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

Aljaž Velički – ‘Kaj smo pozabili?’Aljaž Velički – ‘What Have We Forgotten?’

 
 
 

Aljaž Velički, Glasniki smrti, 2010

10. november – 1. december 2010

Modra hiša, Ljubljana


Aljaž Velički, mladi slovenski fotograf, ki že četrto leto študira na priznani bratislavski Vysoki školi vytvarnych umenia pri profesorju Lubu Stachu, se predstavlja z dvema sklopoma fotografij pod skupnim naslovom »Kaj smo pozabili?«. Sklopa sta na prvi pogled zelo različna, saj se avtor poslužuje različnih fotografskih tehnik za dosego določenega cilja, obenem pa sta si podobna, saj predstavljata njegov način razmišljanja o svetu. Aljaž Velički se s tem projektom brez kompromisov, vendar senzibilno, loteva življenjskih tem.

S sklopom Bratislava se je želel avtor v analogni tehniki kar najbolj približati času svojega otroštva, čeprav je upodobljena zgodba izmišljena. Aljaž Velički je fiktivno premaknil kraj svojega rojstva in preživljanja otroštva v Bratislavo. Prostore in zgradbe je posnel v sedanjem času, ko živi in deluje v tem mestu, kot da mu pomenijo večni spomin. Posnetki so odtisnjeni na barvni negativ, medtem ko je svojo podobo in podobo svojih bližnjih »izrezal« iz družinskih albumov ter jih računalniško spojil z obstoječimi ozadji urbane krajine. Rezultat predstavlja igrivo in na pogled resnično pripoved novega izmišljenega otroštva, ki nas spominja na to, kar smo pozabili. Pozabili pa smo uživati v trenutkih, pozabili smo na majhne radosti, pozabili smo na igrivost. Aljaž Velički je človek, ki ljubi življenje, in pravi, da bi bilo le-to brez fotografije veliko bolj prazno. Fotografija ga pomirja in provocira hkrati.

Na avtorjevo umetniško izražanje sta v času njegovega odraščanja močno vplivala gimnazijski profesor Željko Opačak in slikar Jože Tisnikar, prepoznaven po svojevrstnem izražanju tem, ki jih večina dojema kot žalostne, turobne in absurdne. Ker je Aljaž Velički odraščal ob Tisnikarjevih slikah, prevzet od njihove mističnosti, je svoj drugi ciklus fotografij pod naslovom Med slikarstvom in fotografijo posvetil prav njemu. Ta serija je, tiskana na slikarsko platno, ustvarjena v njemu lastnem prepoznavnem in dovršenem načinu izražanja. Na motivna ozadja različnih slikarskih stvaritev povečini turobnega značaja je pridal svetle in na trenutke celo humorne detajle, ki nedvomno spremenijo in dodatno odprejo osnovno sporočilnost podobe. Velički se je uspel uspešno približati slikarski tehniki, čeprav je kot fotograf s samo naravo svojega medija brezpogojno omejen.

Sonja Lebedinec

Aljaž Velički, Messengers of Death, 2009

From November 10 until December 1, 2010

Modra hiša, Ljubljana


Aljaž Velički, a young Slovenian photographer, who is in his fourth year of studies under professor Lubo Stach at the renowned Vysoki školi vytvarnych umenia (Academy of Fine Arts and Design) in Bratislava, is presenting his work with two series of photographs with a joint name What have we forgotten? Both series appear very different at first glance, as the artist uses different photographic techniques to achieve a certain goal; however they are also very alike, as they represent his thoughts about the world. With this project, Aljaž Velički uncompromisingly, yet sensibly, takes on the bigger issues in life.
With the series Bratislava the artist used the analogue technique to move closer to the time of his childhood, even though the depicted storyline is fictitious. He transported the location of his birth and the era of his childhood to Bratislava. The spaces and buildings were photographed in the present time – the time of his life and work in this city, as though they were an everlasting memory in his mind. The images were printed onto a colour negative while his image and the images of his family members were »cut out« from family albums and digitally bound to the existing backdrops of the urban landscape. The result is a playful and apparently realistic image of his new fictitious childhood that reminds us of that which we have forgotten. And we have forgotten to enjoy the moments; we have forgotten the small pleasures and playful moments. Aljaž Velički is a man who loves life; he says that without photography, his life would be much emptier. Photography simultaneously relaxes and provokes him.

A distinctive influence on the artist during his adolescent years were his high school professor Željko Opačak and the painter Jože Tisnikar, who is well-known for his individualistic expression of motifs most people view as sad, morbid and absurd. As Aljaž Velički grew up with Tisnikar’s paintings and was mesmerized by their mysticism, he dedicated his second photographic series titled Between Painting and Photography to Tisnikar. This series was created by printing photographs onto the canvas in its own distinguished and accomplished way of expression. He added colourful and at moments even humorous details to backgrounds of different gloomy paintings and thus changed and opened up the original message of the images. With this, Velički successfully moved closer to the painting technique, even though as photographer he is always unconditionally limited by the nature of his medium.

Sonja Lebedinec