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

2008

 

Eva Petrič – Znaš plavati?

 

The exhibition title Sabes nadar/Can You Swim reveals, in the artist’s words, “the state of being caught in a power struggle.” For Petrič, swimming is not merely moving through water, but a symbol of drifting through life, through the energy of the food chain … a constant without which there is no life, in which everything constantly floats between the state of being the prey and the predator. “We live, therefore we feed on others and are food to others, we swim from jaws to jaws … We swim in the food chain, and it is the food chain that determines who stays and who perishes, who swims away and who doesn’t. Can you swim? How should one swim so as not to end up as prey to the predator? Like a shadow, Ophelia notes. Shadows drift between prey and predator, they are the one and the other, and at the same time, neither. Self-sufficient, they appear in the light, and take away light at the same time. Swimming between shadows does not depend on weather, time, or place; after all, shadows are our collective subconscious, transcending time, space, and language. Ophelia jumps into all waters, lonely, troubled, hungry, sated. She wants to swim — learn to swim — she can swim! Not only in the profane ocean, also in the sacral ocean, as the two flow one into the other and mix in the global ocean of our time. The Ophelia of today does not drown; today, the ocean is but a puddle, the profane in it looks sacral in reflection, and the sacral reflects as profane.”


Naslov razstave Eve Petrič Sabes nadar/znaš plavati razkriva po avtoričinih besedah »ujetost v boj moči«, saj zanjo plavanje ni le premikanje v vodi, temveč tudi ponazoritev drsenja skozi življenje, skozi prehranjevalno energijo … stalnico, brez katere ni življenja, v kateri vse nenehno plava med stanjem plena in plenilca. »Živimo, torej se hranimo z drugimi in smo hrana drugim, plavamo od žrela do žrela … Plavamo v prehranjevalni verigi – ta določa, kdo obstane in kdo ne, kdo splava in kdo ne. Znaš plavati? Kako plavati, da ne končaš kot plen plenilca? Kot senca, opaža Ofelija. Sence plavajo med plenom in plenilcem, so hkrati prvo in drugo in obenem niso ne prvo ne drugo. Samozadostne, v svetlobi nastanejo in hkrati svetlobo jemljejo. Plavanje med sencami ni vezano na vreme, čas ali kraj, saj so sence navsezadnje kolektivna podzavest, ki presega čas, prostor in jezik. Ofelija skoči v vse vode, v osamljene, razburkane, lačne, site. Hoče plavati – splavati – zna plavati! In ne le v profanem, marveč tudi v sakralnem oceanu, saj se oba pretakata in mešata v današnjem globalnem oceanu. Današnja Ofelija ne utone, ocean je danes le luža, profano v njej je v odsevu videti sakralno, sakralno odseva kot profano.«

 
 

Jelena Vivoda – Urbano-ruralno–umetno-naravno–hitro-počasno

 

The exhibition „Urban-rural-artificial-natural-fast–slow“ consists of 16 photographic diptychs; one image shows nature and its different visual manifestations, and the other urban objects made by the human hand. Images have similar compositions and conditions of shooting, which emphasizes the similarities and differences between them. These images, made during 2006, will open a discussion about differences and similarities, fast changes and the way of life. After the opening of the exhibition a discussion will start on the subject of urban vs. natural. During this discussion a group will be formed to work on the same concept. Their assignment will be to photograph Ljubljana, to find the motifs in the city and suburbs that can be compared in a similar way. The group and author will be in constant touch and will lead each other through communication. The work of this group will conclude with their exhibition and a discussion on gained experience.

Razstavni projekt Urbano-ruralno–umetno-naravno–hitro-počasno je sestavljen iz več delov. Samostojna razstava Urbano-naravno je sestavljena iz 16 fotografskih diptihov, med katerimi ena stran prikazuje naravo in njene raznorodne vizualne manifestacije, druga pa se potaplja v svet urbanih objektov, ki so nastali kot produkt človeških rok. Fotografije imajo podobne kompozicijske zakonitosti, nastale pa so pod približno enakimi pogoji, s čemer naj bi bila naglašena njihova medsebojna podobnost kakor tudi nepremostljive razlike. Podobe, ki se sprašujejo o razlikah in podobnostih, hitrih spremembah in življenjskem slogu, so nastale tekom leta 2006. Po odprtju razstave se začenja razprava za zainteresirano javnost na tematiko mestno vs. vaško. Razprava bo končana z vzpostavitvijo skupine posameznikov, ki bodo v nekem določene času delali na tem projektu. Naloga novoustanovljene skupine bo fotografiranje Ljubljane in najti motive v mestu in njegovi okolici, ki jih je mogoče na podoben način vzporejati. Avtorica bo s to delovno skupino nenehno v kontaktu in skozi pogoste diskusije se bodo medsebojno vodili v iskanju primernih motivov na temo urbano-ruralno. Delo skupine bo zaključeno z razstavo del udeležencev in razpravo o njihovih pridobljenih izkušnjah.

 
 

Metka Vergnion – Tišina

 

Metka Vergnion was born in Ljubljana, Slovenia. She studied photography in ENSLL in Paris. She lives and works in Geneva , Switzerland. Solo exhibitions: 1980 Galerie Espace photographique, Paris; 1982 Centre William Rappard –GATT, Geneva, Switzerland; 1983 Klub kulturnih in znanstvenih delavcev, Ljubljana, Slovenia; Gallery 97 , Hong Kong; 1984 Gallery 97, Hong Kong; 1985 Arttech traveling exhibition: Singapore, Kuala Lumpur, Hong Kong; 1986 Arttech exhibition, Beijing, China; 1988 Galerija ARS, Ljubljana, Slovenia; Musee de la photographie, Mougins, France; 1989 Maison de l’Amerique Latine de Monaco, Monte Carlo, Monaco; Galerie an der Stadtmauer, Villach, Austria; 1990 Foyer der Graphischen, Wien, Austria; 1991 Galerija KC Ivan Napotnik, Velenje, Slovenia; 2004 Mestna galerija, Ljubljana, Slovenia; 2006 Galerie Manoir de Cologny, Geneva, Switzerland; Galerie d ´Alliance Francaise, Dublin, Irland; 2007 Small Gallery-Cankarjev dom, Ljubljana, Slovenia. Selected group exhibitions: 1963, 1965, 1966, 1970, 1971, 1984: Ljubljana; 1974, 1977, 1978, 1979, 1980, 1981, 1982, 1988: Doboj, Graz, Pecs, Koper, Beograd, Kranj, Ajdovscina, Novi Sad, Rjeka, Nice, Bourg en Bresse, Geneva; 2001, 2003, 2005, 2006, 2007: Spilibergo, Ljubljana, Koper, Paris, Bern.

Metka Vergnion se je rodila v Ljubljani. Študirala fotografijo in film na Ecole Nationale Louis Lumière v Parizu. Stanuje in ustvarja v Ženevi. SAMOSTOJNE RAZSTAVE: 1980 Galerie Espace photographique, Pariz; 1982 Centre William Rappard-GATT, Ženeva 1983; Klub kulturnih in znanstvenih delavcev, Ljubljana; Gallery 97, Hong Kong; 1984 Gallery 97, Hong Kong; 1985 Arttech collection, Singapur; Kuala Lumpur; Hong Kong; 1986 Arttech collection, Peking; 1988 Galerija ARS, Ljubljana; Musée de la photographie, Mougins; 1989 Maison de l’Amérique Latine de Monaco, Monte Carlo; Galerie an der Stadtmauer, Beljak; 1990 Foyer der Graphischen, Dunaj; 1991 Galerija KC Ivan Napotnik, Velenje; 2004 Mestna galerija, Stalna zbirka, Ljubljana; 2006 Galerie du “Manoir” Cologny, Ženeva; Galerie de l´Alliance française, Dublin; 2007 Mala Galerija, Cankarjev dom, Ljubljana. IZBRANE SKUPINSKE RAZSTAVE: 1963, 1965, 1966, 1970, 1971, 1984: Ljubljana; 1974, 1977, 1978, 1979, 1980, 1981, 1982, 1988: Doboj, Graz, Pecs, Koper, Beograd, Kranj, Ajdovscina, Novi Sad, Rijeka, Nica, Bourg en Bresse, Ženeva; 2001, 2003, 2005, 2006, 2007: Spilibergo, Ljubljana, Koper, Pariz, Bern.

 
 

Branko Lenart – Piran: Pirano

 

PIRAN IN METAPHORICAL EARLY AUTUMN

Branko Lenart is a migrant. He was born in Ptuj, but his family moved to Graz when he was six, and in 2001 he also became a citizen of Piran. Journeys are his passion, but perhaps it was the moving around as a child that contributed to him being so attentive to the space in which he moves, so that he doesn’t take it as a given fact but absorbs it intensively and concurrently documents his position in it. Most of his projects and photographs are designated by European, American, Asian, or African toponyms. Most of the major photographic countries carefully cultivate topographic records. A significant part of his opus belongs to a part of the stream interested in the subjective view of the landscape, but at the same time he is the heir of conceptualist practices of the late sixties and early seventies. He has been coming to Piran for almost forty years, but as a photographer he has never tended to tourist idyllicism. He sees the town with modernist eyes, in details, as a scene for a play of forms, bizarre or humorous coincidences and meta-photographic interventions. In this way, Piran retains its Mediterranean charm, but gains an analytic northern tone and a touch of intellectual distance as well. The town thus becomes a point of confrontation for Mediterranean sensitivity and Central European moderation … as in late August, when the first cool continental wind arrives after the blazing summer days, and the pavestones near the coast are still warm from the sun.
Primož Lampič

PIRAN V METAFORIČNI ZGODNJI JESENI
Branko Lenart je selivec. Rodil se je na Ptuju, ko mu je bilo šest let, se je družina preselila v Gradec, leta 2001 pa je postal tudi piranski meščan. Potovanja so sicer njegova strast, vendar je morda prav selitev v otroštvu bistveno pripomogla k temu, da je tako pozoren do prostora, v katerem se giba, da ga ne jemlje kot danost, temveč ga vsrkava intenzivno in sproti dokumentira svoj položaj v njem. Zato je tudi večina njegovih projektov in posameznih fotografij krajevno opredeljenih z evropskimi, ameriškimi, azijskimi ali afriškimi toponimi. Vse velike fotografske dežele skrbno gojijo topografski zapis. Lenart s večino svojega opusa pripada smeri, ki neguje subjektiven pogled na krajino, hkrati pa je dedič konceptualističnih praks poznih šestdesetih in zgodnjih sedemdesetih let. Tak je tudi njegov pogled na Piran. Sem zahaja več kot štirideset let, vendar kot fotograf nikoli ni pristal na turistično idiliko. Piran vidi z modernističnim očesom: v detajlih, kot prizorišče igre form, bizarnih naključij, humornih obratov in metafotografskih intervencij. Tako mesto ohranja svoj mediteranski čar, a pridobi tudi analitičen, severnjaški odtenek in kanec intelektualne distance ter postane točka soočenja sredozemske čutnosti in srednjeevropske treznosti, …kot ob koncu avgustu, ko po razžarjenih poletnih dneh potegne prva hladnejša sapa s celine, tlak na obali pa je še topel od sonca.
Primož Lampič

 
 

Igor Bijuklič – Na rezilu horizonta

 

The series of photos “On the blade of horizon” is the result of the author’s coincidental experience from roaming, travelling and flaneur strolls and his contact and confrontations with more or less familiar locations and places. A fascination over open spaces, vacuum, strong contrasts, reflecting surfaces and straight lines led the author to certain places. As he developed a permanent relationship with those places that got him to return constantly, and at the same time, perceive the place and its happening once again. The author chased rare and selected moments; weather occurrences or some other strange parts of the day that from different reasons could open up some kind of a crack where familiar surroundings turned to extraordinary and non-recurring. A play of absence and presence of human figures in the photos are a central line of a personal or maybe even intimate confession, thus the author’s role and his desire not to stay only a secret observer but also to participate in the happening. From the placement of human figures in the room (very often only a barely noticeable silhouette can be seen) we can see the author’s relation or momentary disposition towards them. In almost all the photos and all the themes, we can see the elements of intentional and sincere experiment that creates illusion and imaginary figures with a visible subjection to projecting the mood in the room before the lenses as consistently as possible.

Ciklus fotografij je rezultat naključnega izkustva iz popotovanj, kot posledica presežkov prostega časa in dolgočasja in od tod izhajajočega avtorjevega soočenja in kontakta z bolj ali manj poznanimi relacijami in okoljem. Fascinacija nad odprtimi prostori, praznino, močnimi kontrasti, odbojnimi ploskvami, ravnimi linijami je vodila in pritegovala avtorja k določenim točkam, s katerimi je vzpostavljal trajne odnose, ki so napeljevali k večkratnem vračanju in vsakokratnem ponovnem zaznavanju prostora in gibanja v njem. Avtor je zasledoval redke in izbrane trenutke, ki zaradi raznoterih vzrokov, od vremenskih neugodnosti do neobičajnih delov dneva, odpirajo nekakšne razpoke, kjer se nam namesto očem vajenega okolja odstira trenutek izrednosti in neponovljivosti. Igra odsotnosti in prisotnosti človeških figur je nekakšna osrednja linija osebne, morda intimne izpovedi, torej drža avtorja, ki ni hotel ostati zgolj prikriti opazovalec, temveč izraz njegove želje, da bi aktivno posegel v dogajanje. Osebe in njihova umeščenost v prostoru, kjer mnogokrat od njih ostane zgolj slabo zaznavna silhueta, je osrednji stavek, ki razlaga in nakazuje na odnos ali trenutno razpoloženje, ki ga ima avtor z njimi. V končni instanci lahko motivom večine fotografij pripišemo prvine namernega in odkritega poizkusa ustvarjanja utvar ali fantazijskih podob, ki se podrejajo intenci po čim bolj doslednem projiciranju razpoloženja tistega, kar se nahaja za objektivom v prostor pred fotografsko lečo.

 
 

Andrej Perko – Vode

 

»Observe and consider before you open the shutter. The heart and mind are the actual objective of the camera.« (Yousuf Karsh). These words, expressed by the renowned portrait photographer of the 1980’s, sound somewhat indecent if looked upon with our modern »consumer« attitudes. However, the simple truth of Andrej Perko’s photography earns their meaning and sense. Perko belongs to those creators inside the photographic medium, who do not manipulate the »object« in order to subdue it to their own vision. The chosen motif is not ripped out of its natural environment, but rather experienced and revived – the author inquires beyond its outer image and discovers its depths, evoked through memories and feelings that accompany them. In this series, he is instigated by waters – these children of the Ocean whisper to him through the flowing of forms, the appearance of physical and invisible, through scents and ghosts, through the poetry of the flow of life and human existence. He chose four rivers which touched him in some special way with their existences and symbolic contents and meaningful backgrounds. The author attempts to capture their characters and nature and establish some kind of a connection with them, although he approaches them from the »safe distance« – with fearful respect. His choosing of black-and-white techniques, which are a constant in his work, is completely planned and conscious – they are a means to approach the generalization of reality. Arnold Newman says, that we »do not photograph with a camera but rather with our hearts and minds.«
Tanja Cigoj

»Poglej in premisli, preden odpreš zaslonko. Srce in razum sta dejanski objektiv fotoaparata.«. (Yousuf Karsh). Besede, ki jih je veliki fotograf portretist izrekel v 80. letih prejšnjega stoletja, skozi današnje »potrošniške« oči zvenijo nekoliko nesodobno, nekako izven časa. Vendar njih preprosta resnica v fotografiji Andreja Perka zadobi svoj pomen in smisel. Perko namreč pripada tistim ustvarjalcem znotraj fotografskega medija, ki z »objektom« ne manipulirajo, da bi ga podredili izključno svoji viziji. Izbranega motiva ne iztrga iz naravnega okolja, ampak ga doživlja in oživlja, poizveduje onkraj njegove zunanje podobe in odkriva njegove globine, evocirane skozi svoje spomine ter občutja, ki jih spremljajo. Perka so v tokratnem ciklu nagovarjale vode, ti otroci Oceana so mu prigovarjali skozi potekanje oblik, pojavnosti fizičnega in navideznega, preko vonjev in prikazni, skozi poezijo toka življenja in človeškega obstoja. Izbral je štiri reke, ki so se ga kakorkoli dotaknile s svojimi bivanji ter z zanj simboličnimi vsebinami in pomenskimi zaledji. Poskusil je zajeti njih značaj in naravo ter z njimi vzpostaviti navezo, čeprav »z varne razdalje« – k vodi namreč pristopa s strahospoštovanjem. Izbira črno-bele tehnike, ki je postala stalnica v njegovi fotografiji je povsem načrtna in zavestna – avtorju pomeni sredstvo približevanja abstrahiranju stvarnosti. Arnold Newman namreč pravi, da »ne fotografiramo s fotoaparatom, temveč s srcem in z razumom.”
Tanja Cigoj

 
 

Fotonični trenutki

 

Fotonični trenutki / Photonic Moments, salonski pregled sodobne fotografske ustvarjalnosti na področju Vzhodne in Jugovzhodne Evrope, predstavlja osrednji projekt festivala Mesec fotografije. K razstavnem projektu so bili ponovno povabljeni priznani strokovnjaki: kustosi, galeristi, kritiki iz šestih držav omenjene regije, ki so pripravili izbor avtorjev in njihovih del med katerimi bo velika večina prvič predstavljenih slovenski javnosti. Razstava se bo v naslednjem letu selila po nekaterih mestih Evrope, kjer bo poskušala predstaviti sveže in vzhajajoče sile tistih predelov Evrope, ki so zaradi nezadostnega statusa obsojeni na slabše razmere za produkcijo in prezentacijo sodobne fotografije. Letošnja edicija razstave Fotonični trenutki/Photonic Moments bo zajela geografsko dimenzijo razširjenega Balkana in vključuje avtorje iz geografskih področij Grčije, Hrvaške, Madžarske, Srbije, Turčije in Slovenije. Otvoritev skupinske razstave Photonic Moments IV. bo 21. oktobra v Mali galeriji Cankarjevega doma ter bo obenem pomenila tudi uradno odprtje letošnjega tretjega, razširjenega festivala Mesec fotografije.

Maša Bajc, Mania Benissi, Primož Bizjak, Vanja Bučan, Ektor Dimisianos, diStruktura, Marko Ercegović, Angelos Gavrias, Nilbar Güres, Peter Herendi, Gabor Kerekes, Ivan Petrović, Valentino Bilić Prcić, Katarina Radović, Aniko Robitz, Erinç Seymen, Špela Volčič, Ivan Zupanc.

Photonic Moments is a salon review of contemporary photographic creation in Eastern and South-eastern Europe and presents the main project of the Month of Photography festival. This exhibition project in the form of a collective exhibition again hosts several acknowledged experts: curators, gallery owners and critics coming from six countries of the mentioned regions – they prepared the selection of authors and their works, most of which will be presented to the Slovenian public for the first time. The exhibition will be hosted in several European cities during the next year, where it will try to present fresh and rising forces of those parts of Europe that are condemned to worse conditions for production and presentation of contemporary art because of their insufficient status. This year’s edition of Photonic Moments encompasses the geographical dimension of a wider Balkans and includes authors coming from the geographical regions of Greece, Croatia, Hungary, Serbia, Turkey and Slovenia. The opening of the collective exhibition Photonic Moments IV will be held on October 21st at the Cankarjev Dom Small Gallery, this will also be the official opening of the third, expanded Month of Photography festival.

Maša Bajc, Mania Benissi, Primož Bizjak, Vanja Bučan, Ektor Dimisianos, diStruktura, Marko Ercegović, Angelos Gavrias, Nilbar Güres, Peter Herendi, Gabor Kerekes, Ivan Petrović, Valentino Bilić Prcić, Katarina Radović, Aniko Robitz, Erinç Seymen, Špela Volčič, Ivan Zupanc.

 
 

Matej Sitar – Tsuriai

 

The series Tsuriai was created during a one month journey in Japan. The author wanted to concentrate on two different sides of this country, the classical side and the modern side and represent them as diptychs. The collection deals with the two opposite poles of Japan and the experience of a visitor from the West and his impression of this country. On the one hand we immediately think of the classical and traditional Japan of the Meiji and Edo eras, but on the other we cannot ignore the newest of technologies and wild Japanese teenagers. This is the modern Japan. Rarely is this duality as obviously expressed as in the land of the rising sun. In introducing this series the author not only focused on its content and its visual aspects, but also on its technical side. The author wanted to present the contradictions (differences) in a different way. The photographs depicting classical Japan are all taken with a classical camera and dia film. They represent contradicting stories, which, when looked upon as a whole, create balance- harmony. This harmony of contradictions is narrative and visual but also technical.

Serija Tsuriai (japonski izraz za ravnotežje), je nastala med enomesečnim potovanjem po Japonski. Avtor se je želel osredotočiti na dve različni plati te dežele, na klasično in na moderno ter ju predstaviti kot diptihe. Kolekcija se ukvarja z nasprotnima poloma Japonske in z izkušnjo zahodnjaškega obiskovalca, ter njegovim pogledom na to deželo. Japonska je dežela velikih nasprotij. Na eni strani takoj pomislimo na klasično in tradicionalno Japonsko iz obdobij Meiji in Edo, na drugi strani pa ne moremo mimo blišča modernih mest, najnovejše tehnologije ter divjih japonskih najstnikov. To je moderna Japonska. Le redkokje drugje na svetu je ta dvojnost tako očitna kot prav v deželi vzhajajočega sonca. Pri predstavitvi serije se je avtor poleg vsebinske in vizualne plati odločil še za eno, namreč tehnično. Nasprotja (različnosti) je poskušal prikazati na drugačen način. Fotografije, ki predstavljajo klasično Japonsko, je posnel s klasičnim zrcalno-refleksnim fotoaparatom in dia filmom. Te predstavljajo nekaj, kar počasi izginja iz vsakdanje uporabe in česar verjetno prej ali slej ne bo več. Moderna Japonska pa slovi po najnovejših tehnoloških izdelkih, zato se je za predstavitev tega dela serije odločil za uporabo digitalnega zrcalno-refleksnega fotoaparata. Posnete fotografije predstavljajo nasprotujoče si zgodbe, ki pa, ko jih pogledamo skupaj, ustvarijo ravnotežje – harmonijo. Ta harmonija nasprotij deluje pripovedno in vizualno v prvem planu, ter tehnično v drugem.

 
 

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

 
 

Roberto Kusterle – Zrcalo telesa

 

In the series of female images Kusterle is inspired by the contemporary meaning of beauty and external perfection, burdened by the un-acceptance of what is natural and inevitable. In lack of inner harmony and the respect for the dignity of ageing, contemporary aesthetics vainly approaches interventions to the body, while the author starts the process from the opposite direction. He covers a young body with signs of age and thus contrastingly confronts youthful freshness with wrinkles and withered skin.
Other images representing human monologue or the interlacing of several figures, which seem to be loosing their individual boundaries and natural shapes, are molded into a new conglomerate, united into a fantasy creature or changed into an association of something else – only careful observation with quite some imagination can uncover the reconstruction of actual staging of these models. The author exploits the mirror image of the human body, built of two similar halves on the outside with unique proportions between its parts, which all cause the viewer to misidentify human extremities in front of him/her. His mirror is a self-reflection of relationships, social and existential questions which are symbolically captured in each specific composition. Kusterle’s work cannot be labeled purely as photographic. His photographs are the result of an accurate and intended optical effect; the author first uses the roles of a painter, a sculptor and a scenographer and thus creates the conditions for his motif by physically handling the body and positioning it. The camera comes in at the very end and in its most classic role – to document the staging in front of it.

V nizu ženskih portretov je avtorjev vir navdiha sodobni pomen lepote in zunanje perfekcije, obremenjen z ne-sprejemanjem naravnega in neizbežnega. V pomanjkanju notranjega sožitja in spoštovanja dostojanstva staranja se sodobna estetika z raznimi posegi v telo bori z mlini na veter, avtor pa se procesa loti iz obratne smeri. Na mlado telo nanese starostne znake in v isti kompoziciji kontrastno sooči mladostno svežino z gubami in uvelo kožo. Ostale podobe človeškega monologa ali prepleta več figur, ki med seboj izgubljajo meje in svoje naravne oblike, pa zgnete v nov konglomerat, jih združi v fantazijsko bitje ali spremeni v asociacijo nečesa drugega in šele natančno opazovanje z obilico domišljije nas privede do rekonstrukcije dejanske postavitve modelov. Avtor izrabi zrcalnost telesa, grajenega iz dveh podobnih polovic v svojevrstnem kanonu razmerij med telesnimi deli, ki gledalca zmede, da napačno identificira človeške okončine pred seboj. Njegovo ogledalo odseva medčloveške odnose, družbena in eksistenčna vprašana, simbolično ujeta v posamezno kompozicijo. Kusterletovo delo bi bilo preskromno označiti samo za fotografsko. Njegove fotografije so rezultat natančnega in v naprej zamišljenega optičnega učinka, saj avtor najprej v vlogi slikarja, kiparja in scenografa s fizično obdelavo telesa in njegovo postavitvijo izdela pogoje za svoj motiv. Fotoaparat pride na vrsto zadnji v svoji popolnoma klasični vlogi – dokumentirati inscenacijo, ki je postavljena pred njim.

 
 

Gyula Fodor – Noosphere

 

The term noosphere refers to the “spere of human thought”. An “intelligent cover” around the globe which embraces all intellectual processes. Gyula Fodor doesn’t follow the theological reference of the term neither the one to Virtual Reality. He rather tries to create a new artistic reference for noosphere. This is the life-enhancing euphoria that coincides with “the liberty of the migrant” and which more than makes up for the remaining pain over the loss incurred. A partial exchange of populations takes place, without any seizure of the land. Today’s diaspora of people living in exile differs from the classical type in that it is subject to multiple, transnational and “rhizomatic” processes of networking — in short, to globalisation. In this way, a new category of “the world’s people” is created, traducing national boundaries. Sur-rounding the surface of the globe, we see a vibrating layer of the spirit of the times, as in a beehive, just before the bees start to swarm. This social climate change calls for new ways of seeing, new angles and perspectives on what we construe to be “our world”. What is needed is the multiple perspective of the “migrant’s gaze.” The experience of exile is the space capsule from which I can begin to shoot my photographs.What I am attempting to make
visible from this perspective, with the use of my camera, is a new universe – literally an “invented” universe, newly found and composed from photographic objects trouvés.
Dorohtee Frank

Izraz noosfera se nanaša na »sfero človeških misli«. »Inteligentna prevleka« okrog sveta, ki zajema vse intelektualne procese. Gyula Fodor ne sledi teološkim referencam tega izraza niti tistega, ki pelje k virtualni realnosti. Ustvariti skuša novo umetniško aluzijo za noosfero. To je evforija, ki spodbuja življenje in je značilna za »svobodo priseljenca« ter opraviči bolečino, ki ostaja zaradi izgube. Prihaja do delne zamenjave prebivalstva brez zasedbe ozemlja. Današnja diaspora ljudi, ki živijo v izgnanstvu, se razlikuje od tradicionalne, saj je predmet mnogovrstnih, transnacionalnih in »rizomatičnih« procesov mreženja – na kratko, globalizacije. Tako je ustvarjena nova kategorija »ljudi sveta«, ki ne priznavajo nacionalnih meja. Če obkrožimo Zemljo, lahko vidimo sloj duha časa, ki utripa kot utripa v panju, preden čebele začnejo rojiti. Ta sprememba v družbi zahteva nove načine dojemanja, nove pristope in poglede na razlage besedne zveze »naš svet«. Potrebujemo mnogovrsten vidik »priseljenčevega pogleda«. Izkušnja izgnanstva je prostorska kapsula, iz katere lahko začnem fotografirati. Iz te perspektive poskušam s svojim fotografskim aparatom zajeti novo vesolje, tj. »izmišljeno vesolje«, na novo odkrito in sestavljeno iz najdenih fotografskih objektov.
Dorothee Frank

 
 

Ernst Logar – Ne-javni prostori

 

Non Public Spaces deals with spaces which are not ordinarily open to ordinary citizens. These chosen places have special political, economic or social significance. At first, this places seem irrelevant to our lives, but on closer inspection we become more conscious of their connection to our everyday life. They are an integral part of people’s lives and the state’s power to regulate them. The mapping of these places ranges from mortuaries of forensic medicine, archives that constitute state identity, central computer rooms where population related data are registered and processed, police arsenals, securing the execution of state power, art depots signifying cultural representation… Non Public Spaces is about the confrontation of the individual with the apparatus of power and its institutions, the individual’s continual effort to penetrate these spaces. Through diverse strategies and elaborate bureaucratic authorisation procedures an attempt is made to reach these places, to visually ratain them and document the process of entering, using different media. These are spaces which constitutes interfaces to public while being physically exclusive due to their concentration of power. An exhibition situation is created in the way which shows active working process on the one hand as well as photos of non public spaces in New York, Vienna, London, Paris and other cities.

Razstava Nejavni prostori se ukvarja s prostori, ki navadno niso odprti za običajne državljane. Ti izbrani prostori imajo poseben političen, gospodarski ali družbeni pomen. Sprva se nam zdijo nepomembni, vendar ob podrobnejšem pregledu postanemo bolj dovzetni za njihovo povezanost z našim vsakdanjim življenjem. So bistven del naših življenj in so v pristojnosti države, ki jih upravlja. Izbor teh prostorov vključuje mrtvašnice sodne medicine; arhive, ki predstavljajo identiteto države; osrednje računalniške prostore, v katerih se zbirajo in obdelujejo podatki v zvezi s prebivalstvom; orožarne na policijskih postajah, ki zagotavljajo izvajanje državne moči; skladišča z umetniškimi deli, ki predstavljajo našo kulturo… Razstava Nejavni prostori posameznika sooči z organi moči in njihovimi institucijami; prikazuje nenehno prizadevanje posameznika, da bi vstopil v te prostore. Z različnimi strategijami in izpopolnjenimi postopki upravnih pooblastil ter prek različnih medijev se poskuša te prostore doseči, ohraniti njihovo vizualno podobo in zabeležiti proces vstopanja vanje. To so prostori, ki predstavljajo mejo dostopa za javnost, medtem ko so fizično nedostopni zaradi zbrane moči, ki jo varujejo. Razstava je oblikovana tako, da na eni strani predstavlja dejaven delovni proces, na drugi pa fotografije nejavnih prostorov v New Yorku, na Dunaju, v Londonu, Parizu in nekaterih drugih mestih.

 
 

Gerhard Gross – Seattle Works

 

Six photographic series made during the summer of 2003 in Seattle represent architectural motifs in smaller series of 3–4 photographs. Night scenes always exclude people, although it is people who created them. Reduced light conditions require long-term exposure and special circumstances. While external sources of light and moving objects represent unexpected disturbing elements, this technique allows for simultaneous imaging of light/colour effects, which remain hidden to the human eye and give and impression of digital after-treatment. In contrast to individual photographs, the motif is represented in a series of photographs which correspond to the succession of slow movement around or closing in on the motif while illustrating the long duration of the process of physical attainment of this motif – the search for the object, angle of view selection and observation of the environment. The focus on the motif and its surroundings which can be subjected to a certain location also presents a risk; this is a time-intensive, contemplative process. It follows the goal of depicting a uniqueness of the motif in a most authentic way. One could call it a »genre photograph«, subjectively perceived in this place, expressing »silence« as a key element. In this way the subjective selection of the motif, connected with technical abilities enables the depiction of objects, which at first glance seem imperceptible and fall outside the ordinary, aesthetical norms.

Šest fotografskih serij, narejenih poleti 2003 v Seattlu, predstavlja arhitekturne motive v manjših serijah 3-4 slik. Nočne scenerije so zmeraj brez ljudi, čeprav ustvarjene od ljudi. Reducirani svetlobni pogoji potrebujejo dolgoročno osvetljevanje in zahtevajo posebne pogoje. Medtem ko eksterni viri svetlobe in premikajoči se objekti predstavljajo nepredvidljive moteče elemente, omogoča ta tehnika istočasno odslikovanje svetlobnih/barvnih efektov, ki so človeškemu očesu skriti in, ki dajejo vtis digitalne dodelave. Za razliko od posameznih slik, je motiv predstavljen v slikovnih nizih, ki ustrezajo zaporedju počasnega gibanja okoli oz. približevanja do motiva in ponazarjajo dolgotrajnost postopka fizične prisvojitve motiva – iskanja objekta, izbora zornega kota, opazovanja okolja. Koncentracija na motiv in njegovo okolico, ki je lahko pogojena na kraj, predstavlja cilj in tudi tveganje je časovno intenziven, kontemplativen proces. Sledi cilju, upodobiti edinstvenost motiva na najbolj avtentičen način. Tako rekoč “žanrska slika”, ki je bila na tem mestu in v tem času subjektivno zaznana in, ki vsebuje “tišino” kot nosilni element. Subjektivna selekcija motiva, v povezavi s tehničnimi spretnostmi, dopušča na ta način uprizoriti tudi na prvi pogled neopazne objekte, ki ležijo izven običajnih, estetskih meril.

 
 

Triestefotografia for LjubljanaTriestefotografia za Ljubljano

 

In September 2008, Triestèfotografia festival witnessed its fourth edition. This annual event organised by the colleagues from Trieste working within the Juliet Institute (they also publish the art magazine with the same name) is mainly aimed at presentation of photography made in Italy and the neighbouring countries. As a result of last year’s cooperation agreement between Photon Gallery, Month of Photography festival and Juliet Institute, Photon Gallery presented within Triestèfotografia festival three exhibition projects. And in November, Ljubljana festival introduces fourteen Italian artists selected among a number of national and international participants of the exhibitions presented at the fourth edition of the Triestèfotografia festival 2008. It is stories in random order, expressed with the use of various performing techniques and signed by a group of photographers characterised by different experiences.

Artists: Alessandro Paderni, Marco Citron, Lorena Matic, Francesco Bruni, Antonio Serrapica, Massimo Premuda, Francesca Martinelli, Fabio Rinaldi, Tommaso Lizzul, Plinio Martelli, Alice Meden, Gianni Pasinato, Raul Gilioli, Sebastiano Bettio
Festival TRIESTEFOTOGRAFIA je v septembru 2008 potekal že četrtič. Kolegi iz Trsta, ki delujejo pod okriljem zavoda Juliet (izdajajo tudi istoimensko revijo za umetnost), želijo na vsakoletni prireditvi predstavljati predvsem fotografijo iz Italije ter sosednjih držav. Lani je bil zastavljen dogovor med galerijo Photon, festivalom Mesec fotografije in zavodom Juliet o sodelovanju v tem letu. Kot rezultat tega dogovora je galerija Photon predstavila tri svoje razstavne projekte v okviru festivala Triestefotografia. V novembru pa se na ljubljanskem festivalu predstavlja štirinajst italijanskih avtorjev, izbranih med mnogimi domačimi in tujimi udeleženci razstav četrte izdaje festivala Triestefotografia. Gre za naključne zgodbe, izražene z uporabo različnih tehnik, ki jih podpisuje skupina avtorjev, ki izhajajo iz različnih izkušenj.

Avtorji: Alessandro Paderni, Marco Citron, Lorena Matic, Francesco Bruni, Antonio Serrapica, Massimo Premuda, Francesca Martinelli, Fabio Rinaldi, Tommaso Lizzul, Plinio Martelli, Alice Meden, Gianni Pasinato, Raul Gilioli, Sebastiano Bettio

 
 

Dušan Pirih Hup – Retrospektiva

 

Since mid-1970s, Hup first participated with the street theatre company Predrazpadom, Hidrogizma sound and space project, as well as the Ana Monroe Theatre. Further to this, he participated with a number of groups and individuals who between 1975-1985 worked within Škuc and Forum associations, and in 1982/83 became one of the founding members of the then TDS Equrna. Hup was engaged in the fields of fine arts, photography, space and acoustic projects, theatre, and after 1991 he almost exclusively dedicated himself to photography, photo-editing and transposing of photography into the graphic medium. In the field of photography, Hup was a researcher who added a new dimension to the medium. He almost exclusively used a non-corrected monocle lens of his own construction. This approach resulted in a number of xeroprints and photographs which were in 1998 presented at Cities overview exhibition in Jakopič Gallery, Ljubljana. In 1997, he got more seriously engaged in experiments with digital photography. In many journeys, his sharp eye subtly recorded events of everyday life and scenes characteristic of individual cities. By being visually strong and timeless, Hup’s photographs go way beyond the basic function of documenting the physical world.

Od sredine sedemdesetih let 20. stoletja je Hup (1952 – 2007) najprej sodeloval pri Pocestnem gledališču Predrazpadom, v zvočno-prostorskem projektu Hidrogizma in v Gledališču Ane Monró, ob tem je deloval in sodeloval z mnogimi skupinami in posamezniki, ki so v letih 1975 – 1985 ustvarjali v društvih Škuc in Forum, izven teh povezav leta 1982/83 postane eden od ustanovnih članov takratne TDS Equrna. Področja njegovega delovanja so bila slikarstvo, fotografija, prostorski in akustični projekti, gledališče, po letu 1995 pa skoraj izključno le fotografija, fotomontaža in prenosi fotografije v grafični medij. Na področju fotografije je Hup deloval kot raziskovalec, ki mediju doda novo dimenzijo. Pri fotografiranju je skoraj izključno uporabljal enolečni objektiv lastne konstrukcije. S takšnim pristopom je ustvaril številne xerotiske in fotografije, ki so bile leta 1998 predstavljene na pregledni razstavi »Mesta« v Jakopičevi galeriji. Leta 1997 je začel resneje eksperimentirati z digitalno in digitalizirano fotografijo. Na številnih potovanjih je z izostrenim očesom subtilno zapisoval dogodke vsakdanjega življenja ter prizore značilne za posamezna mesta. Hupove fotografije presegajo osnovno funkcijo dokumentiranja dogajanja v fizičnem svetu, delujejo vizualno močno in brezčasno.

 
 

Miniature 2008

 

The initiative for the biennial exhibition titled “Miniatures” came from the Janez Puhar Photography Club in Kranj and they presented it at the first exhibition of miniature photographs in 2002. The exhibition received positive reviews and subsequently an international exhibition of photographic miniatures was presented in 2004. The 2008 exhibition “Miniatures” is also international, with special attention that will be given to still lives. The “photographic miniature” is a common photographic term, which denotes a type of photography, prevalent among photographers before WWII, due to the limitations of photography at the time. In the past, photographs were as big as the photographic plate, while in recent times, we are used to seeing primarily photographic magnifications. In a way, this exhibition of photographic miniatures is returning to the mentioned beginnings of the photography. According to application requirements, photographs may not exceed 7 x 10 or 10 x 10 cm. Unlike magnified photographs, a small format demands innovative ways of approaching issues of composition, color and lighting. So the audience too must also change their perspective when approaching and evaluating the photographs. The co-organizers of the exhibition are the Cabinet for Slovenian Photography at the Gorenjska Museum and the Janez Puhar Photography Club from Kranj. Photographers are cordially invited to submit photographs for the competition.
Damir Globočnik
Pobuda za bienalno razstavo Miniature se je porodila med člani Fotografskega društva Janez Puhar iz Kranja, ki so se predstavili na prvi razstavi fotografskih miniatur (2002). Zaradi dobrega odziva na razstavo je bila leta 2004 prirejena mednarodna razstava fotografskih miniatur. Mednarodni značaj ima tudi razstava Miniature 2008, na kateri bo posebna pozornost namenjena motivu tihožitja. T.i. »fotografska miniatura« je pogost način fotografskega izraza, po katerem so zaradi tehničnih omejitev posegali fotografi v obdobju pred 1. svetovno vojno in med obema vojnama. Če so bile nekdaj fotografije velike toliko kot fotografska plošča, smo v zadnjih desetletjih na razstavah vajeni predvsem fotografskih povečav. Razstava fotografskih miniatur se na nek način vrača k omenjenim fotografskim začetkom. Glede na razpisne pogoje fotografije ne smejo presegati merila 7 x 10 oziroma 10 x 10 cm. Manjši formati zahtevajo drugačen način reševanja kompozicijskih, barvnih in svetlobnih vprašanj kot pa fotografske povečave. Od gledalcev pa zahtevajo drugačen način opazovanja in vrednotenja fotografij. Kabinet slovenske fotografije pri Gorenjskem muzeju in Foto društvo Janez Puhar iz Kranja sta soprireditelja razstave. Fotografi lahko pošljejo svoje fotografije na natečaj. Razstavljena dela izbere žirija.
Damir Globočnik

 
 

Castrumphoto 08 – Potajenost vid(e)nega

 

The theme of this year’s meeting was the revealing of nooks and cranies of Ajdovščina, which in their self-absorbed daily routine have become invisible to the natives. Since Castrumphoto is a photographic record of the life and pulse of this town, the photographers were invited to disclose the unseen and the hidden, from which the visibility was taken. These little miracles, which hide in the shadow of the bigger ones could emerge as renewed protagonists of the photographer’s and also the viewer’s story.

Primož Brecelj, Fabio Giacuzzo, Polona Ipavec, Jasna Klančišar, Roberto Kunsterle, Andrej Perko, Martin Prosen, Boštjan Pucelj, Karin Pudgar, Nika Zupančič.

Tema letošnjega srečanja Castrumphoto je bila razkrivanje kotičkov in vogalov Ajdovščine, ki so v svoji samoumevnosti skozi rutino vsakdana domačinom postali “nevidni”. In ker je Castrumphoto fotografski zapis življenja in bitja mesta, so bili fotografinje in fotografi vabljeni k odkrivanju neopaženega in skritega, ki mu je bila vzeta vid(e)nost. Ti mali čudeži, ki so se potajili v senci večjih, so tako lahko (znova) postali protagonisti fotografove in gledalčeve zgodbe.

Primož Brecelj, Fabio Giacuzzo, Polona Ipavec, Jasna Klančišar, Roberto Kunsterle, Andrej Perko, Martin Prosen, Boštjan Pucelj, Karin Pudgar, Nika Zupančič.

 
 

Viljem Cigoj – Pripovedovanja

 

Izbor fotografij iz ustvarjalnega opusa Viljema Cigoja, ki ga je sam poimenoval Pripovedovanja, vključuje dela iz treh avtorskih sklopov: Potovanje skozi prostor in čas, Burja in Kruh. Cikli predstavljajo samostojne, zaključene celote in vsebinsko niso povezani. Veže jih le avtorjev prepoznavni izraz, ki priča, da je motivika njegovih del tesno povezana s primorsko pokrajino in njeno tradicijo. Vendar predstavljeni motivi niso odslikava stvarnosti, pač pa so vse pripovedi režirane, kar pomeni, da jih ustvarja sistematično, po jasno izdelanem načrtu, ki zahteva predhodno, mentalno vizualizacijo prizorov. Avtor natančno določi tudi sosledje posameznih prizorov in dobro premisli, kako bo kadriral posamezni posnetek, da bo serija dobila želeno podobo.Cikel šestih fotografij Potovanje skozi prostor in čas je pripoved o njegovem osebnem videnju in dojemanju naravnega življenjskega kroga, določenega z začetkom in koncem, ki je zapisana v simbolnem jeziku. Neostra podoba človeka v omejenem prostoru se na posameznih fotografijah spreminja v brezoblično senco, saj je dolg osvetlitveni čas skoraj povsem zabrisal njeno obliko.Neizprosno minevanje časa dodatno poudarjajo štirje sekvenčni posnetki, ki zaznamujejo sosledico obdobij v človekovem življenju in njihovo časovno soodvisnost. Pripoved zaokroži podoba otroka v zapuščeni in izpraznjeni notranjščini, ki simbolizira novo življenje in prinaša upanje v človekov negotovi vsakdan.

The selection of photographs from the oeuvre of Vilijem Cigoj, self titled as Narrations, comprises works from three artistic series: Traveling through the Time and Space, Burja and Bread. These photographic cycles represent independent and complete entireties not related whatsoever in terms of content. What they share is the artist’s recognizable expression testifying that motifs of his works are closely connected with coastal landscape and its tradition. The presented motifs, however, are not a reflection of reality but staged narratives, meaning that he produces them systematically, following a clearly elaborated plan which requires prior transitional and mental visualization of the scenes. Further to this, the artist also precisely determines the sequences of individual scenes with deliberated consideration of individual snap-shot so that the series fulfils his expectations. The cycle of six photographs titled Traveling through the Time and Space is a narrative expressed in symbolic language which brings his intimate view and understanding of the natural cycle of life determined with the beginning and the end. On individual photographs, the faint image of a man in a limited space transforms into a shapeless shade, due to the fact that long exposition almost completely blurred its shape. The inexorable passing of time is additionally emphasized by four sequence shots which denote the sequence of periods in human life and their temporal correlation. The narration is rounded off by the image of a child in an abandoned and vacated interior who symbolizes new life and brings hope to man’s uncertain everyday life.

 
 

Tomaž Lunder – Gladina spomina

 

The Slovene photographer Tomaž Lunder (b. 1955) is an author whose opera shows a great variety in genre. He’s dedicated to portraiture, sometimes quite experimental, especially when portraying friends and acquaintances, while photos of strangers in their natural surroundings reveal something between the grotesque and compassionate. At times it seems as if anthropological passion intervenes with his work and sometimes he treats himself with excursions to the cultural landscape or cookery still-lives. For his latest series, Lunder has chosen a photographically unexploited format, a distinctly narrowed vertical field. He focused on the landscape – the human figure temporarily completely disappeared from his cadre. The photos thus gained more suggestive potential since vertical visual field is recognised in Eastern art as a specific characteristic of landscape painting. Lunder’s photographs are executed without digital manipulations, however – because of the diversity of interplays and reflections on the surfaces of puddles – they visually leave an impression of layered artistic (un-real!) space, while the vertical cut-out adds to an impression of layer fusion. The layers could also be, in the archaeological sense of memory, time layers. With his series The surface of Memory Lunder introduces dimensions well known in painting – detection of relationship between the form and the background as well as time relations.
Nadja Zgonik
Slovenski fotograf Tomaž Lunder (roj. 1955) je avtor, v čigar opusu opazimo veliko žanrsko raznovrstnost. Posveča se portretiranju, včasih izrazito eksperimentalno, predvsem ko upodablja prijatelje in znance, medtem ko je pri prikazovanju neznancev v njihovem naravnem okolju na meji med grotesknostjo in sočutnostjo. Kdaj se zazdi, da se v njegovo delo vplete antropološka strast, občasno si privošči še ekskurze v kulturno krajino ali pa kuharska tihožitja. Za svoj zadnji cikel si je izbral fotografsko še precej neizrabljen format, izrazito zožano vertikalno polje. Osredotočil se je na krajino – človeški lik je začasno povsem izginil -, s čimer je izbor pokončnega vizualnega polja še toliko sugestivnejši, saj velja za označevalca krajinskega slikarstva v Vzhodni umetnosti. Lundrove fotografije nastajajo brez digitalnih manipulacij, vendar zaradi raznovrstnosti vpisa v odsevih in prosevanjih na vodnih gladinah mlak, lok ali luž, pridobijo za fotografijo nekonvencionalno dimenzijo prikaza plastenega likovnega (ne realnega!) prostora, vertikalni izsek pa vnaša v krajino občutek spajanja različnih plasti, ki so, v smislu arheologije spomina, lahko tudi časovne plasti. Tomaž Lunder nam z Gladino spomina v fotografiji odkriva dimenzije, ki smo jih doslej poznali le v slikarstvu – raziskovanje razmerja med likom in ozadjem ter časovne odnose.
Nadja Zgonik

 
 

Sestanek

 

It was not until the third meeting that somebody, to the approval of all three, proposed the title of our project. At that time it was not yet clear if the technological solution to our mutual problem of tripartite visualization is within the scope of our technical knowledge. I insisted on scaling the project down to meet the practical limitations imposed on by both time and space. The conclusion was reached in reciprocal fashion, each proposing, commenting, agreeing and disagreeing. The meeting was complete success. As I remember that was not the case with the first meeting when I was met with inquisitorial looks and suspicious glances amidst the serene and tranquil atmosphere of one of the Ljubljana’s old meeting places. Back then the agreement seemed at least a long way away if not unattainable.
Jan Babnik

Nadav Sagir, Peter Rauch, Jan Babnik

Dogovorjeno je bilo, da se na naslednjem sestanku pomenimo o osnovnih pojmovno vizualnih podmenah našega projekta, čeprav je Peter, če se ne motim, izrazil neomajno stališče, da je potrebno dati prednost času in prostoru, omenjal je tudi zahtevno postavitev in predlagal vsaj še tri sestanke. Srečanja, ki so sledila so se od prvega razlikovala predvsem v svoji neformalnosti, kakor, da ne bi jaz vztrajal na stališču, da je sestankovanje smiselno le če se ga jemlje resno. Kljub mojemu zagovarjanju avtorske izpovednosti in pesniške globine naše vizualizacije sem naletel na zid pragmatizma in poudarjanje medijske odmevnosti, oglaševalske strategije. Ne vem več kdo, je celo potihem zamomljal nekaj o moji popolni neobčutljivosti, morda celo nedovzetnosti za sodobne umetniške prakse. Na naslednjem sestanku sem še bolj vztrajal pri triumfu umetniškega duha nad vsakokratnimi -izmi, se zapletel v besedni spopad okoli pravilnega pojmovanja sodobne fotografije in, priznam, v nasprotju z duhom plodne debate, sem nekajkrat celo povzdignil glas. Ne spomnim se, da bi kdo udaril po mizi.
Jan Babnik

Nadav Sagir, Peter Rauch, Jan Babnik

 
 

Portret: Berlin, Sodobna fotografija in video umetnost iz Berlina

 

Soon two decades will have passed since the Berlin Wall fell, the line of demarcation between East and West, symbolically concentrated in the former front-line city. Since the reunification, Berlin has changed radically. Almost the whole social structure was called into question; the result is a politically, intellectually and architectonically transformed city. Artists and gallerists from all over the world have settled in the innumerable factory buildings, especially in the formerly Eastern part of the city, and they transform Berlin into a huge site of production and exchange of contemporary art, which is unparalleled. Numerous photographers have accompanied those processes of change – and had a share in shaping it visually. In this compilation, the photographic view is focussed on the people and their spaces.

Matthias Harder


14.11. – 06.12. 2008, Galerija Vžigalica, Mestni muzej Ljubljana

Kmalu bosta minili dve desetletji od padca Berlinskega zidu, ločitvene črte med vzhodom in zahodom, ki je bila simbolično osrediščena prav v tem mestu. Berlin se je od združitve drastično spremenil. Pod vprašaj je bila postavljena malodane celotna družbenega struktura, rezultat sprememb pa je politično, intelektualno in arhitektonsko spremenjeno mesto. Umetniki in lastniki galerij z vseh koncev sveta so zasedli brezštevilne industrijske objekte, še posebej v nekdanjem vzhodnem delu mesta, in preobrazili Berlin v ogromen sedež produkcije in menjave sodobne umetnosti, ki nima primerjave. Številni fotografi so spremljali te procese sprememb in sodelovali pri njihovih vizualnih upodobitvah.

Tokratni izbor je osredotočen na ljudi in njihove prostore.

 
 

DK – Prehajanja k sodobnim skrbem

 

The exhibition »Passages to Modern Concerns« of the author, who signs his work with his initials DK, has a retrospective character, but at the same time gives insight into the author’s newer photographic production. »His photography – while it is completely irrelevant which chosen work or motif content we are talking about – definitely expresses a special auratic dimension; a dimension, which is characteristic only of (that) author of a photography, which is created by a special, elaborate creation attitude towards the chosen motif.« Regardless of the fact that DK creates »… with an abundance of approaches, which express the potential of photographic image as a form and social content…« (Marina Gržinić), his creations »always enable the feeling of that special continuity of expression, which sets him apart from his contemporaries. His whole opus therefore follows that form of expression, in which the author’s interest for introducing individual and collective identities at the same time can be clearly perceived. In his media concentration, DK especially takes control of his series »Lice« (Face), which with his characteristic upper cut and the contrast of (again accented black) light reveals or flows over one side of the portrayed face. »These faces are contemporary pirates« (Marina Gržinić). With this series, DK reaches a new depth of character, a fossilized stiffness and reserve, which reaches into the area of the uncomfortable aesthetics. »In the process of exchanging the onlook between spectators, the portrayed faces and us, there is always the feeling of some kind of blindness. «

Razstava »Prehajanja k sodobnim skrbem« ustvarjalca, ki svoja dela podpisuje z DK, je retrospektivnega značaja, a hkrati ponuja vpogled tudi v novo, še javnosti nepredstavljeno avtorjevo fotografsko produkcijo. »V njegovi fotografiji – pri čemer je popolnoma irelevantno, za katero izbrano delo oziroma za katero motivno vsebino gre – zanesljivo pripada avratična razsežnost; razsežnost, ki je seveda in zlasti svojska samo (tistemu) avtorju fotografije, za katero stoji osebnost s posebnim, izdelanim izraznim odnosom do izbranega motiva.« Ne glede na to, da DK ustvarja »… z obiljem pristopov, ki govorijo o potencialu fotografske podobe kot oblike in družbene vsebine…« (Marina Gržinić), je v njegovih kreacijah »vedno občutiti tisto posebno izrazno kontinuiteto, zaradi katere se razlikuje od drugih svojih sodobnikov. Ves njegov opus sledi torej tisti izraznosti, v kateri zelo občutno prepoznavamo avtorjev interes za predstavljanje individualne in kolektivne identitete hkrati. V svoji medijski koncentraciji pa DK zlasti obvladuje serijo Lice, ki v značilnem gornjem rezu in kontrastni (spet poudarjeno črni) svetlobi zakriva oziroma se razlije po eni strani portretirančevega obraza. »Ti obrazi so sodobni pirati« (Marina Gržinić). V tej seriji je DK dosegel novo, karakterno poglobljeno, okamenelo togost in zadržanost, ki posega ponovno na področje estetike nelagodnega. V procesu izmenjave pogledov med gledalci, portretiranimi obrazi in nami gre vselej za nekakšno slepoto.

 
 

Lado Jakša – DIALOGBREZDIALOGA

 

A

Exhibition of art photographs with the scope on “multicultural dialog and absence of this dialog” /portraits, autoportraits, masks, posters, shadows, puppets, graffitti …/

B

Photomultivision as reflection of multilayered problems of this dialog and its absence

C

Music of the author, as integral part of this multivision and at the same time independent acoustic vision of this dialogs “Between echoes of the tower of Babylon”

A

Razstava umetni{kih fotografij na temo “medkulturnega dialoga in nedialoga”
/portreti, autoportreti, maske, plakati, sence.
lutke, grafiti …/

B

Fotomultivizija, kot odsev ve~plastne
problematike tega dialoga oziroma
njegove nezmo‘nosti

C

Avtorska glasba kot zvo~na sogovornica
multivizije in hkrati samostojna akusti~na
vizija dialogov “Med odmevi babilonskega stolpa”

 
 

Robert Blaško – The Lost Project

 

The 1990s post-communist situation – the analogue, pre-digital world, without mobile phones, email, digital cameras. When the Berlin wall falls, Velvet Revolution ensues and old systems stop functioning. A short time of euphoria is followed by grave insecurity in society and loss of vision for the future. A generation gap magnified by the new conditions leaves the youth generation with no one to turn to for answers. The patterns and stories of our parents are suddenly rendered useless – new problems and situations require new approaches without precedent. Few have the capacity to adapt at the rapid pace of the new technologies, the burgeoning economy and encroaching globalization. Mafiosi influence or participate in parliament. Chaos rules and stability is absent for a while. The last youth generation of analogues and walkmen emerged from unstable social and political fault lines, then receded and became lost. Now they try to catch up to the Google generation. What to do with the analogue memories? Is life only digital? Is the human dialogue over a cup of tea or coffee the same as it was during the pre-digital era when there was no persistent mobile ringing, when life was not defined by hundreds of messages in mail boxes and instant messengers. We cannot return – life means change and impels reflection. The pictures here are coming from this lost period. They appear here in public exhibition for the last time. The installation is already in museum.

Komunistične razmere devetdesetih let 20. stoletja – analogen, preddigitalen svet, svet brez prenosnih telefonov, e-pošte in digitalnih fotografskih aparatov. Ko pade Berlinski zid, se začne žametna revolucija in stari sistemi prenehajo delovati. Kratkoročni evforiji sledi globoka negotovost v družbi in izguba vizije za prihodnost. Generacijski prepad, ki ga še bolj poudarjajo, nove razmere mlajšo generacijo postavi v položaj, v katerem se ne morejo k nikomur obrniti za odgovore. Vzorci in zgodbe naših staršev so naenkrat neuporabni – novi problemi in razmere zahtevajo nove neprecedenčne pristope. Le redki lahko sledijo novim tehnologijam, brstečemu gospodarstvu in prihajajoči globalizaciji. Vpliv mafije ali sodelovanje v parlamentu. Vlada kaos in nekaj časa ni stabilnosti. Zadnja mlada generacija analognega in walkmanov je prišla iz nestabilnih družbenih in političnih prelomov, se umaknila in nato izginila. Zdaj skušajo ujeti generacijo Googla. Kam z analognimi spomini? Ali je življenje le digitalno? Je človeški pogovor ob skodelici čaja ali kave enak pogovoru med pred-digitalnim obdobjem, ko ni bilo nenehnega zvonjenja prenosnih telefonov, ko življenje ni bilo odvisno od več stotih sporočil v e-nabiralniku in hitre pošte? Ne moremo se vrniti – življenje pomeni spremembe in spodbuja.

 
 

Tomo Brejc – PhotographsTomo Brejc – Fotografije

 

As an artist, Tomo Brejc always strived for a determined deviation from accepted patterns of the authorial photography context – he managed to create a unique recognizable style, which turns mainly to directed documentarism, based on a firm, conceptually oriented background. He was one of the first photographers to create his own artistic plans in such a consistent and formally purified way on large format photographic prints. His staged figures can identify themselves with the flow of a film story or a coincidental motif of a documentary photograph, while their characteristics are subtle, often completely irrational narratives, which pose more questions than offer clear answers. At the moment, Tomo Brejc’s planning in the context of authorial photography is taking a completely new turn as it highlights quite metaphysical motifs, subliminal images of nature or artificial environment of human civilization, which push away the emphasized narrativity and instead prefer extremely formal consistency and research. The presented photograph series is currently nameless, it is not final and concluded; this is a completely new direction in the author’s constantly formal research of the photographic media, its infinite expressional and confessional possibilities.

Tomo Brejc se je kot umetnik vselej zavzemal za odločen odmik od ustaljenih vzorcev v kontekstu avtorske fotografije in na podlagi tega uspel ustvariti svojstven prepoznaven slog, ki se obrača predvsem k režiranem dokumentarizmu, slonečem na trdnem, konceptualno zastavljenem ozadju. Bil je eden prvih fotografov, ki je svoje umetnostno snovanje ustvaril na tako dosleden in formalno izčiščen način na veliko-formatnih fotografskih printih. Njegove inscenirane podobe se lahko istovetijo tako s potekom filmske zgodbe kot naključnim motivom fotografa dokumetarista, njihova karakteristika pa je subtilna, mnogokrat povsem iracionalna narativnost, ki sproža več vprašanj kot ponuja jasnih odgovorov. Trenutno snovanje Toma Brejca v polju avtorske fotografije se ozira v povsem novo smer v kontekstu njegove avtorske izraznosti, saj v ospredje prihaja povsem metafizična motivika, sublimirani prizori bodisi narave bodisi umetelnega okolja človeške civilizacije, ki odrivajo poudarjeno narativnost na račun vse večje formalne doslednosti in raziskovanja. Predstavljeni ciklus fotografij zaenkrat ne nosi nobenega naziva, prav tako ni dokončen in zaključen, pomeni predvsem novo smer v avtorjevem konstantnem formalnem raziskovanju fotografskega medija, njegovih neizmernih izraznih in izpovednih možnosti.

 
 

Stojan Kerbler – Exhibition for Seventieth Anniversary of an artistStojan Kerbler – Razstava ob avtorjevi sedemdesetletnici

 

Stojan Kerbler (b. 1983) became involved with photography as a student. He was the co-founder of the Photogroup Šolt. Since 1965 he has been an active member of the Maribor Photo Club, which created the photography of what was then called the Maribor circle in the 1970’s. Prior to 1980’s he prepared three separate photography series: “Portraits from the Streets of Ptuj”, “The People of Haloze” and “Koline” (a traditional feast in rural areas on the occasion of pig slaughter, and the making of pork-based products). These series are considered to be the core of Kerbler’s photographic opus. Because of their excellence, he has become the most frequently awarded Slovenian photographer. In 1979 he received the Prešeren Fund Award for the series “The People of Haloze”. In 2002 he won the Janez Puhar Award for extraordinary artistic achievement in the field of photography. He has also photographed motifs at the Aluminium factory in Kidričevo. In 2003 his monograph entitled “People” was published.

Stojan Kerbler (roj. 1938) se je s fotografijo začel ukvarjati v študentskih letih. Bil je soustanovitelj Fotogrupe Šolt. Od leta 1965 je član mariborskega Fotokluba, v katerem se je v sedemdesetih letih izoblikovala fotografija t. i. skupine Mariborski krog. Do začetka osemdesetih let je pripravil tri fotografske cikluse »Portreti s ptujskih ulic«, »Haložani« in »Koline«. Ciklusi veljajo za jedro Kerblerjevega fotografskega opusa. Po njihovi zaslugi je postal največkrat nagrajeni slovenski fotograf. Leta 1979 je prejel nagrado Prešernovega sklada za ciklus Haložani. Leta 2002 je prejel nagrado Janez Puhar za izredne ustvarjalne dosežke na fotografskem področju. Fotografiral je tudi motive iz Tovarne aluminija v Kidričevem. Leta 2003 je izšla njegova monografija Ljudje.

 
 

Podrobno More info.

 

Zloženka MF2008

Katalog MF 2008

Urnik razstav MF 2008

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Brochure MPh2008

Catalogue MPh 2008

Timetable of events MPh 2008

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