Bohemi z Montparnassa Bohemians from Montparnasse

Jean Cocteau & Veno Pilon Jean Cocteau & Veno Pilon

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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

AFTERMATH. CHANGING CULTURAL LANDSCAPE

 
 
 

[lang_si]

Borut Krajnc, Cesta Staneta Žagarja, Kranj, iz serije Praznine, 2007

Tendence angažirane post-jugoslovanske sodobne fotografije

31. maj – 2. september 2012


FORUM: Aftermath. Ljubljana: Četrtek, 31. maj med 12. in 19.30 uro

Cankarjev dom, Mala galerija, konferenčna dvorana M

Otvoritev: Četrtek, 31. maj ob 20. uri

Narodni muzej Slovenije, Muzejska 1

Domagoj Blažević / Andrej Đerković / Tomaž Gregorič / Astrit Ismaili / Robert Jankuloski / Genc Kadriu / Amer Kapetanović / Srđan Kovačević / Borut Krajnc / Goran Micevski / Duško Miljanić   Bojan Mrđenović / Paula Muhr / Oliver Musovik / Vigan Nimani / Ana Opalić / Lazar Pejović / Darije Petković / Ivan Petrović / Marija Mojca Pungerčar / Vojo Radonjić / Jasenko Rasol / Bojan Salaj / Mirjana Stojadinović  Viktor Šekularac / Dejan Vekić / Sandra Vitaljić / Borko Vukosav / Milena Zarić / Ivan Zupanc / Antonio Živkovič

Mednarodni projekt Aftermath. Changing Cultural Landscape je prva regionalna raziskovalno kuratorska platforma, vzpostavljena z namenom prepoznavanja in artikuliranja poglavitnih tendenc znotraj polja sodobne fotografije, ki se postavlja v odnos do svojega neposrednega okolja. V sodelovanju s partnerskimi organizacijami s področja nekdanje Jugoslavije poteka obsežna raziskava o vplivu velikih družbenih premikov na podobo fizičnega in mentalnega okolja in s tem tudi izraznost številnih umetnikov, ki v delujočih na področju avtorske fotografije.

V Ljubljani je premierno na ogled postavljena obsežna skupinska razstava, ki je na enem mestu zbrala poglavitne protagoniste v polju družbeno angažirane sodobne fotografije, aktivno delujoče na področju nekdanje Jugoslavije v obdobju po njenem razpadu (1991–2011).

Obširna interdisciplinarna kuratorska raziskava se v predstavitveni formi razstave osredotoča na umetniško refleksijo procesov družbenih sprememb, ki so tako usodno zaznamovale celotni prostor nekdanje Jugoslavije. Aftermath tako predstavlja metaforo posledic turbulentnih dogodkov ter njihovega pečata v fizičnem okolju in družbenem vsakdanu. Izbrani avtorji skozi svoje ustvarjanje obdelujejo raznovrstne učinke tranzicijskih procesov, ki so brezpogojno in silovito spremenili življenje posameznika, najsi gre za krvave vojne v 90. letih ter njihove neposredne in posredne posledice, temeljite ekonomske spremembe, ki so močno vplivale na splošno klimo sodobnega trenutka, ali s tem neposredno povezane nove družbene vrednote. Umetniki skozi lastno vrednostno sito obdelujejo povsem običajno stvarnost vsakdana ter jo prirejajo svojim avtorskim težnjam, da bi kar se da učinkovito izrazili različne kritične poglede na trenutno (in preteklo) stanje duha.

Zaradi časovnega razpona predstavlja Aftermath zanimivo soočenje avtorskih premišljanj in izraznosti različnih generacij ustvarjalcev, ki so bodisi aktivno doživljali obdobje pred razpadom skupne države bodisi že izhajajo iz povsem novega družbenega konteksta. Obdobje dvajsetih let je pravzaprav dovolj kratko, da je zgodovinski spomin še vedno živ, zato je pri večini avtorjev nova situacija vselej nekako sopostavljena spominu na nedavno preteklost. Osrednja izhodiščna točka predstavljenih del je torej razmerje med starim in novim, beleženje postopnih sprememb znotraj posameznega prostora in časa ter vpliv ideologij na širše družbeno in fizično okolje. Konceptualno zastavljene vizualne pripovedi presegajo principe reporterskega dokumentarizma in se v nasprotju s senzacionalizmom množičnih medijev osredotočajo na (četudi morda aktualne) dogodke in situacije z dobršno mero distance. Na račun svoje družbene senzibilnosti pripovedujejo partikularne, pogosto skrajno marginalne zgodbe o posledicah vseobsegajoče družbene tranzicije kot procesa, ki je fundamentalno zaznamoval celotno regijo.

Ker je sama tranzicija potrebovala zadosten reakcijski čas za implementacijo novih modelov družbenega delovanja, so tudi umetniki na spreminjanje svojega neposrednega okolja reagirali s časovnim zamikom, sledeč pokazateljem nespregledljivih učinkov nove stvarnosti. Odnos obravnavanih avtorjev do teh procesov pa je vse prej kot indiferenten; njihova stališča so samoreflektirana in kritična, čeprav skozi svoja dela ne ponujajo dokončnih vrednostnih sodb. So le brižni zunanji opazovalci in komentatorji sveta, ki se nezadržno spreminja, medtem ko v svoj izraz vnašajo ambivalentnost in skepso do splošno uveljavljenih diskurzov. Njihov osrednji angažma se tako manifestira zlasti v spodbujanju cerebralnih aktivnosti posameznika, relativizaciji nekaterih trdno zacementiranih stališč ter preizpraševanju kolektivnega zgodovinskega spomina.

Družbena stvarnost preteklega dvajsetletnega obdobja pospešene (in še nedokončane) tranzicije, ki je nespregledljivo zarezala v življenja prebivalcev področja nekdanje Jugoslavije, se tako močno odraža tudi v kulturni produkciji kot polju, ki neposredno ne ogroža vzpostavljenih ekonomskih in političnih struktur. Ta tematika je v polju sodobne fotografije kot avtonomne umetniške forme dominantno izražena z žanri kot so fotografska topografija, krajinska fotografija, angažirani dokumentarizem, dnevniške fotografske beležke ter različne kombinacije le-teh. Znotraj teh žanrskih paradigem pa avtorji vselej iščejo lastne izpovedne možnosti fotografskega medija, ki zaradi same svoje narave omogoča izjemno neposrednost njihovega izraza.

(Miha Colner & Dejan Sluga)

Skupinska razstava Aftermath. Changing Cultural Landscape se kot del širšega regionalnega projekta v Ljubljani predstavlja krstno, nakar bo vse do konca leta 2013 v različnih oblikah kontinuirano predstavljena tudi v partnerskih mestih. Ljubljanski predstavitvi bodo v nadaljevanju sledile obsežne razstave v Pordenonu, Zagrebu in Beogradu ter krajši predstavitveni in diskurzivni dogodki, temelječi na predavanjih in diskusijah, v Sarajevu, Cetinju in Prištini.

Projekt Aftermath je nastal na pobudo Photona – Centra za sodobno fotografijo v sodelovanju s C.R.A.F.Spilimbergo ter partnerskimi organizacijami iz področja bivše Jugoslavije Remont iz Beograda, Film&Film iz Pule in Suvremena hrvatska fotografija iz Zagreba. Pridruženi partnerji projekta so še: Collegium Artisticum iz Sarajeva, Stacion – Center for Contemporary Art iz Prištine in Narodni muzej Crne Gore iz Cetinja.

Osrednja kuratorsko-raziskovalna ekipa: Miha Colner, Mirjana Dabović, Albert Heta, Saša Janjić, Ana Opalić, Vala Osmani, Dejan Sluga, Sandra Vitaljić in Branka Vujanović.

Podpira: European Cultural Foundation

www.photon.si

www.nms.si

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Borut Krajnc, Stane Žagar Road, Kranj, from the Emptiness series, 2007

Tendencies of engaged Post-Yugoslavian Contemporary Photography

31 May – 2 September 2012

FORUM: Aftermath. Ljubljana: Thursday, 31 May from 12 pm to 7.30 pm

Cankarjev dom, Mala galerija, conference hall M

Opening: Thursday, 31 May at 8 pm

National Museum of Slovenia, Muzejska 1

Domagoj Blažević / Andrej Đerković / Tomaž Gregorič / Astrit Ismaili / Robert Jankuloski / Genc Kadriu / Amer Kapetanović / Srđan Kovačević / Borut Krajnc / Goran Micevski / Duško Miljanić   Bojan Mrđenović / Paula Muhr / Oliver Musovik / Vigan Nimani / Ana Opalić / Lazar Pejović / Darije Petković / Ivan Petrović / Marija Mojca Pungerčar / Vojo Radonjić / Jasenko Rasol / Bojan Salaj / Mirjana Stojadinović  Viktor Šekularac / Dejan Vekić / Sandra Vitaljić / Borko Vukosav / Milena Zarić / Ivan Zupanc / Antonio Živkovič

The Aftermath / Changing Cultural Landscape international project is the first regional research and curatorial platform established in order to identify and articulate principal tendencies within the field of contemporary photography in relation to its immediate environment. With the participation of partner organisations from throughout the former Yugoslavia, the project represents an extensive investigation of the effect of large-scale social shifts on the image of the physical and mental environment, and thereby, also on the expression of a number of artists who work in the field of fine art photography.

For the first time an extensive group exhibition will put on display in Ljubljana. It will gather in a single place the principal protagonists from the field of engaged contemporary photography active in the territory of the former Yugoslavia following its disintegration (1991–2011).

In the presentation form of the exhibition, the extensive interdisciplinary curatorial research is focused on the artistic reflection of the social changes that to such a fatal degree marked the entire territory of the former Yugoslavia. Thus, Aftermath represents a metaphor for the consequences of turbulent events and their mark on the physical environment and on social everyday life. Through their creative efforts, the participating artists address various effects of transition processes that unconditionally and brutally changed the life of the individual, be it the bloody wars in the 1990s and their indirect and direct consequences, radical economic changes that had a significant impact on the general climate, or directly related new social values. In order to efficiently express various critical views on the current (and past) state of mind, the artists, according to their own values, address the quotidian reality and adapt it to their original artistic tendencies.

Due to its temporal span, Aftermath provides an interesting confrontation of artistic reflections and expressions of various generations that either experienced the period before the disintegration of the common state or originate from a completely new social context. A 20-year period is short enough to preserve historical memory; thus, with most artists, the new situation is always somewhat juxtaposed with the memory of the recent past. The main starting point of the exhibited works is therefore the relation between the old and the new, the recording of the gradual changes within an individual place and time and the effect of ideologies on the broader social and physical environment. The conceptually designed visual narratives outgrow the principles of reporting documentaries and, unlike the sensationalism of the mass media, focus on (although topical) events and situations with a fair share of distance. Due to their social sensibility, they tell particular, often extremely marginal stories about the consequences of an all-embracing social transition as a process that fundamentally marked the entire region.

Due to the fact that the transition itself required a sufficient reaction time for the implementation of new models of social activity, the artists, too, reacted to the changing of their direct environment with a temporal delay, following the indicators of the undeniable effects of a new reality. The attitudes of the selected artists to said processes are anything but indifferent; their stands are self-reflective and critical, although their works do not provide ultimate value judgements. Whilst introducing in their expression the ambivalence and scepticism towards generally established discourses, they are just attentive external observers and commentators of the world that irrepressibly changes. Their principal engagement is thus manifested in particular in the promotion of the cerebral activities of an individual, the relativisation of some firmly cemented standpoints and the reconsideration of collective historical memory.

The past 20-year period’s social reality of accelerated (and not yet finished) transition that so evidently cut into the lives of the inhabitants of the territory of the former Yugoslavia is also very much reflected in the cultural production as the field that does not directly jeopardise the established economic and political structures. In the field of contemporary photography as an autonomous art form, this subject is dominantly expressed in genres such as photo-topography, landscape photography, socially engaged documentary photography, photo note diaries and their various combinations. Within these genre paradigms, the artists always search for their own expressive possibilities within the photographic media, which by its own nature allows for the excellent directness of their expression.

(Miha Colner & Dejan Sluga)

As a part of a broader regional project, the Aftermath. Changing Cultural Landscape group exhibition has its debut in Ljubljana, to be afterwards presented in various forms until the end of 2013 in partner cities. The Ljubljana presentation will be followed by large exhibitions in Zagreb, Belgrade and Pordenone and shorter presentation and discourse events based on lectures and discussions organised in Sarajevo, Cetinje and Prishtina.

The research and curatorial project was initiated by Photon – Centre for Contemporary Photography in collaboration with C.R.A.F. Spilimbergo and partner organisations from the territory of the former Yugoslavia – Remont from Belgrade, Film&Film from Pula and Contemporary Croatian Photography from Zagreb – and associated partners – Collegium Artisticum from Sarajevo, Stacion – Center for Contemporary Art from Prishtina and the Montenegrin National Museum from Cetinje.

The principal curatorial and research team is: Miha Colner, Mirjana Dabović, Albert Heta, Saša Janjić, Ana Opalić, Vala Osmani, Dejan Sluga, Sandra Vitaljić and Branka Vujanović.

Supported by: European Cultural Foundation

www.photon.si

www.nms.si