWII in a flourishing local photo club as a part of well-developed amateur movement in the then Yugoslavia. He acquired his trade skills from the generation of the most important Rijeka-based photographer active between the two World Wars; in particular, Fernando Soprano, as well as Igor Emili and Abdona Smokvina. It was Smokvina who, together with young successors of Debeuc, affirmed Rijeka’s position, along with nearby Zagreb, as one of the most relevant photo centres in the former common state.

Debeuc’s artistic development in the field of photography was influenced by the then programmatic, ideological collectivism, whilst genuine individualism emerged in Rijeka and Croatian photography as late as the early 1970s. The 1950s postulates dictated the purity of the white-and-black photo technique, which Debeuc faithfully followed, creating his own mode in order to achieve the correctness of the image taken (“We were always taught that in photography, black must be truly black, white truly white and grey truly grey.” E. Debeuc). He is interested in photography in particular as a medium of his own expressiveness through an objective visual language based on two principal elements – composition and light. “To me, composition has always been the top priority,” says the artist today, whereas the main criterion used in recording the images was their deconstruction element. The latter can easily be detected; indeed, the balance of Debeuc’s frame most often lies in a strong counterpoint and is best expressed in an interesting relation to the light, which doesn’t lose its boundaries even in the strongest reflections, shadows on an unbalanced surface or their diffuse disappearing. Strong black-and-white contrasts and motifs highly resemble the poetics of the American film noir movement (filmmakers such as F. Lang, J. Houston, R. Walsh, B. Wilder), which testifies to the permeability of the borders of the then contemporary Western art. Nevertheless, in doing so, Debeuc in no way excludes the influences of the Soviet Union photography scene.

In the early 1960s, Debeuc got more intensely engaged in film, both experimental and documentary; the latter eventually dominated in his amateur and professional career. Notwithstanding the short period in which he was involved in photography, Debeuc remains one of the most important Rijeka and Croatian photographers of the second decade following WWII.

(Sabrina Žigo)

www.cd-cc.si